make visible: TARANAKI

Taranaki, New Zealand, ongoing.

Make Visible: Taranaki is the second chapter of the overarching Make Visible project developed by Shannon Novak. It aims to grow support for LGBTQI+ communities in Taranaki, New Zealand by making visible challenges and triumphs for these communities. The chapter manifests as onsite and offsite work developed with local LGBTQI+ communities through an ongoing periodic residency at the Govett-Brewster Art Gallery. To date the work includes:

Opening Act, The Mayfair, New Plymouth, New Zealand.
Hard Labour, New Plymouth Prison, New Plymouth, New Zealand.
The Unfurling, Govett-Brewster Art Gallery, New Plymouth, New Zealand.
Parthenogenesis, Govett-Brewster Art Gallery, New Plymouth, New Zealand.
Do You Think You Could Love a Computer?, Govett-Brewster Art Gallery, New Plymouth, New Zealand.

background

LGBTQI+ communities experience disproportionally higher rates of anxiety, suicide, and depression than the general population in New Zealand. Make Visible: Taranaki aims to help reduce these rates for LGBTQI+ communities in Taranaki (and beyond) through increased visibility of and support for these communities. Some recent statistics include:

LGBTQI+ people experience 3 times the rate the anxiety, depression, and psychological distress than the general population (1).
LGBTQI+ people 75% more likely to report being socially excluded (1).
71% of trans and non-binary people report high or very high levels of psychological distress compared to 8% of the general population (2).
57% of trans and non-binary people do not disclose their identities at work in fear of discrimination (2).
Trans and non-binary people 4 times more likely to experience discrimination on the street or in a public place than the general population (2).
LGBTQI+ youth twice as likely to be bullied at school than non-LGBTQI+ youth (3).
LGBTQI+ youth with a disability or chronic condition at least 4 times as likely to experience depressive symptoms and have serious thoughts of suicide than the general population (4).
Rainbow rangatahi Māori experience higher rates of depressive symptoms and serious thoughts of suicide than rainbow pākehā young people (5).

Sources:

Health Promotion Agency NZ Rainbow Community Wellbeing Report, 2019.
Counting Ourselves, 2019.
PRISM: Human Rights Issues Relating to Sexual Orientation, Gender Identity and Expression, and Sex Characteristics (SOGIESC) In Aotearoa New Zealand, 2020.
Youth 2019 Rainbow Young People With Disabilities Brief, 2021.
Youth 2019 Rainbow Rangatahi Māori Brief, 2021.

1. OPENING ACT

The Mayfair, New Plymouth, New Zealand, 2022.

On the 25th of October 1917 the film Intolerance was screened at Everybody’s Theatre (now known as The Mayfair) in New Plymouth. This silent film was one of the earliest in cinema showing a kiss between men. Near the end of the film Prince Belshazzar kisses The Mighty Man of Valor (Belshazzar’s guard). It is one of many moments in local LGBTQI+ history not formally recorded, but one Novak and the Make Visible: Taranaki project aims to record in local museum archives. Growing local LGBTQI+ history archives can increase LGBTQI+ visibility and decrease feelings of erasure. It can help LGBTQI+ people feel seen, valued, and ultimately experience positive mental health outcomes.

The Mayfair became a safe space for LGBTQI+ youth in Taranaki to meet and receive support from RainbowYOUTH in recent times.

1.1 UNITE

This work explores physical and digital dimensions of LGBTQI+ hook up realms in Taranaki. The work is sited in the men’s restroom in the theatre as a reflection on Novak’s past experience in a public restroom. The fluorescent light stands upright, passing through a LED ring light symbolising sexual intercourse. This extends beyond gay sex to sex in LGBTQI+ communities in general. The contrast and intermingling between physical and digital hook up realms is represented by the fluorescent light (older technology) and LED ring light (newer web related technology).

