Out of Bounds

Welcome to the complete document of our explore of this huge campus of four prison units abandoned in 2012 and currently being demolished.

Part One: “Out Of Bounds” [0:00] Prisons have existed on this site for nearly a century. During the Second World War, conscientious objectors were detained here. In the 1950s the site housed a prison farm which was further developed in the late 1970s. The scale of the site — thousands of hectares of commercial and native forests, farms, wetlands and a river — meant that a perimeter fence was impractical, deemed only ever suitable to house up to 600 inmates at a minimum to medium security level. From 1998 the prison began to suffer repetitional damage, with a seizure of almost $1 million worth of cannabis plants growing on site, a buckets-for-toilets scandal, two inmate drownings involving Māori cultural training, canoes and parachutes, and a guard convicted of supplying cannabis to a prisoner in return for a bribe. The closure of this unit – one of four we visited as the autumn sun was falling fast – was announced in 2012, and the land and its buildings have now been returned to their original owners. No signs of the commencement of demolition were then evident, and — gratifyingly — no signs of vandalism. A 360-degree panoramic mural painted around the walls of the dining hall conveys a sense of geographical placement among the majestic landscapes beyond the perimeter of confinement, tantalisingly out of reach.

Part Two: “Man With Short Arms” [6:30] Perhaps some kind of neuroscience was at play in this choice of images — SpongeBob SquarePants meets the lost city of Atlantis — for a mural painted along the back corridor of the isolation cells of this unit. Presumably intended to calm disruptive prisoners, and engage painterly ones, further intriguing murals adorn the cold cell walls: a man pruning the limb of a tree so anatomically uniform that he might just as likely be an electrician working on wires strung from a lamp post; a Māori wahine wearing a pounamu and a kākahu feather cloak — barefoot on a pedestal — turning her face to the light; a man surveying his upcoming twisting traverse into a landscape crowned by an active volcano, with only a briefcase to sustain him; and the man with short arms — seemingly ill-equipped to utilise the key to freedom that lies beside his truncated frame with its enormous feet.

Part Three: “Traces of Time” [11:49] From the window of #55, an informed eye studies the moody skies above the central courtyard. Glenn’s 1972 Christmas present — The World Encyclopedia of the Film — languishes in #11, its front cover torn off but not yet discarded. #18 plays host to a brown-crayoned face, mouth agape as if inviting the throwing of ping pong balls at a fairground amusement. Nearby a grey-bearded pig farmer and an athletic woman carrying groceries seem to be missing an opportunity to converse at the fence line. Monied wanderlust is palpable in #16, where a shrine to cars, boats and exotic getaways gleams under fluorescent light. Outside Sunday church services advertise the promise of personal transformation via belief in a higher power, while inside #37 another route to growth is being chosen. The number of 5 — denoting maximum difficulty — is written into every column associated with expressing affection towards anyone from an intimate partner to a shop assistant.

Part Four: “But They Can Die” [16:30] The pigs of George Orwell’s Animal Farm proclaimed, “All animals are equal, but some animals are more equal than others”. Pigs are similarly the object of resentment in under-the-mattress graffiti in Cell #26 of this former prison. The poem begins burnt into the wood: Pigs CAN’T FLY and continues in blue pen: BUT THEY CAN DIE NEXT FINE DAY BLOW A Pig away IF YOU KILL A Pig a day it WILL Keep the doctor away Nowhere more clearly did we find articulated the smouldering frustration of incarceration, channeled into the kind of blind hatred that negates any opportunity for insight. Elsewhere was a mixture of light and shade. In the kitchen the relative gentleness of a rainbow framing the extractor fan was juxtaposed with murals depicting fearsome hyper-masculine muscularity. No such diverting decor was provided for prisoners in solitary confinement, who were required to surrender their tobacco products and were issued with fresh water, a chamber pot, one mattress, one pillow, one pillow slip, one sheet, and blankets or duvet “in accordance with climactic conditions”. How some of them obtained implements sharp and sturdy enough to partially chisel their gang names and insignia into the stone walls and into the paint of their cell bars and doors is anyone’s guess. Puzzling at what we had experienced, and all the more aware of our own freedom of movement and expression, we walked for ninety minutes back down the road through pine forests to where we’d parked our car.

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