Jocelyn Janon

Jocelyn Janon is a photographer and creative with a background in both fine arts and information technology. He studied at the École des Beaux-Arts and holds a Master’s in IT. His career has spanned roles as a business analyst and visual artist, with photography as his main passion.

Jocelyn has been a finalist for New Zealand Photographer of the Year several times. His work has appeared in magazines and exhibitions across New Zealand, the USA, Germany, France, Japan, and more. He’s also spoken at events in places like California’s National Geographic Theatre, Australia, France, and New Zealand.

 

 

Website  |  Figshare

Since joining Media Design School at Strayer in 2018, Jocelyn has continued exploring different mediums—from etching to video—but always returns to photography. He draws on his wide-ranging experience and multiple skill sets to support students in developing their own creative voices and navigating complex, interdisciplinary projects.

Tinaku - Jocelyn Janon
Tinaku

Auckland Festival of Photography - resistance [ātete], 2023

Featured Work

God-House

Visual collaboration with artist Jahra Wasasala. This photographic collaboration was part of Jahra Wasasala's dance embodiment of 'GOD-HOUSE', which premiered live in the Metropolitan Museum of Art in 2019.

Light on Te Komititanga. Te Komititanga, Downtown, Commercial Bay, Tāmaki Makaurau/Auckland, New Zealand.

Anthropographic notebook

This project critically explores AI-generated imagery to reveal how these technologies perpetuate colonial clichés. The project involves a virtual "anthropographic" expedition using AI tools to generate images from text prompts, focusing on colonial themes without aiming for realism.

This journal documents findings, critiquing the ongoing influence of colonial imagery in AI.

Portraits | Luminograms

Inspired by scientific fictionalism, this photographic series explores how images can preserve the presence of those who endured WWII concentration camps. It reflects on the fragile nature of memory and the ethical challenges of representing trauma through visual traces.

Rear window

Cars are a fascinating way to observe the behaviour of people and often a reflection of their social status, life challenges, priorities.

I also love the way a car can become a tool for me. Something to shoot through voyeuristically, to tell a story, or hint at something deeper.

Awards