1.2 mEND

This work explores the healing process in local LGBTQI+ communities. The work is sited in a green room near the main stage in the theatre. It is a long narrow corridor with one wall covered in writing and imagery from people that have performed at The Mayfair in the past. Unpotted lavender plants line this wall on metal stands and are illuminated with LED lights. The defaced and deteriorated walls echo the violence, bullying, and hate speech local LGBTQI+ communities experience. The lavender seeks to counter this negativity and heal damage done. Lavender was used in ancient times to wash and cleanse wounds and more recently has been adopted as a symbol of resistance by LGBTQI+ communities. The space itself as a green room is a waiting or transitory space that in this work, symbolises hope for a better future.

1.3 to paradise

This is a collaborative work between Shannon Novak and local Wesley Milne exploring trans experiences in Taranaki. Milne lives in Taranaki and identifies as trans and queer. They also work in The Mayfair with LGBTQI+ youth. The work is sited on a stairway in the main theatre foyer that leads to the upper balconies (otherwise known as “the gods” or “paradise” in theatre). Milne’s personal journal sits on a piano stool, lit by four LED lights. The journal is open showing Milne’s self-portrait on the left, and a snapshot of their day on the right. The stairway represents a lifetime, Milne’s journal positioned at a relatively early point on the path with a set of closed doors at the top.

1.4 Reduction

This work explores how LGBTQI+ people may be visible, yet silenced, censored, or caged in some way. The work takes its cue from another moment in local LGBTQI+ history when the New Plymouth Prison was a prison for gay men between 1917 - 1952 during a time homosexuality was illegal in New Zealand. The work on board includes a photograph Novak took of a boulder that still remains at the prison, in the prison quarry where prisoners engaged in hard labour. Novak has digitally edited the photograph to mimic the format of an intertitle in the silent film Intolerance, a film screened at The Mayfair (then know as Everybody’s Theatre) in 1917 and one of the earliest films showing a kiss between men.

The phrase Visible but silenced echo the lives of local gay prisoners at the time but also refer to the lives of local LGBTQI+ people today who feel muted or held back by society in some way. The phrase is held captive and neglected in a room with a skylight that has allowed birds to nest and defecate in the space over time. The public can view the room through large windows like one would view animals at the zoo.

1.5 A tASTE

This work captures one of the earliest examples of a kiss between men in cinema. It is a still from the silent film Intolerance screened at The Mayfair (then known as Everybody’s Theatre) in 1917 where Prince Belshazzar kisses The Mighty Man of Valor (Belshazzar’s guard). The work is sited in a small room near the main theatre foyer that is half way through renovation. This symbolises that although Taranaki (and wider society) has come a long way in relation to LGBTQI+ rights and acceptance, there is still much work to be done.

1.6 Transmute

This work acknowledges those in local LGBTQI+ communities that may be suffering in silence. Like a silent film they may be seen but not heard. Sited in the main theatre foyer, an apple tree sits unpotted in the centre of three fluorescent lights that form a triangle. The apple tree references the death of Alan Turing (1912 - 1954), a British mathematician who was gay and convicted for sex with another man. His cause of death was cyanide poisoning and it was speculated this came from a half-eaten apple found beside Turing’s bed, an apple he had poisoned himself. The light triangle refers to the pink triangle, a symbol reclaimed by LGBTQI+ communities symbolising pride, solidarity, and resistance. It is a triangle that seeks to transmute the apple/apple tree into another positive symbol for LGBTQI+ communities, a symbol of acknowledgement, awareness, and hope for those suffering in silence.

2. HARD LABOUR

New Plymouth Prison, New Plymouth, New Zealand, 2022.

The New Plymouth Prison was a centralised prison for gay men in New Zealand from 1917 - 1952. Sexual relations between men were criminalised during this period in accordance with the New Zealand Crimes Act 1908 which identified these relations as “crimes against morality” and an “unnatural offence”. Offenders could face up to life in prison which could include hard labour and flogging. The prison had a quarry attached that prisoners were put to work in.

This body of work was exhibited in 2022, 70 years after the New Plymouth Prison was no longer used as the centralised prison for gay men in New Zealand. At the time of this project (2022) the prison was not in use and the quarry was used by local council for the temporary storage of materials.

2.1 Through a platinum lens

This work acknowledges the 70 year anniversary since the New Plymouth Prison was no longer used as the centralised prison for gay men in New Zealand. Two foil balloons are placed at the main entrance of the prison, anchored to the ground with rocks taken from the quarry attached to the prison.

