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is an interactive PDF and a work in progress which is updated annually. This means key words are linked to relevant information on other pages, so the document is easy to navigate and find information. The 2019 version offers:

Over 1100 pages

Over 300 plant entries

Over 1000 photographs

Over 140 illustrations and renders

Over 50 maps Over 50 sound files

And 11 charts .

It is rich in photographs and illustrations. The resolution of the images is high which allows enlargements to 300-400%, while the text can be enlarged even higher.

More information

$30 Australian - Download from Drop Box

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Down load Low Res PDF - free 9MB 146 pages

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The Last Rivers Song 1983-4

presents a stunning series of photographs of the raw, natural, beauty of Clutha River and Kawarau Rivers before the filling of Lake Dunstan at the completion of the hydro dam at Clyde in Central Otago, New Zealand. The work offers an evocative portrait of a wild, free-flowing river that has been lost to hydro development.

"Water surges, sprays, foams, whirls, ripples and rests, framed by very black rock which, when devoid of detail cameos the textures of its movements. In other instances a chiaroscuro lighting throws forward rock surface, its water-worn texture combining in rhythmic counterpoint with the current. The mural works are more expressively extreme, and have a greater over-all movement, each work capturing a different mood, from candy-floss fibres of foam in mural five, to the bone-crushing torrents". Alastair Galbraith - Art NZ No40

146 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Secrets of the Forgotten Tapu 1985-6

chronicles the stunning rock formations at Blackhead, Dunedin, New Zealand and provides an insight into the stunning columnar basalt formations and sublime bluffs lost forever through quarrying.

52 pages -large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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266 pages 29mb Down load Low Res PDF - free

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Codes of Survival 1989 -92

In 1984 Lloyd Godman conceived the idea of take an expedition of artists to the remote Auckland Island 465 kilometres south of New Zealand, experience the wild environment, create a series of works that would tour New Zealand as a series of exhibitions. While these remote protected islands are most often the domain of scientists, Godman argued that artists are scientists, their research is on an aesthetic and conceptual level. Beset with many problems and political brick walls, the project took many years to materialize but with perseverance in 1989, eleven artists visited the Islands in a ground-breaking and highly successful project titled Arts to the Subantarctic. Selected works from the project artists toured art galleries and museums throughout New Zealand for over 2 years.

Codes of Survival is Godman's own contribution to the project, and the first series of work where he incorporated the photogram technique into his work and began moving to camera-less photography and an interest in photosensitivity.

132 pages -large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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adze to CODA 1993 - 2004

evolved from Godman combining photographs and photograms in the earlier Codes of Survival series.

..paradox is explored further in Adze to Coda: an archaeology of device ( 1993 2004). Photographic images from the " estate of Wilderness" - native bush at Piha, on the Auckland west coast, rock formations at port Pegasus on Stewart Island in the far south - are accompanied by shaped photograms. The shapes are of simple tools - Maori fishhooks, adze heads, patu, Pakeha hammers, saws, spanners, while contained within them are photograms of layers of old gears, broken blades, corroded screws - tools of the past, returning to nature through rust and rot, ' an archaeology of implements that reference their own history'. The series ends with 1's and 0's instead of tools , for with the 'soft tools' of the computer age we are left with binary codes rather than physical remains, and the tactility of the object is denied.

Lawrence Jones - At Link Vol 25 - No 4

86 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Mythology of Place 1993 to 1994

Loyd Godman and Lawrence Jones were neighbors and friends who had lived for years at Brighton, New Zealand. Both lived very close to where James K Baxter had lived and were familiar with his work. Jones was writing a paper on Baxter and asked Godman to consider contributing some photographs of the places Baxter wrote about.

During 1993 to 1994 Lawrence Jones and Lloyd Godman worked collaboratively on the Mythology of Place. They retraced the words of one of New Zealand's most acknowledged poets, James K Baxter, searching for artifacts that referenced real places of his mythology. Places where the youthful Baxter's naked feet once trod, places that remained with him until the bare foot days before his death. This project was about the uneathing of three worlds of James K Baxter and though the critical text of Jones and the photographs of Godman a poignant focus of Baxter's work emerged.

94 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm)printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Evidence from the Religion of Technology 1994 - 5

benchmarks a significant shift in Lloyd Godman's art practice. Here we see a shift from camera, film and black and white photography into a fully committed exploration of the photogram (camera-less photography) and abstract use of vibrant colour. The multiple exposure colour photogram process reproduces mundane objects in an abstract colour that is further disguised by the interwoven layering. These are the objects we once desired, but have since discarded, the photograms are an aesthetic archaeological site.

158 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Aporian Emulsions 1995- 98

Lloyd Godman was lecturer in charge of photography at the School of Art. Otago Polytechnic, Dunedin, New Zealand from 1986 until 2005 where he established a department that was highly regarded for its explorative approach to photography, and in particular alternative photographic processes. From 1989, his art practice has centered on the phenomenon of light and a wide range of photosensitive emulsions (including plants and photosynthesis) and camerless photography through the use of photograms. In Aproian Emulsions he utilizes alternative photo-emulsions like Cyanotype and Van Dyke Brown in a plastic manner, where the confines of the rectangle are broken and the liquid flows as marks and motifs. Rather than a fault, aberrations in the process are embraced as an aesthetic device that strengthens the concept of the work.

