t first glance, Thomas Lord's September exhibition at Dunedin's OLGA, , seems to offer us 13 monochrome photographs of nothing much, just nebulous objects and indeterminate places. In fact, these exquisite black-and-white photographic prints come from an ongoing series which is both a kind of pilgrimage back through the history of photography itself, and a kind of exploration of what might be called the undiscovered country of nearby: the wayside verges, regenerated bush areas and beaches of coastal Otago, seen obliquely and in fragments.
