We are in the process of planning a trip to Tasmania at the end of January for two weeks. In the first week Suzanne will walking in the Wall of Jerusalem National Park with friends and I will be photographing, probably on the West Coast. In the second week we will travel together around the island in a camper van and check out the Three Capes Walk in the south east of the island, visit Mona, and take in the Australian Wooden Boat Festival in Hobart.
Just by coincidence I came across an old roll of 120 film in an old bag–photos of Queenstown from a holiday in Tasmania that we had in February 2010. I remember taking the photos from this location, as I slid on the wet clay when I was coming down the slope to return to the car. I rolled down the hill and, in the process, damaged the film winding mechanism of the Rolleiflex SL66 that I was using. Lucky for me the Rolleiflex was able to be repaired back in Adelaide.
These were among the photos that I’d made before I started working on the Tasmania Elegies portfolio. Those portfolio photos of the Mt Lyell Mine and the King River were made on a subsequent trip to Tasmania, and they emerged out of the photos that I’d made in 2010. Continue Reading…
In an earlier post about The Bowden Archives and Other Marginalia project I mentioned that the book increasingly looks to be about place and memory.
The places in the book are the Adelaide CBD, Bowden and Adelaide’s suburban beaches. They are places in the sense that memory is formed in and by place through experiential interactions and in turn, place triggers personal and collective memory
Certainly my memories of these places are being triggered by the specific photographs that I have been selecting from my 1980s and 1990s archives. Many of my memories from this period have long been forgotten. They are slowly returning as I reconstruct this period through photos and research material about the process of de-industrialization in South Australia. Continue Reading…
The 2016 Shimmer Photographic Biennale will take place in the City of Onkaparinga in Adelaide, South Australia between 2 September and 2 October. Shimmer at the Magpie Springs gallery is Weltraum.
Weltraum itself refers to world (Welt) and space (Raum). Literally translated it means ‘world room’. As an photo-based exhibition Weltraum refers to worlds or spaces waiting to be explored and opened up by Australian photo artists. The exhibiting photo-artists in Weltraum are Judith Crispin, Jeff Moorfoot, Stuart Murdoch, Gilbert Roe, Gary Sauer-Thompson and Beverley Southcott.
The curatorial idea behind Weltraum is based around photo-media artists working on long term projects over a couple of years. This slow photography develops critical and poetic insights. The exhibition presents some work in progress from 6 projects, some of which includes lens-based film based photography.
The image below is a behind the camera shoot of Gary Sauer-Thompson photoshoot along the Mallee Highway for his silo project. Several images from this project —in black and white and colour— will be featured in Weltraum:
silo, Galah, Mallee, Victoria
Philosophically speaking the curatorial idea underpinning the work in progress of long term projects is that of a qualitative multiplicity. Multiplicity originates from a folding or twisting of simple elements. Like a sand dune, a multiplicity is in constant flux, though it attains some consistency for a short or long duration. Qualitative multiplicities differ in kind from one another, and their porous boundaries suggests ways in which things creatively evolve to form new and surprising assemblages. Qualitative multiplicities are associated with poetics, painting, writing etc. Continue Reading…
The Mallee project is now up and running. It kinda came together, spontaneously. How about that?
Our initial meeting earlier this week at Henley Beach to kickstart the Mallee project was able to take place because Eric Algra had flown over to Adelaide from Melbourne to work for a week on his new Elizabeth project. It was a fruitful meeting that covered a lot of ground. All of us share a fascination with the Mallee, its history, and its social and agricultural landscape. This is a dry, hot region featuring sand dunes, salt bushes, shrubs and strange dwarf gum tree, Eucalyptus Dumosa, usually called Mallee. What’s more we are are comfortable in each other’s company.
We–Eric Algra, Gilbert Roe and myself — reckoned that we would have enough work from our previous road trips to the Mallee to have a modest group exhibition this year. This initial exhibition, which kicks the public side of the project off, will be in October at Atkins Photo Lab’s new gallery space in Adelaide. This is at the same time as APSCON16 is happening in Adelaide— that is, the annual conference of the Australian Photographic Society, which is the national body of the very active, state based camera clubs.
garage, Tailem Bend
This is the first time that I will have worked on a project with a group of photographers, and it will be interesting to see how the project develops over the next few years, as we continue to build up a body of work from our future road trips and exhibit in various towns and cities. Maybe we could exhibit online or bring some writers or poets in? It’s envisaged as a multidimensional project.
Whilst I am travelling around, and camping in, selected locations in South Australia and Victoria to photograph the silos for the silo project, I am slowly starting to broaden out to photograph the landscape that the silos are situated in along with the nineteenth century regional architecture . This is a photography of “what-has-been”, a tracing of some past moment as it were, but one that has an ongoing presence in the present, is part of an attempt to regain a historical understanding of the region.
I have been looking at the Geoff Wilson’s South Australian landscapes as well as Eric Algra’s Postcards from Forgotten Places and Postcards in Colour in the context of my South Australian regional landscape portfolio. Wilson and Algra have explored South Australia before me and they have been exploring locations along the roads that I’m starting to travel on. The work they have done acts as signposts in a region that is largely unknown to me. Their digital imaging are historical markers in an image culture that is dominated by the mass media whose feedback loop constitutes a serious challenge to historical consciousness and critical thinking.
Algra, for instance, has extensively explored
the Mallee whilst on his trips
between Melbourne and Adelaide and his crisscrossing the South Australian Mallee
. His keen eye for what is significant for people living in the Mallee, and his inputs into South Australia’s visual culture, highlights the richness of photography’s contribution to the way we see the world. Algra’s vernacular photography is not part of the academic writing and its conversation about photography in Australia because that writing is still primarily a narrative of photography’s aesthetic aspirations
and the great names of the photographic canon. In Australia, like the United States, photography entered through art history and so photographs were studied as aesthetic objects using formalist methods.