Research Blog Posts (2025–2026)

Selfhood (March 16, 2026)
A meditation on presence, identity, and abjection through archival documentation of discarded body hair, engaging with Julia Kristeva's theory of abjection and Antonin Artaud's critique of representation.

Scenic Beauty is Hell (February 10, 2026)
An exploration of landscape photography in Aotearoa/New Zealand, examining how scenic beauty can become a form of visual control, drawing on Yukio Mishima's critique of aesthetic seduction.

Confusion is Gorgeous (January 30, 2026)
An examination of confusion as a generative state in creative practice, arguing that uncertainty opens space for deeper inquiry, imaginative thinking, and creative transformation.

Interdependence as a Method and a Process (January 19, 2026)
A theoretical exploration of interdependence in collaborative photography, examining how shared creativity enhances depth, adaptability, and storytelling through trust-based, non-hierarchical creation.

A Parallel History of Panic (January 5, 2026)
A comparative analysis of technological anxiety surrounding AI and 19th-century photography, examining recurring patterns in cultural responses to new image-making technologies.

Denis Roche, Scientific Fictionalism and Photography (December 8, 2025)
An investigation into photography as constructed narrative rather than objective evidence, drawing on Denis Roche's work and scientific fictionalism to challenge notions of photographic truth.

Rear Window: Artistic Constraint in Action (November 27, 2025)
A case study demonstrating OUxPO-inspired artistic constraint through the use of a vintage single-focal-length lens, transforming ordinary situations into sites of creative inquiry.

The Zoo: A Mise-en-Scène (November 3, 2025)
An exploration of staged photography and constructed environments, examining how mise-en-scène techniques create meaning beyond documentary realism.

Published Photography Work

New Zealand Geographic – Past contributor
Multiple published works documenting New Zealand culture, landscape, and people

Publications in:

• Fisheye (France)

• Frame Magazine

• Photograph Chronicle

• L'Œil de la Photographie

• Stuff

• Woman Magazine

• Tanz Magazine

• Unity Magazine

• Concave Magazine

• Viva Magazine

• Pantograph Punch

• The FC Diary

• Under the Radar

• Frraction Magazine

Professional experience (non-academic)

Skills

Languages

References

Jim Murray
Program Director, Media Design School
Phone: +64 09 303 0402 [703]
Email: jim.murray@mediadesignschool.com

Before joining Media Design School, I was self-employed and do not have traditional references.

My photographic practice is an exploration of humanity, shaped by speculative methodologies and voluntary constraints that generate creativity rather than limit it. I frame my work as a form of inquiry in which photographic processes become a way of thinking rather than a means of producing images. This practice allows me to investigate questions of perception, materiality, and visual uncertainty in ways that conventional analytical methods cannot.

Theoretical Frameworks

Speculative Fiction and the Philosophy of Lies as Method
In my practice, speculative fiction functions not merely as a narrative genre but as a critical method to destabilise conventional constructs of truth. By employing principles of scientific fictionalism, I challenge the assumption that empirical verification is the sole marker of authenticity. Central to this approach is the "philosophy of lies," which embraces orchestrated fabrications to reveal deeper subjective and cultural truths.

Tactical Obstruction and the Production of Nonlinear Knowledge
Complementing the speculative narrative is my use of tactical obstruction—an intentional disruption of expected creative trajectories. By subverting standard compositional forms and narrative expectations, I foster the emergence of nonlinear patterns within my work. This strategic disruption creates moments of cognitive dissonance, thereby encouraging viewers to perceive established visual and conceptual hierarchies in new and unexpected ways.

Voluntary Artistic Constraints and Experimental Creativity
Deliberate limitations govern much of my creative process. Through the selective imposition of constraints—be they technical, aesthetical, or conceptual—I develop creative frameworks that intensify focus and invite experimental rigor. This approach resonates with the OUxPO-inspired methodologies that advocate for strict formal parameters as a means to unleash inventive potential.

Integrating Pataphysics, OUxPO, and Scientific Fictionalism
My practice draws further strength from the integration of theoretical models such as pataphysics and methodologies derived from OUxPO. Pataphysics, with its celebration of the absurd and the paradoxical, provides an intellectual foundation that challenges traditional modes of photographic inquiry. When combined with the rigorous constraints of OUxPO-inspired strategies and the narrative experimentation of scientific fictionalism, these approaches facilitate the deconstruction of mainstream visual culture.

