Advertising, Art Direction, Art Photography, Exhibitions, Fashion, Fine Art, Office, People, Photoshop, Production, Stand-by Props, TV & Film Commercial, Visual Arts


  • Freelance Producer
    2016 - Present

    Fast pace working job where organizational skills and time management were key. Duties involved, castings, wardrobe research, wardrobe pick-ups, basic hospitality for clients and talent, art direction, returns and general administrative roles.

    Since 1987 this boutique Wellington film company has been producing work of the highest quality, for a hugely diverse range of clients.

    The Picture House specialize in creating clear, concise, and perfectly pitched communications, across all broadcast media.

    The Picture House are a fully equipped production and post-production facility. They enjoy great professional relationships with their fellow Wellington film industry professionals, and can consequently put together a tailor-made team to bring the perfect range of experience and skill to your project.

    My duties have included running errands before, after and during shoots, castings, organizing wardrobe, looking after the clients and talent, communication facilitator between the studio and make - up, general hospitality (food and drinks), location scouting and art direction.

  • The Young
    Gallery Hostess
    2013 - 2016

  • Robotfeet
    Jnr. Retouch Artist | Account Manager
    2015 - 2015

  • I Love Paris
    Shoe Retail Assistant
    2013 - 2014

    A nine to five job selling high-end fashion, staple shoes. Most shoes are from Italy, Spain and France. Product knowledge and exceptional customer service skills were a must for this retail job.

  • The Picture House
    Production Assistant
    2011 - 2014


  • Massey University
    Photographic Design (hons)
    2009 - 2013

Awards and Achievements

  • Fragments of Nothing + Ness: Exhibition by Zena Bartlett and Patrick Hickley

    Nothing+Ness is a collaborative exhibition devised and constructed by Zena Bartlett and

    Patrick Hickley. From the 18th

    of works playing with the concepts of space, substance and absence.

    By utilising photography operating in blank spaces through a process of deconstruction

    Bartlett allows a new perspective on what we consider to constitute an image. Bartlett’s

    work with light and space creates an interplay of absences which calls into question

    what constitutes a substance. The printed works’ textures hold as much definition as the

    composition. By reducing the subject of the work to such a minimalistic degree Bartlett

    draws attention to every aspect of the work, encouraging the viewer to engage with the

    process as well as the product. The sculptural frame presents a more pointed example of this,

    encapsulating as close to nothing as possible, while also forming a window into the gallery

    space, questioning how we approach the spaces in which art is exhibited.

    Patrick Hickley’s work calls into direct question the relationship between photography and

    space. His interest in the play of light and line overrides any desire to depict actual scenes.

    Instead with a skilful approach to the interaction of line and space, Hickley appropriates the

    gallery spaces in his images as a series of blank slates, obfuscating where the subject matter

    actually lies. The refractive nature of the conversation between line, space and light plunges

    the viewer into a world where the three merge together instead of operating as separate visual

    constructs. Hickley’s GIF works muddle the lines further; making the viewer constantly

    assess where the substance ends and the absence begins.

    Both of these artists take the concepts of space and form in the photographic medium and

    pull them out of shape in delightful ways. Absence as the subject matter for an exhibition

    could appear as a misnomer, but these works draw attention to how beautiful empty spaces

    can be. So much of our daily lives are lived around and within blank spaces and as a result

    we have a tendency to ignore them. What Hickley and Bartlett draw our attention to is how

    aesthetically pleasing and relaxing empty space can be. Their works reveal the opportunities

    that blank space, nothing within something, affords for manipulation and appropriation.

    Rather than being afraid of the gaping maw of nothingness this exhibition gives it space to


  • The Engine Room - I Hear Motion

    I Hear Motion is five days of performance – a series of works by students examining liveness as a key component of their practice including three performance evenings culminating in a final night celebration on Friday 1 June.
    The showcase features a performance by Mark Harvey who will premiere his recent project Working the Room.

  • The Ronald Woolf Memorial Trust Scholarship

    This was a $2000 grant awarded to me in 2009. The grant contributed to necessities such as printing, software and film development during my first year of study at Massey University.

  • Craig Potton Photography Award

    Top of the year in Photography at Nelson College for Girls.

  • Craig Potton Photography Award

    Top of the year in Photography at Nelson College for Girls.


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Zena Bartlett
Education Massey University
Employer Freelance Producer
Location Melbourne Australia




Total $5



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