Annemarie Hope Cross
I am a fourth generation photographer. Both my great grandfathers were active with photography in the late 1800’s. My grandfather, Henry Hope-Cross, was well known in the Wairarapa as a photographer and my father, David, after studying photographic engineering in Cologne, Germany, worked for an international photography company for many years.
It is probably not surprising then that I spent many hours in a darkroom at home whilst growing up in Auckland.
After secondary school, I completed a Diploma in Photographic Arts and worked for a time in commercial photographic studios.
Photography was ‘halted’ in my life at that point as I no longer had access to a darkroom and didn’t know what sort of images I wanted to make. I had retrained and was working as a frontline ambulance officer, keeping busy with my Newfoundland dog.
The desire to make images never left me however, and in 2008 I moved to Alexandra, Central Otago, wanting to live in a small community and to do more photography; I felt that somehow it would happen with my move.
Working with me on the ambulance, as a volunteer, was Eric Schusser, a well known local photographic artist; photography was one of several interests we shared, and… we married three years ago.
During his business travels overseas, Dad had collected and given me a couple of brochures, which I rediscovered after my move to Alex. These were about the very origins of photography, which piqued my interest and led me, in 2011, to attending two workshops at Lacock Abbey in Wiltshire, the home of England’s first photographer, William Henry Fox Talbot.
Learning the Photographic Drawing process (invented in 1835) was to change the direction of my photographic practice; the workshop was an absolute ‘lightbulb moment’. I fell in love with the tactile, hands-on simplicity of this process and others like it, and realised this was how I wanted to spend my days.
For me, it is an opportunity to spend time outdoors in the garden and sunshine, waiting for images to expose. It’s a contemplative experience, sometimes working without the aid of a camera and enjoying the challenges of nature which are implicit in the images I make.
I was very fortunate to return to Lacock in 2013, spending time as artist in residence, building the second largest body of Photographic Drawings in the world – the largest collection belonging to Fox Talbot himself.
In 2017, after being diagnosed with metastatic breast cancer, my focus has been on my photography. During the darkest times, and with multiple surgeries, chemo and radiation taking their toll, I lie on the bed dreaming of images I want to make and plan new bodies of work. It’s very therapeutic.
During more treatment in 2019, Eric and I produced our first photo book together ‘Still Intrusion’. There are plans afoot to produce a follow up to this publication, which documents our journey together facing the cancer diagnosis, and the images we’ve both made during that time.
I continue making images at home in my darkroom built by Eric, working solely with historic photographic processes; grinding, heating, stirring and pouring chemicals and hand coating paper, glass and tin. Just as when I first learnt the process at Lacock, I am still enthralled by the contemplative nature of these processes, and the inevitable imperfections of a hand made image
Residencies / Awards
2020 Honourable Mention, Alternative Processes Category, 15th Julia Margaret Cameron Photographic Awards for Women Photographers (Int’l)
2019 First Place, Alternative Processes Category, 14th Pollux Photography Awards (Int’l)
2019 Honourable Mention, Alternative Processes Category, 14th Julia Margaret Cameron Photographic Awards for Women Photographers (Int’l)
2019 First Place, Alternative Processes Category, 13th Julia Margaret Cameron Photographic Awards (Int’l)
2019 Honourable Mention, Px3 (Prix de la Photographie Paris)
2018 Honourable Mention, Alternative Processes Category, 12th Julia Margaret Cameron Photographic Awards (Int’l)
2017 Merit Award, Lakes District Gallery, Arrowtown, Central Otago, NZ
2013 Artist’s Residency, Fox Talbot Museum, Lacock Abbey, Wiltshire, England
Selected Solo Exhibitions
2018 Still, Hullabaloo art space, Cromwell Heritage Precinct, Central Otago
2017 Arboretum, a portrait of trees, Hullabaloo art space, Cromwell Heritage Precinct
2016 Roses from the South, Hullabaloo art space, Cromwell Heritage Precinct
