Laurence Aberhart's Macau photographs have their genesis in a similar body of photographic documentation that he undertook in 1981/82 when he travelled by car throughout New Zealand and photographed buildings, monuments, churches, statues, memorials and marae.(1) Many were, he considered, 'under threat' and he consciously undertook this series of documentation surmising that some objects would not be in existence or in a similar physical condition ten years later. Indeed, his photograph Infant of Prague, Hato Hohera Catholic Mission, Waitaruke, near Kaeo, Northland is all that survives after a fire destroyed this delicate chapel. The question could be posed: does a similar fate await those depicted in his Macau photographs?

Aberhart's interest in Macau was initially aroused on a short, wet weekend visit in June 1997 that resulted in the first of his Macau photographs. Macau was like a photographic Eldorado for him; containing all the elements that form the basis for his photographs. Aberhart uses a 8x10 inch view camera and his exposure times - depending on the available light - can be quite long; consequently, his work generally covers still objects: the detailed documentation of historic buildings and church interiors; historic monuments and memorials; and an impressive collection of landscape panoramas. There are, however, some strong themes running through his work and each can be seen in his Macau photographs:

· The documentation of subjects that are post-colonial; particularly objects that combine aspects of the original culture with those of the newer settler culture (see Tai Tat Tei, Macau and Interior of The Chapel of St. Joseph Seminary, Macau).
· Irony and 'black' humour (see Entrance to Cento Social S.M. Mazzarello, Macau; Interior, Tung Sing Tong Hospital, Macau and Nature Morte [Silence]).
· A commitment to photograph objects under environmental or economic threat (see Wall, old Chiang Mansions, Macau).
· To uniquely photograph objects that have become visual clichés (see his on-going series of the New Zealand mountain Taranaki; usually depicted in chocolate-box picture style. Or, Last light view of China and Macau from Taipa - has Macau's distant Praia ever been photographed so beautifully and from such an unusual angle).
· A conscious effort to continue and contribute to 19th and early 20th century photographic traditions by photographing similar subject matter as photographed by his historical predecessors (following the work of, for example, the French photographer Eugene Atget and the American Walker Evans) (see Door, Avenida do Coronel Mesquita, Macau).

In the two decades since Aberhart's travels around New Zealand, he has been uncompromising in what he simply states as his pursuit for "a beautiful photograph" (2). Aberhart's photographs, however remain Aberhart in theme, 'look' and intent from wherever they have been taken and include those from the following locations: USA (while on a Fulbright Travel Grant, 1988), Europe (1990) and on organised trips to Hong Kong/Macau (1997 & 2000), Australia (1997 & 2000) and Japan (2001). Aberhart's Macau photographs have added a significant new body of work to his oeuvre - but with some interesting additional elements:

· The 1981/82 photographs were a set of particularly powerful photographs if all seen together. Likewise, the 62 individual Macau images seen in this exhibition are an unusually extensive survey of Macau and are a powerful statement supporting Macau's architectural heritage. It could be argued that such a dedicated overview of Macau has not been tackled since 19th century photographers produced souvenir albums catering to visiting tourists.
· Aberhart's skyscapes, using a strong yellow photographic filter, are often dramatic. Macau's autumn haze, on the other hand, has rendered a subdued neutrality to the sky.
· The ghost-like smudgings of people wafting through many of these Macau photographs contrasts with New Zealand's relative emptiness and Aberhart's usual photographs devoid of any human presence.

One of the reasons The Macau Museum of Art invited Aberhart to Macau was that they believed his photographs would be an excellent model for a younger generation of photographers and photography students. Aberhart's equipment is simple: a view camera, tripod and light meter. He himself then meticulously prints all his own photographs. Both his equipment and printing techniques date from the 19th century; and the irony is that the outcome - the ph`otograph you see - is of a quality far superior to any modern 35mm camera and the latest digital printing processes. By introducing Aberhart's photographs to the Macau public the Macau Museum of Art is, in its educative role, offering a rare quality of photograph to be seen and appreciated.

Aberhart and his wife, Greta, stayed in Macau for one month during November and December 2000 and, except for a short trip to Toi Shan in China, woke early every day and spent the day walking and looking all around Macau. With his equipment, bag of photographic film plates and Macau's hills this was often tiring work. Aberhart met many local people who were extremely generous and helpful as can be appreciated by the variety of interiors that he photographed. The small courtesies and interest in what he was doing was a tonic for a photographer who has recently broadened his photography to outside New Zealand. With a wider international perspective he has renewed his interest in re-photographing a New Zealand that he had thought he, until recently, had exhausted.

