Deep storage pond 2, toward lookout hill

Wayne Barrar, Artist;  Photographer; 

This is one of the photographs in our collection. It was made in Lake Grassmere, Marlborough, New Zealand in 1987.
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Object Detail

About the Work
What can I say? I’m a sucker for a mirror image. I love the colours in this photo a lot. The way it tricks the mind when you initially gaze upon it. Also the best book I ever read was about salt, for some reason - I'm intimately intrigued by it.
- Jack Mitchell-Anyon, local business owner and musician, for the June 2021 instalment of the My Choice exhibition series.

Part of a collection of works from the series "Saltworks: The processed landscape" which was exhibited and toured in 1989. These images were taken at the Lake Grassmere Saltworks, which is situated 34km south east of Blenheim. The artist has maintained a keen interest in landscapes altered by human intervention through industry and the commercialisation of the land.
In the catalogue from this exhibition Joanna Paul writes of his work in her essay' A Human Ecology': " In pursuit of intelligibility, Wayne Barrars very formal photographs attain great beauty, in their refusal to interpret or judge they aquire presence. Dispassion might be called cold. There is no personal narrative in his chronology of process, But to my mind the photogrpahs generally and those of the saltworks in particular have a brilliance and a life quickened by their singular embodiment of a vision of landscape...Salt itself is interestingly both natural and inorganic. Colour in the white landscape might be read as heraldic (Loading truck (harvest) 1988); stockpiled spare parts are as orderly in their field of flowers as the deserted battlefield of Robert Bression's 'Lancelot du lac'. A marginal reading might link the crystallization of salt with alchemical transformation, a residue of the narrative - not something teased out by the artist. The shift into colour from graphic teacherly black and white is no indulgance. Colour is a statement of the salt-making process. Blu registers winter and water depth. Red - salinity, summer, krill, evaporation. The photographs trace the two -year cycle of salt crystalization - camera assiduously patiently set up (to avoid constant winds) int he stillness of dawn or evening light. Painstaking preperation, stalking of subject, tiresome journeys transformed into soignée images. Cibachrome does not impart extra gloss but it a logical medium for the mirror-still surfaces of sea and sky, for colour itself quasi-"artificial". "
Image: H270 x W355mm
Support H310 x W405mm *(photographic paper and black border)
Cibachrome print
Photograph showing the perfectly still surface of a storage pond. In the foreground is an angled bank of white stones with dark soil. In the distance is a rolling green hill and a cliff at the edge of the water. The cliff and hill are perfectly reflected in the water. The sky is clear of clouds and blue, also reflected in the water.
Credit Line
Collection of the Sarjeant Gallery Te Whare o Rehua Whanganui. Purchased, 1989
Collection Type
Permanent collection
Acquisition Date



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