The work begins when you stop adding to the pile talk

The Work Begins When You Stop Adding to the Pile

Talk—Brisbane

We live in a culture that celebrates accumulation. What if you stop adding more?

More cameras. More lenses. More presets. More followers. More workshops. More productivity hacks. More photographs.

But what if the next step isn’t adding something new?

What if the work starts when you stop adding to the pile?

In this talk, architectural photographer Simon Devitt explores the relationship between attention, restraint, and creative practice. Drawing on three decades of making photographs across New Zealand and around the world, he reflects on the habits, assumptions, and distractions that often stand between us and our best work.

Part philosophy, part practical reflection, this presentation examines what happens when we slow down, trust what we already know, and begin paying closer attention to what is right in front of us.

Less about photography, and more about seeing.

A talk about noticing, editing, patience, and the often-overlooked skill of enough.

About Simon’s Process

Attend the Talk

chapter gallery
8 Dickens Street, Spring Hill, QLD

Limited to 30 attendees

AUD$25 + Booking Fee

About the Speaker

Simon Devitt

Simon Devitt is a photographer based in Wellington, New Zealand, with an established international practice throughout Australasia and further afield.

I am a photographer with a strong practice focus in Photography of Architecture, currently based in Whanganui-a-Tara Wellington, in Aotearoa New Zealand; with an established international practice throughout Australasia and further afield.

I have both a strong sense of home and a wanderlust which goes right back to when I was born in a sandstorm beside a sleeping camel in 1973.

Working in many different settings across cultures around the world has had a great impact on my professional practice, which has been greatly enriched by my experience of each particular context: Shanghai and its people, the fruitful silence of a Japanese bamboo forest, the light in Los Angeles, so different to the harsh, more direct light in New Zealand.

In fact, I love LA light, so diffused, as if a giant soft box had been placed over the sun. On one particular occasion, standing with my camera equipment in a very suburban street in Echo Park I noticed that I had caught the neighbours’ attention. A few came up to ask what I was doing, in a cutely nosey, neighbourly way, all of them appearing to act as a neighbourhood watch of sorts over the house I was photographing and for each other. I felt a great sense of community and a few of them even made it into one of my pictures.

I intentionally add people to my photos—their appearance allows a sense of scale and a place in time.

I am the author of the award-winning photo-book Rannoch and the All Things Considered series. Photo-books bring together my passion for image, place and language, which started in 2013 with the launch of Portrait of a House, my first self-published photo-book on the Athfield residence in Wellington. Since then, I have published the Ripe Fruit series (2018-2019) and Cape to Bluff (2022).

My images feature in many books and collaborations including Long Live the Modern (2009), Group Architects: Towards a New Zealand Architecture (2010), Athfield Architects (2012), Summer Houses (2011); as well as in numerous national and international magazines such as Elle Decor (Italy, UK, Japan and South Africa), Architectural Digest (Germany), Dwell (USA), Habitus, InDesign (Australia), Architecture NZ, Home New Zealand, Urbis, Interior (NZ).

I lectured in Photography of Architecture at the University of Auckland for 10 years, where I have also had the pleasure of offering the annual Simon Devitt Prize for Photography since 2008.

chapter gallery exterior
Photo: Chapter Gallery

About chapter gallery

chapter is run by a collective of artists, producers, and thinkers working across visual art, engineering, urban regeneration, placemaking, and anthropological enquiry. They bring these disciplines together to make contemporary art experiences—practical, considered, and public-facing.
At chapter, they’re interested in what happens when roles blur and different kinds of knowledge collide: artist and organiser, maker and facilitator, researcher and host.
They are open to taking thoughtful risks and working collaboratively, while being fiercely determined to enjoy the journey.

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