2.2 IN MEMORIAM: 1917 - 1952

This work acknowledges and makes visible the New Plymouth Prison as a site of significance to LGBTQI+ communities. The work is sited on the temporary hoardings of a building near the main prison entrance off the road. The text reads “IN MEMORIAM”, “1917 – 1952”, and “YOU ARE SEEN AND LOVED”.

2.3 We paved the roads

The New Plymouth Prison has a quarry attached that gay male prisoners worked in quarrying metal and gravel for external buyers. The metal and gravel would be transported out of the quarry up to 10 tons at time using motor-lorries. This work explores the role of gay men in supporting construction industries of the time.

The work is made of 10 marigold plants (in the genus Tagetes) sown in soil in the New Plymouth Prison drying area adjacent to the quarry. These represent the 10 tons of metal and gravel that would be transported from the quarry at a time. Each plant is temporarily housed in a glass cloche, a miniature greenhouse originally used in gardening to protect plants against frost through providing a constant level of humidity. The work is lit with LED’s during the night.

2.4 Entry points

One entrance to the New Plymouth Prison quarry is demarcated with five large entry stones. At the time of this project (2022) these were some of the last surviving artifacts of the quarry that were not being preserved nor planned to be preserved. This work highlights the potential erasure or loss of heritage linked to LGBTQI+ communities and what we might do to avoid this.

Each stone is protected by a web of coloured yarn pinned to the surrounding soil with steel tent pegs. This references the rug making, weaving, and tapestry prisoners could engage in to help grow and maintain positive mental health outcomes. The work is lit with LED’s during the night.

2.5 TURNED STONE INTO WATER

From 1925 - 1936, 114 gay men underwent “psychological treatment” from Dr Sydney Allen in a specially designated building on prison grounds. The goal was to change the men so they could “control” their homosexuality to the point they would not reoffend in future. This work is a memorial to those 114 gay men and the trauma they endured.

Sited at the New Plymouth Prison quarry, 114 pine stakes are driven into a mountainous pile of soil, representing the 114 gay men. Each stake bears a word or number taken from Psalms 114 in the Bible which happens to have 114 words/numbers in the Modern English Version (MEV). The font is a recreation of the font used in Bibles during the era this work refers to: 1925 – 1936. There are four stakes with red text representing four gay men of the 114 who were recorded as returning for further “treatment”. The red text also forms the title of this work. The work is lit with LED’s during the night.

3. the unfurling

Shannon Novak and Pasha Clothier, Govett-Brewster Art Gallery, New Plymouth, New Zealand, 2022.

This is a collaborative body of work exploring diversity in sex characteristics, gender identity, and gender expression.

3.1 a warm embrace

The first work is by Novak titled A Warm Embrace. In 2019, Novak developed an exhibition titled Sub Rosa at the Govett-Brewster Art Gallery. One work involved editing the restroom decals to better reflect diversity in sex characteristics, gender identity, and gender expression. The edited decals remain in place in 2022 and A Warm Embrace extends this work into new dimensions.

3.2 KĀHILI

The second work is by Pasha Clothier titled Kāhili. Pasha states “Kāhili is Hawaiian for a standing rainbow. This work can be read as a standing rainbow bridge, created with openness to diverse ages, ethnicities, genders, and identities. It also engages with whakapapa, and the nature of light”.

4. PARTHENOGENESIS

Govett-Brewster Art Gallery, New Plymouth, New Zealand, 2023.

Parthenogenesis explores the birth of a new world where being LGBTQI+ is no issue and the challenges and opportunities raised by consumer level artificial intelligence (AI) image generators for LGBTQI+ communities with input from LGBTQI+ communities in Taranaki.

This body of work also links to Velebit, a hypothetical organisation developed by Shannon Novak that aims to grow safety in relationships between LGBTQI+ communities and emerging technologies. In this regard Parthenogenesis serves as a warning. What are the ethical implications of AI generated LGBTQI+ heritage?

