The work utilises the positive, albeit manipulative tool of perfume as a constructed form of informational content. Using the strategies and technologies of interactive entertainment, military games and celebrity perfumes, the project engages with mesmerising technologies which assist the transfer of information as well as altering our sensory experiences and anticipations. The work will be a simultaneous performance of the real and the interpreted domains of both military technology and the globalised commercial interests of the fragrance and flavour industry.

Raewyn Turner is an Auckland based artist. Her work uses the media of video, light, smell and new technologies for screen, installation, artefacts and live performance, as well as painting. Her concerns are with cross-sensory perception and the uncharted territories of the senses. While exploring the immediate offerings of the senses she’s particularly interested in the effects of new technologies which are engaged in the development of extrasensory or subsensory awareness. Raewyn’s intersensory art practice is about breaking the boundaries of perception. It includes interpretations, misinterpretations and adjustments made according to intelligent guesses, assumptions, estimations and associations.

dForm explores the construction and perception of time-based events by examining the ability of static objects to encapsulate temporal information. It aims to question our relationship with physical objects and static concreteness that we assume of them, by proposing a new modality for representation for time-based events. It presents a modality in which the linear codec of time-based representation is challenged, and through which the viewer is reasserted as the relational position from which time is perceived.

dForm uses the notion of the berg as a monument that escapes the static velocity of our cultural attitude to objects and signals a more fluid reading of sculptural form in the context of geological timescales. Viewers operate as the equivalent of gallery bound icebergs and provide a set a data that determines physical form through motion. This real-time viewer actioned manipulation of form provides a framework for interpreting the relationships between the time-lapse video images and the floor based objects in.

In treating different subjects as data to determine spatial co-ordinates the commonality of motion as a generator of form allows us to consider the time inherent in static objects. Time is treated as a subjective function rather than a sequential given.

Having immigrated to New Zealand from the UK in 1973, James Charlton gained his BFA from Auckland University, Elam School of Fine Arts in 1982. As a Fulbright recipient he completed his MFA at the State University of New York at Albany in 1986. Remaining in the United States for a further five years, he exhibited extensively in solo and group exhibitions throughout the USA, and was represented by Akin Gallery in Boston and John Gibson Gallery in New York. During this time he lectured in sculpture at the University of New Hampshire, Monserrat College of Art and the State University of New York at Albany. Returning to New Zealand in 1991, Charlton was part of the team that established the Visual Arts degree at ASA School of Art and subsequently became Curriculum Leader for Sculpture at Auckland University of Technology. A position held until the beginning of 2008 when he assumed the role of Programme Leader for Creative Technologies.

The Return of the Polynesian Phantom is an ambiguous zone where notions of identity, surveillance, and perception are questioned. The aim of this research project is to reimagine, recontextualise, and reframe Polynesia.

The project engages interactive and robotic technology through the exploration of objects, movement and installation. It negotiates the space between lightness and darkness, visibility/invisibility, metaphorical parallels made between social constructs primarily engaging with disconnection, phantom and phantasy, stereotype, panopticon and controlled spaces.

A multi-disciplinary artist and currently a Masters student at AUT, Metuanooroa Tapuni Gained a BFA from Elam School of Fine Arts graduating in 1999 and a Graduate Diploma in Digital Media from Aut in 2007, marking a transition from traditional forms of art making to digital and interactive technology.

Generally her work explores occident and orient (notions of cultural difference, mimicry, hegemony and imperialism) cultures through the process of parody by means of experiential installation, paint, drawing and object art. She is interested in cultural stereotypes, the identities of the colonised and the coloniser, defined roles, attributes, how they become and how they define circumstance, context and environment.