Browsing Tag

Victor Harbor

coastal, colour, landscape, rocks, South Australia

homecoming

November 11, 2017

In  starting to  work on the Fleuriescapes project once again  I can now see that it is more about  place and  homecoming,  with the photographic style more in the form of poeticising.  The project  is about being at home in this particular place,  and it is about exploring what that means through poeticising what is familiar and taken-for granted  in our everyday,  pre-reflective life.

quartz+granite

After we left living in the CBD in Adelaide to shift down to Victor Harbor (ie., sea change) it slowly dawned on us that the southern Fleurieu Peninsula was our home  Adelaide is now where we go  to do business then leave to return home–it is a world of instrumental value and rushing about.  Though we were once comfortably at home in the city’s everydayness and its local neighbourhoods we no longer are at home where we used to live.

We often dip in and out of the consumer society of  the city; an urban life that is  based on unending economic growth  and gaining satisfaction from consumerism. We  no longer miss living in the urban  world of the city 0f Adelaide, with its coffee shops, entertainment, businesses, art galleries, film labs,  corporate universities,  people and politics.  Our experience of the city is now akin to one of homelessness–a passing away of belonging to a world based on unlimited economic growth.

Continue Reading…

abstraction, black + white, digital image, rocks

scoping in landscape photography: Fleurieuscapes

October 16, 2017

I really do struggle with  my landscape  photography in and  around Encounter Bay on the southern Fleurieu Peninsula of South Australia,  even though I do a lot of scoping for it.   I struggle in the sense of having both a lots of doubts the value of this working and a lack of confidence in what I am doing —with both the coastal work and the roadside vegetation.   So I don’t get very far with working  the Fleurieuscapes project as I am not sure what I am doing with it.

I only have confidence in the abstraction side of this photographic project. The work process is now routine  and I am quite comfortable with it. I  make a digital study of the object,  sometimes convert the colour digital file to a  black and white one,   and  then  spend some time assessing  the image  for possibilities for  a 5×4 photo session.  Is it worth doing? If so, what is the best way to approach this?  This is an example of the work process –some granite rocks on the beach at Petrel Cove.

granite study for 5×4

I have sat on this image for a couple of months at least.  In fact I scoped it a year ago and I’d left it sitting on the computer. I re-scopped  it earlier this year when I was walking around exploring Petrel Cove whilst  on a poodlewalk.    I remembered that I had previously photographed this bit of rock and that I  wasn’t happy with what I had done, but I had thought that it had possibilities for a black and white 5×4 photoshoot  using the baby Sinar (F2). So  I re-scoped it.   Continue Reading…

coastal, colour, film, landscape

Fleurieuscapes Outtake: Petrel Cove

March 2, 2016

The beach  dimension of the Fleurieuscapes had a minimal presence in  the exhibition at Magpie Springs. Images, such as the one of Petrel Cove below,   did not make the cut with the  curators.   Petrel Cove is on the south side of Rosetta Head,   and it is a picturesque beach with rocky outcrops,  which,  despite a dangerous rip,  is populated during the summer by surfers, recreational fishers, families and photographers.

It represents the pleasurable, freedom  and recreation during the summer months without the stench of sewerage,  piles of discarded condoms, human faeces, life savers,   or racial conflict.

surfers, Petrel Cove

surfers, Petrel Cove

The  Petrel Cove beach is usually empty during the late autumn,  winter and early springs months apart from the odd surfer, dog walker, photographer,  or  lone fisherman. The place  has  a  history  of its  rip regularly claiming the lives of those people who ignore the warning signs that signify the potential dangers. So Petrel Cove is not an unspoiled place that has a spiritual significance.  Continue Reading…

colour, landscape, nature

beyond the pastoral mode

January 20, 2016

With the opening of the Fleurieuscapes exhibition at Magpie Springs done and dusted  I have had bit of  time to set up the various project  galleries on the website  properly. They  now need to have  more images added to the projects and  I have started working on the Adelaide galleries, which  are   here, here and here. 

I have also had time to begin to think about the Fleurieuscapes project and how I have been approach the work to date and where it needs to go. I have  avoided the pastoral and the picturesque modes of  the nineteenth century  by concentrating on the  formal aspects of the landscape. It is difficult to avoid the reduction of the landscape to a stereotype of bright sunshine and scattered gum trees in the high summer.

grass tree + pink gum

 

Admittedly, bright sunshine and scattered gum trees does break with the English pastoral of the Heidelberg School –the homestead paddocks with milking cows casting long shadows in early morning or twilight, as they grazed in cool temperate pasture of the Heidelberg School.   The land had been  successfully tamed by the settlers,  and at Federation, they  were celebrating their British moorings and  their Anglo-Saxon heritage.

The picturesque mode relishes light and shadow, texture of grass, antiquated fences, dappled shaded cows.  The picturesque was a European (English) aesthetic and Australian art was  non-European and  ‘unpicturesque’. This European  landscape art is predicated on a widespread desire for disinterested enjoyment that precludes the direct lived engagement  premised on an understanding  of the actual ecology of places. It is predicted on an ‘outsider’s perspective’, rather than  the experience of someone who lives in that particular place.

Continue Reading…

abstraction, black + white, coastal, exhibitions, nature, rocks

Fleurieuscapes: Outtake 3

January 12, 2016

This abstraction of the granite rocks at Kings Head, which is n near Victor Harbor on the southern Fleurieu Peninsula in South Australia,    is another out take from the Fleurieuscapes exhibition at Magpie Springs. One  reason for  this image not making the cut is that I decided that there would be no abstractions  in the exhibition, given my 2015  Australian Abstraction exhibition at the Light Gallery in Adelaide during the SALA Festival.   Another reason  for  its  exclusion is that the  people  helping me  to curate the  pictures   for the exhibition judged  that  the image  was too forbidding and  austere. It was a part of the  grotesque mode of expression in the visual art and it didn’t really fit in  the exhibition.

This exhibition  is part of the emerging trend in contemporary art photography  in Australia and New Zealand  that shows a marked and widespread interest in landscape. There has been a tendency to trivialise and overlook landscape photography, including the photography of wilderness.

rock abstract, Kings Head

rock abstract, Kings Head

The  textual background to the exhibition is that the genre of landscape has been desperately unfashionable across the arts for so long, the preserve of the Sunday painter and the happy tourist snapper. While the photographic canon includes the greats of landscape photography,  more recently photographers have tended to avoid a genre that is so easily linked to the vernacular (ie., happy snappers and tourism) and so difficult to connect to serious intent.
Continue Reading…