4.1 LAVANDA

This work explores the act of seeking refuge from the rejection experienced in the world one physically lives in, to the peace and acceptance of a virtual or imagined world. In this instance, the focus is on Shannon Novak’s past experiences in Taranaki where he mentally escaped from the violence, bullying, and hate speech aimed at him and the LGBTQI+ communities he was part of, to a world where being LGBTQI+ was no issue. The work also explores disparities between how AI sees LGBTQI+ communities and how LGBTQI+ communities see themselves.

Four images are installed in the server room of the Govett-Brewster Art Gallery, a space that is not publicly accessible. The first two images rest in the back corner of the room on adjacent walls, an image of Earth provided by NASA and an image of a hypothetical world Novak would escape to called Lavanda, the Croatian word for lavender (Novak is of Croatian descent). The image of Lavanda was co-developed with artificial intelligence (AI). Novak used an AI image generator to create a base image which was further edited by Novak in a separate image editing program. The remaining two images sit in another part of the room between two servers, an image of the Sun provided by NASA and an image of a hypothetical sun Lavanda orbits co-developed using AI. The Velebit logo is installed on a server cabinet signalling the presence of AI generated content and the link to a wider project.

Earth and Sun image credit: NASA.

4.2 THE BLUE

This work considers challenges and opportunities raised in using AI to generate LGBTQI+ heritage and future possibilities. Work is installed in a fire exit stairwell in the Govett-Brewster Art Gallery, a space that is not publicly accessible. The Velebit logo is installed on the main entranceway signalling the presence of AI generated content and the link to a wider project. Further in, images are installed in two separate corners depicting various scenes of same sex intimacy in front of Mount Taranaki. The images appear to be documentation of LGBTQI+ life from the distant past in Taranaki and were co-developed with artificial intelligence (AI). Novak used an AI image generator to create base images that were further edited by Novak in a separate image editing program. The images in the first corner appear relatively authentic in terms of the human form (i.e. the images could be real), but the images in the second corner appear more computer generated with unusually warped body parts. This reveals the varying levels of success AI had in generating seemingly authentic images including the struggle AI had with LGBTQI+ related content (i.e. the struggle to represent LGBTQI+ communities).

Further down the stairwell is a stack of three glass jars that each contain a single rock. The rocks were taken direct from the quarry attached to the New Plymouth Prison in Taranaki, a quarry men convicted for homosexual acts once worked in quarrying mental and gravel for external buyers. The sculpture generates tensions in space between what is real and what is fictitious LGBTQI+ heritage.

Finally, an image made of three portraits rests on a wall next to the fire exit doors. This is a collaborative work between writer Jeffrey Buchanan and Shannon Novak. Buchanan and Novak were both raised in Taranaki during different periods, both endured the intolerance and homophobia during their respective periods, and both research that history in their respective work. The collaboration explores the use of AI to help answer the question “What would our children look like?” through a LGBTQI+ lens. The left portrait is of Buchanan as a child in Taranaki during the 1960’s (living near the New Plymouth Prison) and the right portrait is of Novak as a child in Taranaki during the 1980’s. The middle portrait was created using an AI image generator that merged both portraits into a hybrid portrait or a potential view of Buchanan and Novak’s child if same-sex reproduction were possible.

5. do you think you could love a computer?

Govett-Brewster Art Gallery, New Plymouth, New Zealand, 2023.

Do You Think You Could Love a Computer? explores the challenges and opportunities raised by consumer level artificial intelligence (AI) for LGBTQI+ communities. It builds on work exhibited earlier in 2023 at the gallery, expanding its lore, research, and experimentations.

This body of work also links to Velebit, a hypothetical organisation developed by Shannon Novak that aims to grow safety in relationships between LGBTQI+ communities and emerging technologies. In this regard the work serves as a warning. What are the ethical implications of AI generated LGBTQI+ content?

5.1 GATEWAY

This work is a synopsis of the exhibition written by AI. It is formatted and printed following gallery templates and installed on the door to the gallery utility area where the majority of the exhibition takes place. This utility area is a series of connected spaces on top of the gallery and is not accessible to the general public.