2015 Dolce et decorum est, Hullabaloo art space, Cromwell Heritage Precinct
2014 Creation, Hullabaloo art space, Cromwell Heritage Precinct, Central Otago
2014 A Window on Nature, Russell Henderson Gallery, Alexandra, Central Otago
2013 A Midsummer’s Garden, Hullabaloo art space, Cromwell Heritage Precinct
2012 Sun Prints in Central, Hullabaloo art space, Cromwell Heritage Precinct
2011 Lacock Botanicals, The Courthouse Cafe, Alexandra
2011 If these old walls could speak, Hullabaloo art space, Cromwell Heritage Precinct
2010 Recent Work, The Courthouse Café, Alexandra
2010 Dwell, Hullabaloo art space, Cromwell Heritage Precinct
Selected Group Exhibitions (NZ)
2020 Indigo, Central Stories Museum & Gallery, Alexandra
2019 Art + Water, HD Skinner Complex, Otago Museum, Dunedin, NZ
2019 Floribunda II, Megan Dickinson Gallery, Whangarei, NZ
2019 In Earliest Light II, LakeHouse Arts, Takapuna, Auckland
2019 Floral Notes, Hullabaloo art space, Cromwell Heritage Precinct
2018 In Earliest Light / The Collodion Collective, LakeHouse Arts, Auckland
2017 Art & Genetics, HD Skinner Complex, Otago Museum, Dunedin
2017 The Collodion Collective, Lake House Arts, Auckland
2016 All that Hullabaloo, Lakes District Gallery, Arrowtown, Central Otago
2014 Aurora, Hullabaloo art space, Cromwell Heritage Precinct
2013 Artists I know, Group exhibition by Eric Schusser, Russell Henderson Gallery, Alexandra,
2013 For the love of art, The Best of Central Otago artists, City Gallery, Invercargill
2011 Five, Hullabaloo art space, Cromwell Heritage Precinct
2010 Summer Group Show, Hullabaloo art space, Cromwell Heritage Precinct
2010 Hullabaloo Artists, Left Bank Gallery, Greymouth
Selected Group Exhibitions (International)
2020 14th JMC & Pollux Awards, FotoNostrum Gallery, Barcelona, Spain
2020 The Imperfect Lens, A Smith Gallery, Johnson City, Texas, USA
2019 Inaugural Exhibition, FotoNostrum Gallery, Barcelona, Spain
2019 Women Photographers Today, Galeria Valid Foto Bcn, Barcelona, Spain
2019 Open Theme / Unconstrained, A Smith Gallery, Johnson City, Texas, USA
2017 Photography in its Birthplace, Fox Talbot Museum, Lacock, Wiltshire, UK
2019 Still Intrusion, Hope-Cross & Schusser Publications
2013 Daguerreotype Workshop by Mike Robinson, Fox Talbot Museum, Lacock Abbey, Wiltshire, England
2011 Photogenic Drawing Workshop & Wet & Dry Plate Collodion Workshop with Mark Osterman & France Scully Osterman, Fox Talbot Museum, Lacock Abbey, Wiltshire, England
1989 Diploma of Photographic Arts, Whitecliffe Art School, Auckland
Book Review ‘Still Intrusion’ (2020)
“Together they have written an exquisite book” - Jan Hawkins,
Cromwell News March 2020
Indigo Group Show, Gallery on Blueskin, Waitati (2019)
“A darker edge is added to the show by the ethereal cyanotypes of Annemarie Hope-Cross” – James Dignan, ODT review
Floral Notes, joint show with Lynne Wilson, Hullabaloo art space (2019)
“the earth has music for those who listen” The quote by philosopher and writer George Santayana appears in Annemarie Hope-Cross’ Earth Music, a fold-out book of her remarkable cyanotype prints, and a key piece in the current exhibition “Floral Notes”, but the meaning behind the words runs through the entire collection… Hope-Cross has incorporated sheet music into her “cameraless photography” and captured imagery of endangered plants that we take for granted, with the properties of the flower reflecting the tone of the music, be it bold and dramatic, or light and haunting…. All the works are beautiful and complex, and with every closer look, new shapes and textures and intricate details emerge” – Laura Elliott, ODT review
Project Aurora, group show, Hullabaloo art space (2014)
… “Jillian Porteous and Annemarie Hope-Cross present some of the emotionally gripping imagery, turning their attention to the perilous existence lived by the pioneer women… Hope-Cross’ photogenic drawings of the ceramic women are ethereal and atmospheric. With an almost chalky appearance, the wraith-like subjects might be century old ghosts captured on film” – Laura Elliott, ODT review
Artist Residency, Lacock Abbey, UK (2013)
“You have taken the work of Fox Talbot and developed it… and created the second largest body of photogenic drawings in the world; the largest body of work belonging to Fox Talbot himself” - Roger Watson, Curator, Fox Talbot Museum
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