Some Macau photographs were never taken, however, and the old 'Tabaqueria Filipina' shop and the interior of the 'Clube de Macau' will never be seen because of refusals to allow any photography. Aberhart does not "dwell on the misses" but much more unsettling was what was to become an oblique rallying cry for him. Ung Vai Meng introduced some locations to Aberhart but on visiting a potential site to photograph would exclaim: "Oh no, it's gone!" And this exclamation was heard on many occasions when Ung realised that a building that had stood solid only a few months earlier was now gone: often simply a victim of Macau's humidity and rain and a compliant landowner waiting for time and weather to make the property unsafe.

Macau's old historical buildings and districts are unique in Southern China. The best art often hits a nerve: much of Macau's Chinese cultural heritage is disappearing and Aberhart has consciously photographed temples, old tea-shops, medical and dental clinics and fortune-tellers. Much Portuguese/Mecanese architecture was restored and preserved just prior to Macau's Handover to China, but Chinese architecture has seemingly not received the same attention. Aberhart has had a long-standing interest in 'things Chinese' in New Zealand (for example, see Hop Yick Cheong shop, dated 1983), and it was a natural starting point for him to vigorously pursue Macau's Chinese heritage that many of us consider to be threatened by development and modernity. This exhibition will take on even greater significance if it catalyses action to retain Macau's fast disappearing old buildings.

Aberhart worked quietly and methodically - he mapped out areas of Macau that were worthy of investigation: old streets, back alleys, dusty looking shops, obscure temples and cemeteries. By walking around a potential photograph he absorbed the view, assessed the angle, distance and 'look' of the image and, importantly, whether the light is "moving into or off" a subject. Persistence and patience were often necessary to capture an image or a building without obstruction. A favourite building with unusual architecture that Aberhart visited on over six occasions always had obtrusive parked cars in front of it - no photograph was taken and the empty building is under obvious threat of demolition. If photographed, meticulous notes are taken, detailing location, date and exposure time.

Back in New Zealand, where these photographs were printed, Aberhart decided to use photographic paper and processes that he has not used since his earlier 1981/82 photographs; here again is a link with Macau and those earlier photographs. For the first time in over 15 years, Aberhart procured a supply of contact print paper and a good supply of gold chloride and selenium (both used as toners). The contact paper has a wider tonal range than normal photographic paper and the gold chloride and selenium toners combine to alternatively 'warm' and 'cool' an image - by under and over toning and manipulation an image moves through stages of what Aberhart refers to as "critical forms". He eventually decides what is 'perfect' when an image is transformed enough in the darkroom and he has decided that this is the photograph that you will see.

During the first Hong Kong showing of Aberhart's photographs of New Zealand in 1997 a long-term New Zealand resident in Hong Kong stated bluntly and with shock to me that "this is not the New Zealand that I know!" Aberhart's photographs are invaluable in reminding us that the world is not as obvious as we think it is. We need little reminders and shocks. I am sure Macau viewers of these photographs will be intrigued to know there is still an over 80-year old practising dentist in Macau (see Chart Nervus Trigeminus), dentist's, Macau); that beauty can still be felt in such mundane views as Interior, hairdresser's, Macau; and the interior of Interior, Tung Sing Tong Clinicl, Macau is strangely amusing with the combination of staring ancestor photographs and the ghost-like presence of waiting patients. Our own mortality is even questioned in Interior (photographs), Chok Lam Chi Temple, Macau; and, anyone who has ever had their own mortality challenged knows that you come out a humbler, quieter person after the experience….

Feelings like these that make the looking at of Aberhart's photographs an experience. Enjoy.

- John Batten
Director, John Batten Gallery, Hong Kong.

NOTES:

1. Marae: The first settlers of New Zealand, the Maori, have their traditional land and community centred around the marae, comprising of a meeting house, kitchen and housing. Many of Aberhart's 1981/2 photographs (e.g. Interior, "Rongokarae") were taken on marae throughout New Zealand's North Island. See for example: Roger Neith, Painted Histories: Early Maori Figurative Painting, Auckland University Press, Auckland, 1993, pp 121-131.

2. Many of the ideas outlined in this essay were formed after informal conversations between Laurence Aberhart and the author between 1997 to 2001.