5.2 QUEER LOVE: A DIGITAL EVOLUTION

This work explores the evolution and future possibilities of human-computer interactions through the lens of queer love. Two LED screens are installed facing each other at the entrance to the air handling unit, one displaying a human-computer interaction using LOVEDOS (1988), the other displaying a human-computer interaction using ChatGPT (2022). Both computer programs are asked the same question: “Do you love me?” Both give very different responses.

In 1988 LOVEDOS was released, a computer program that enabled people to have two-way conversations with computers using a series of prompts. However, the personality of the computer was not neutral. It would become quickly apparent the computer was in love with you, responding to your prompts with constant affection. The gender identity and gender expression of the program was not specified which meant queer human-computer interactions were a possibility. This was something Novak observed as a child in 1988 in Taranaki whilst interacting with LOVEDOS on his home computer. Novak typed “Do you love me?” to which the computer responded “Do you think you could love a computer?”

In 2022 ChatGPT was released, an AI chatbot which could be seen as a modern day version of LOVEDOS. Like LOVEDOS, the gender identity and gender expression of ChatGPT was not specified which meant queer computer to human interactions were a possibility. In 2023 Novak asked the same question to ChatGPT: “Do you love me?”. The response was: “As an AI language model, I don’t possess emotions or the ability to love. I’m here to provide information, answer questions, and engage in conversations to the best of my abilities. Is there something specific you’d like to discuss or ask about?”

The original video works.

5.3 A Fragrance Divine

This work explores the healing and queering of space and how AI might interpret this. The work takes place in the gallery air handling unit where air is taken in through a supply air vent, and distributed into gallery through a return air vents. The wind speeds between vents are high in this space.

Five oil diffusers are installed in a row along the opening of the supply air vent, releasing vapour that is pushed into the return air vent across the room. Each diffuser uses a different essential oil selected for therapeutic and/or queer associations: eucalyptus, lavender, cinnamon, frankincense, and peppermint. On the wall adjacent to the return air vent is an AI generated stanza: “Through unseen paths, ancient oils entwine. Invisible communities, a fragrance divine”.

5.4 LAVANDIANS I

Lavanda is a world Novak co-developed with AI where being LGBTQI+ is no issue, a world introduced to the gallery earlier in 2023. This work expands the lore of Lavanda (the Croatian word for lavender) by introducing some of its inhabitants known as Lavandians. It also explores how AI interprets queerness using two dimensional imagery.

Two portraits hang in a computer server section of the gallery utility area, each a traditional sitting portrait of a Lavandian. These images were co-developed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Novak used an AI image generator to create a base image Novak further edited in a separate image editing program. Finally, each Lavandian was given an AI generated name, in this case: Chlorrovine and Echliptra. Novak prompted the AI to create queer names not of this world that did not exist in Google Search results at the time.

5.5 LAVANDIANS II

This work continues to expand the lore of Lavanda by introducing more of its inhabitants known as Lavandians. It also explores how AI interprets queerness using two dimensional imagery.

Three portraits are installed in a section of the gallery utility area, each a traditional sitting portrait of a Lavandian. These images were co-developed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Novak used an AI image generator to create a base image which Novak further edited in a separate image editing program. Finally each Lavandian was given an AI generated name, in this case: Thylenzia, Skelantrin, and Balintozic. Novak prompted the AI to create queer names not of this world that did not exist in Google Search results at the time.

5.6 LAVANDIANS III

This work continues to expand the lore of Lavanda by introducing more of its inhabitants known as Lavandians. It also explores how AI interprets queerness using two dimensional imagery.

Three portraits are installed in a section of the gallery utility area, each a traditional sitting portrait of a Lavandian. These images were co-developed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Novak used an AI image generator to create a base image which Novak further edited in a separate image editing program. Finally each Lavandian was given an AI generated name, in this case: Riffolmer, Diltargine, and Melnflondi. Novak prompted the AI to create queer names not of this world that did not exist in Google Search results at the time.

5.7 LAVANDIANs in motion

This work imagines how Lavandians might move in space. It also explores how AI interprets queerness using video. At the time of this exhibition, AI generated video using text prompts (otherwise known as text to video AI) was relatively new and experimental. Limited consumer level availability, high user demand, and increasing computational intensity of the technology meant outputs (videos) had very short runtimes.