Practice-Based Research, Action Research, and Interdependence
The theoretical underpinnings of my practice are realised through a commitment to practice-based and action research. Each photographic work and artistic installation is both a product and a testament to an ongoing inquiry. Action research provides a framework for cyclically planning, experimenting, reflecting, and adapting, thereby ensuring that each iteration builds on prior insights. This continual process is enriched by an emphasis on interdependence: I recognise the inherent value of collaborative dialogue between co-creators, subjects, and audiences.

Methodological Approach

Over the years, I have developed a distinct working method, one shaped by movement, intuition, and adaptation. Like many photographers, I work in dynamic environments where rapid thinking and physical mobility are essential. Philosophy, in this context, is not abstract but embodied; it unfolds in the rhythm of production, the urgency of decision-making, and the act of walking.

Building teams founded on interdependence has been central to my approach, ensuring that ethical considerations remain at the core of image-making. This commitment extends to my passion for archival research, history, and iconology (the study of visual imagery) which continually informs my photographic investigations.

Whether through Action Research or collective image-making, interdependence remains central to my work, ensuring that ethical considerations shape every stage of production. Through these interconnected practices, I continuously seek to redefine representation, challenge conventional artistic norms, and foster dialogue within visual culture.

Photographer (Self-Employed)

2001 – Present

Photography is my way of connecting with people and expressing my passion for humanity. With a lifelong dedication to the craft, I specialize in capturing the essence of creatives in dance, theatre, and shows. Past contributor to New Zealand Geographic and multiple-time runner-up for New Zealand Photographer of the Year.

Senior Business Analyst

Oracle France + British Petroleum
1998 – 2001

Acting as an expert in the Supply Value Chain area, I led the development of a suite of planning functionalities. I have been heavily involved in major re-engineering projects.

• Systems Design Consultant

• Supply Operations, Movements, Inventory, Forecasts and Allocations

• Management of re-engineering Supply & Logistics team (France/India/USA)

• Environment: Client Server, Uniface, Oracle

Business Analyst (Contract)

British Petroleum
1997 – 1998

• Analyst within supply operation, non-road movements, article availability

• Environment: Client Server, Uniface, Oracle

Business Analyst (Contracts)

1994 – 1997

EDF-GDF (French gas and electricity company)

• Analysis of geographical information using process analysis method TROPOS

RATP (Paris subway company)

• Conception and implementation of an edition system

• Environment: Client Server, Uniface, Oracle

AIPAL (Financial group)

• Analysis and development of commercial strategy

• Migration and implementation

• Environment: Client Server, Uniface, Sybase

Manager – Telemarketing Operations Director

Le Figaro / Promolouvre
1990 – 1992

Le Figaro is the largest newspaper in France. I served as the Telemarketing Operations Director, leading a team of around 100 people. Additionally, I managed quality control for the newspaper's distribution in the Paris region, ensuring high standards and efficient delivery.

Professional Skills

Growth mindset | Cultural awareness | Team work | Communication | Adaptability | Service orientation | Emotional intelligence | Creativity | Critical thinking | Problem-solving

Learning Management Systems

Blackboard | Canvas

Technical Skills

Figma | Adobe Photoshop | Adobe Lightroom | Adobe InDesign | MS Office Suite | DxO | Web design | AI tools

Research & Analysis:
Methods | Data modeling | Business requirements | Process mapping | Specifications | Documentation

Photography:
Camera equipment | Lighting | Studio management | Administration

Software Development (Historical)

Analysis (models) and process mapping | Development standards design | Mockups and prototypes | Development technical and functional supervision | Testing and validation | Deployment | Migration

• French - Native

• English - Full Professional Proficiency (IELTS 7.5)

• German - Limited Working Proficiency

Document prepared: April 2026
Current location: Tāmaki Makaurau/Auckland, Aotearoa/New Zealand

This CV represents a comprehensive overview of my academic, creative, and professional experience.
For additional information, portfolio samples, or research inquiries, please visit www.jocelynjanon.com or contact me directly.