126 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Equivalence

Lloyd Godman's interest in photosynthesis and regeneration of the bush after fire grew from his engagement in photography and intrigue with photosensitivity. His work with his signature plant family, Bromeliads, stalled in 2005 when he had to sell the plants in New Zealand and begin collecting again in a Australia. On a camping trip to Wilsons Prom, Victoria, he was captivated by the juxtaposition of vibrant green regrowth against the stark blackened tree trunks. The photographs he took provided a visual base that he then extended from with charcoal drawings similar to the Drawing from Nature project of the early 1990s where he mixed photography and drawing.

Equivalence is a transition project that stems from his focus to keep exploring ideas of light and photosynthesis.

52 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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When Light Turns to Dust 2002-3

Lloyd Godman had lived in the same house for nearly 30 years, but it was only during the summer of When Light Turns to Dust

Lloyd Godman had lived in the same house for nearly 30 years, but it was only during the summer of 2002-3, that he discovered a series of old negatives on the ground in the cellar left by a previous owner. The silver images that might hold a reference to past lives and events had however decayed and been replaced largely by dust and dirt so Godman took the fragmented artefacts and printed the abstract patterns as one would for a normal b&w photographic negative.

That he discovered a series of old negatives on the ground in the cellar left by a previous owner. The silver images that might hold a reference to past lives and events had however decayed and been replaced largely by dust and dirt so Godman took the fragmented artefacts and printed the abstract patterns as one would for a normal b&w photographic negative.

The results are an enigmatic series of photographic prints that seem part photograph, part photogram or Clich'e verre. Rich patterns and intricate textures created by the process of decay in nature during the passing of time are given a new life and obscure meanings that only each viewer can invent are suggested in the gestalt

44 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Working with Plants - 1996 - 2008

In the mid 1990s, Godman made the connection that the process of taking photographs with film and growing plants was analogous - both use light and water - plants are in fact an abstract form of photography. In 1996 he began by growing simple images into the leaves of Bromeliad plants which in turn led to sophisticated interactive installations. Working with plants traces the development of this work.

Lloyd Godman's twin careers of serious and successful organic gardener and practicing artist of great creative energy converge in new and constantly surprising ways to make art about the ecological concerns that underly his gardening. Over almost three decades his art has widened out from relatively traditional landscape photography to include elements of performance, audience participation art and multimedia installation to explore the tensions between electronic consumer society and the ecosystem.
Artlink magazine - Ecology: Everyone's Business - Vol 25 no 4 - Dec - Jan 2006

158 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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di-VISION - interiors 2010-14

From 1989, Lloyd Godman explored the visual strategy of what he termed di/VISION, where two camera frames are shot of a scene, one frame above the other, but with elements repeating in the resulting composite diptych. He explored this over several decades in landscapes of both the natural world and the built environment. Godman uses the technique with stealth to exploit the human desire to make sense of what we see - so while the eye sees two images, the mind wants to read a single image.

In this series he confronts architectural interiors and offers new visions of internal architectural space. There is a play with the simplicity or complexity of geometry and decoration within. As the frames are shot with a wide- angle lens, a strange perspective ensues that often suggests the dimensions and geometry of a new space, an unreal space, where an Escher-like quality emerges.

Foreword by Gavin Keeney

96 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

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Entropy 2009 - 2011

Entropy is Godman's response to the Victorian Black Saturday bushfire of February 2009. His intrigue with light and photosynthesis is creativly engaged in the regeneration of the bush from gray powder ash to thick verdant green. The project is a metaphor for his concept of the planet as a gigantic abstract photosensitive emulsion.

...the largest photosensitive emulsion we know of is the planet earth. As vegetation grows, dies back, changes colour with the seasons, the "photographic image" that is our planet alters. Increasingly human intervention plays a larger role in transforming the image of the globe we inhabit.

The work acts as witness to the green spirit within the earth that overcomes a grey ghost. The macro becomes micro and visa versa, forbidding monotones are replaced with subtlety of texture and colour, simplicity is replaced with complexity.

Paradoxically, both order and chaos is found in ash and regenerated emerald bush.

164 pages - large format landscape (11 x 13 inches 33.02 x 27.94 cm) printed on ProLine Pear (140# Text) paper - Hardcover imagewrap

Drawing frtom Nature

Photo / Drawing works 1987 - 2001

Godman's work has always focused on environmental issues and in terms of photography,is always experimental pushing the boundaries. Drawing from Nature sees the experimentation
intersect the drawing photographic divide and fuse them in an
intriguing manner.

62 pages Down load Low Res PDF - free

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Lloyd Godman Mail Art works & Projects 1988 - 2004

92 pages Down load Low Res PDF - free

From 1988 to 2004 Lloyd Godman engaged in a wide range of mail art projects. This PDF documents his work and some of these projects. The publication offers an introduction and history of Mail Art.

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Lloyd Godman (Body Symbols)1986 - 1988

Body Symbols is a series of black & white photographs exploring the visual relationship of the human body and the ancient organic elements - earth, air, fire and water.

Down load Low Res PDF - free 6MB 70 pages

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di/VISION

di/VISION The frame, integral to photography, defines the subject. Specific aspects are included the remainder is excluded. These Photographic works investigate issues of diVISION - in both the Camera Frame, what lies within the frame what lies without, and how as our architecture grows for the sky the heavens are been divided. Like a half finished jigsaw, While there is a continuation of line, shape, texture and form that links the two frames there is deliberate visual disjuncture where elements are broken, divided. The photographs date from 1994 to the present.

198 Pages