Yvonne Todd hit the New Zealand art scene in the early 2000s, and from the start she has been celebrated for bringing a touch of perversity to the traditional photographic genres of portraiture, still life, and landscape. Using a large-format camera, she deploys the slick artifice of studio portraiture and product photography to create images at once glamorous and sinister, generic and oddball.

Todd’s recent exhibition, “‘Choux’: Still Lifes, 2006–2018,” presented eight still lifes. Such works have not garnered quite as much attention as the artist’s glamour portraits of young women. The latter