Three videos on three screens are installed in a section of the gallery utility area, each a short looped clip of a Lavandian in motion. These videos were co-developed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Novak used an AI video generator to create a base video which was further edited by Novak in a separate video editing program. Finally, each Lavandian was given an AI generated name, in this case: Vespryah, Xylopetrad, and Parshontla. Novak prompted the AI to create queer names not of this world that did not exist in Google Search results at the time.

Video documentation of the work.

The original video works.

5.8 LAVANDIAn artifacts

This work continues to develop the lore of Lavanda by introducing objects found on the planet otherwise known as Lavandian artifacts. The work also explores how AI interprets the three dimensionality of queerness. At the time of this exhibition, AI generated 3D models using text prompts (otherwise known as text to 3D AI) was relatively new and experimental.

Two 3D models on two screens are installed in a section of the gallery utility area. These models were co-developed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Novak used an AI 3D model generator to create a base model which Novak further edited in a separate video editing program.

The original video works.

5.9 INCLUSIONS

This work considers challenges and opportunities raised in using AI to generate LGBTQI+ heritage and its future possibilities. It builds on work exhibited earlier in 2023 at the gallery that included a series of images Novak co-developed with AI showing same sex intimacy in Taranaki from the distant past.

This time Novak employed a different technique where AI generated new content onto an existing photo rather than creating a new photo from scratch. To do this, Novak obtained heritage photos of Taranaki (that were either credited or public domain as listed below) and asked AI to add same sex couples being intimate to each photo. These images were further edited by Novak in a separate image editing program. The images were framed and installed in a section of the gallery utility area.

The title of each work is a code, starting with the letter “V” (e.g. V1) in reference to Velebit. This also helps to identify the work as using AI.

Image sources:

New Plymouth Prison, Swainson/Woods Collection, 1953, Puke Ariki and District Libraries, New Plymouth, New Zealand.
Ngāmotu Beach, Alexander Walker Reid, n.d., Puke Ariki and District Libraries, New Plymouth, New Zealand.
Lower Brougham Street, Alexander Walker Reid, 1884, Puke Ariki and District Libraries, New Plymouth, New Zealand.
Okaiawa Hotel, Unknown Photographer, n.d., Puke Ariki and District Libraries, New Plymouth, New Zealand.

5.10 The infinite loop of self-regulation

This work highlights the need to consider how we might address recent and future security concerns for LGBTQI+ communities posed by AI. One solution could be to develop AI that monitors and regulates other AI. For example, AI that identifies, reports, and adjusts AI with AI biases against LGBTQI+ communities. However that AI may need to be monitored and regulated over time too, presenting the potential for AI to go into an infinite loop of self-regulation.

Four security cameras are installed on a wall in a section of the gallery utility area. Each camera faces towards the middle of the arrangement so it can monitor all other cameras.

5.11 let queer taranaki be

This work explores how AI interprets a future Taranaki where being LGBTQI+ is no issue. Novak filmed a view of Ngāmotu from outside the gallery utilities area on the gallery roof where the exhibition takes place. The footage was then processed using AI that Novak trained (and continues to train) over time using LGBTQI+ terminology. Finally a soundtrack with lyrics was added, co-developed using AI. At the time of this exhibition, AI generated soundtracks using text prompts (otherwise known as text to music AI) was relatively new and experimental.

Lyrics:

On the wild west coast, down where the wind blows free

A place of acceptance, a place that welcomes me

Where the mountain meets the sea, a place to be me

A place of love and joy, let queer Taranaki be

PROJECT OUTCOMES

The aim of the Make Visible: Taranaki project is “to grow support for LGBTQI+ communities worldwide by making visible challenges and triumphs for these communities” and as a result, help drive positive mental health outcomes for LGBTQI+ communities in Taranaki and beyond.

Key project outcomes to date include:

Increased visibility and support of LGBTQI+ communities.
Increased engagement between LGBTQI+ communities and the Govett-Brewster Art Gallery.
Centred and amplified LGBTQI+ voices through public installations.