How an MA Photography project sparked change in emergency planning

Throughout both her undergraduate and postgraduate studies, Linda’s work engaged with environmental destruction, often examining human-driven processes such as sand mining and concrete production through analogue and alternative photographic processes. However, for her Final Major Project, she turned her attention to destruction caused by natural phenomena.

Reflecting on this decision, Linda says: “Living in New Zealand, I am constantly aware of the country’s exposure to earthquakes, tsunami, flooding, cyclones, and landslides – yet volcanic risk is rarely discussed. Auckland is built on a volcanic field of 53 cones: dormant but not extinct, part of a geologically young and active system. Another eruption is inevitable, and its effects would be nationally significant.”

This reality formed the foundation of Not If But When. Through conversations with Auckland residents, she discovered that many people had given little thought to what lies beneath their feet. The work became a call for awareness, prompting discussion and questions around preparedness.

To see this project extend beyond the gallery was incredibly rewarding.

From exhibition to emergency planning

While Not If But When was conceived as an artistic project, its reach extended far beyond the gallery. The installation invited visitors to consider how they might respond to a volcanic eruption, particularly in a community located on a peninsular with limited evacuation routes.

Alongside the exhibition, Linda organised a panel discussion bringing together a volcanologist, an archaeologist and an emergency planner to debate Auckland’s volcanic risk. During preparations, she discovered that existing emergency strategies focused heavily on flooding and tsunamis, with little attention given to volcanic eruptions.

She recalls: “Remarkably, by the end of the discussion the emergency planner announced that volcanic scenarios would be added to their next planning agenda.”

For Linda, seeing her research-led creative work contribute to real-world decision-making was both humbling and deeply affirming. “When I make work, I always hope it might shift even one person’s thinking,” she says. “To see this project extend beyond the gallery was incredibly rewarding.”

Studying across time zones

Based in New Zealand, the ability to study 100% remotely proved especially important. When asked what it was like to study from such a different time zone, Linda replies: “Webinars sometimes took place early in the morning for me, while seminars could run late into the evening. Although I couldn’t attend every session live, recordings ensured I was still able to engage fully with the materials. The experience made me feel part of a truly international cohort, and the flexibility of the programme allowed me to adapt my schedule while staying closely connected to the course.”

Linda adds: “Despite the physical distance, I always felt part of an engaged and supportive academic community.”

Looking ahead

The momentum generated by Not If But When has already opened new doors, with Linda currently planning to deliver workshops in alternative photographic processes, and a long-term goal to establish a community workspace and ultimately pursue a PhD.

Reflecting on what she gained from the course, she says: “The MA reaffirmed my approach to photography – validating my methods, visual language, and research driven practice – while strengthening my ambition to pursue further academic study.”

External links

Explore more of Linda's work on her website and Instagram

Lead image: 'Volcanic Field Map' by Linda Jarrett