I have a few photos in this multimedia group Rock, Stone, Earth exhibition of rocks from the northern Flinders Ranges to the southern Fleurieu Peninsula in South Australia. The exhibition is curated by Janine Baker and Stephen Johnson, it is at the Onkaparinga Art Centre in Port Noarlunga, and it is being opened by Vic Waclawik on Sunday 26th September.
The rocks in the northern Flinders Ranges are very old — some dating back to before the lower Cambrian period with its explosion of life after the great glaciation of the planet. The Flinders Ranges contain an exceptional and unique geological heritage. This geological heritage with its Ediacaran fossils is the basis for the nomination of the Flinders Ranges for world heritage listing.
This heritage is based on a depositional system known as the Adelaide Rift Complex or Adelaide Superbasin, which includes the Fleurieu Peninsula and Kangaroo Island. The latter experienced a mountain building period around 500 million years ago that caused a substantial folding, buckling and faulting of the strata.
The rocks I photographed can be contextualized and linked by the geology of the Adelaide Superbasin in South Australia. The sedimentary rocks of the basin were deposited in a depression during the breakup of the supercontinent of Rodinia. The nature of the rocks suggest they were deposited in a mostly marine environment — a shallow sea — approximately 870 to 500 million years ago.
David Tatnall has started an online gallery at View Camera Australia for analogue photos made with both medium and large format cameras. The first exhibition: —August 2021–is now up. It was based around recent work — made within the year to August 2021. I sent 3 images for submission to August 2021, and one of them entitled ‘sea sky earth’, was included in the exhibition. It was made with an old 5×7 Cambo SC 3 monorail in the late autumn/early winter of 2021. It was early in the morning on an over cast day.
The image below is an outtake –that is, one of the 3 images sent for consideration. It is of a local wetland in Victor Harbor on the southern Fleurieu Peninsula. It was also made with a Cambo 5×7 SC3 monorail as a part of an ongoing series of photographing my local area. This is the traditional country of the Ngarrindjeri people.
There are some great images in the exhibition, and it showcases both the strength of large format photography and the diversity of analogue photography in Australia. The audience response to the online August 2021 exhibition has been extremely positive. As a result of the positive audience response David Tatnall plans to do another online exhibition in October. It is a good idea.
Hopefully these images will help to uplift the mood of the people in Sydney and Melbourne, who have been in lockdown for some time; and those people in Brisbane and Adelaide have been in and out of lockdown; and those in Canberra who have recently gone into lockdown. People are anxious and under stress with the rolling lockdowns, which are designed to contain the spread of the highly contagious Delta variant of Covid-19 by severely limiting people’s movement.
The Covid-19 pandemic put a stop to my planned travels to both Lorne and the Great Otway National Park with the Friends of Photography Group in April, and to Melbourne’s CBD to continue working on the drossscape project with Stuart Murdoch in June. I found it astounding that a neo-liberal government committed to austerity and financial orthodoxy locked down whole sections of economic activity knowing that this turn to public health restrictions meant jumping over the cliff edge of the sharpest recession in modern history.
Melbourne has become a no go destination due to the city becoming a hotspot with an outbreak of community transmission in a number of suburbs; those areas in Melbourne with high rates of household overcrowding, homelessness, housing affordability stress and financial hardship. A crucial source for the community transmission of Covid-19 was the security guard fiasco at the Melbourne quarantine hotels for those Australians returning from being overseas. The public health response to the failures in hotel quarantine infection control protocols was to reimpose restrictions on family and outdoor gatherings; a widespread testing blitz in the hotspot suburbs assisted by Australian defence force personnel; then a stage three lockdown of Melbourne itself.
I was absent from the book launch and the exhibition opening of Adelaide Art Photographers c1970-2000 at the Royal South Australian Society of Arts in Adelaide. It took place just after Australia had put in place the Covid-19 restrictions for social distancing and social gatherings. I was in New Zealand at the time trying to return to Australia before New Zealand closed its borders. After I returned to Adelaide I went into the 14 day mandatory quarantine. After the quarantine finished we entered a world of lockdown to ‘flatten the curve’ of infections to prevent overloading the health system. The lockdown tempo was set by NSW and Victoria, the two worst affected states.
I have yet to see the exhibition and the books are largely unsold.
The background to the Adelaide Art Photographer’s project is here.
Due to the Covid -19 restrictions the opening was sparsely attended, the book launch was minimal, and the exhibition was opened only for a few hours. Then everything was closed down. However, the exhibition does have some online presence. There are the exhibition images, a walk through of the exhibition images by Paul Atkins and Adam Dutkiewicz and the exhibition opening address by Paul Atkins. Meanwhile the pandemic rages on, many lives are on pause, while many others end.
In contrast to previous years I have a minimal presence in the carnivalesque 2019 SALA ( South Australian Living Artists) Festival. This festival can be interpreted as a reworking of Mikhail Bakhtin’s idea of the carnivalesque as popular festivities and rituals as a form of celebration that has been successfully transposed into the visual arts in South Australia.
I am part of a salon style hang of a multiple medium exhibition at Fabrik in the Adelaide Hills that is entitled Swatch. The curatorial concept behind Swatch is that artists exhibit “a small sample [up to 3 9×9 inches images] that demonstrates the look of a larger piece– artists are asked to consider how they would represent their practice (their style, technique or subject matter) on a small scale.” I understand that as there are approximately 40 artists involved in Swatch, and probably around 120 very diverse works being exhibited, this style of exhibition can be interpreted as a curatorial response to Bakhtin’s idea of the carnivalesque.
The idea of Swatch explicitly references the history of the Fabrik building. The building was once the old Onkaparinga woollen mill at Lobethal, whilst swatch refers to a small textile sample that is usually taken from existing fabric, and is designed to represent a large whole. The textile manufacturer would bring together many swatches of their materials into a single sample book, thereby enabling a salesperson to show a wide selection of available designs in various colours to potential customers without the necessity of having multiple rolls of fabric immediately to hand. So the Swatch exhibition of small works is equivalent to a sample book of many swatches of different materials.
I am exhibiting a series of 3 9×9 inch framed prints that were made on my coastal poodlewalks along the southern Fleurieu Peninsula, and which are a part of the Fleurieuscapes project. The series in Swatch is entitled The Light the Morning Brings’, and it is based on this post on the poodlewalks blog. These images are along the lines of immediate bodily relationship to the light on objects and processes using the lower or popular media of photography, and showing them in the context of the higher and more authoritative media of the visual arts.
One of these prints being exhibited is an image is of a rocky outcrop from a photo session at Kings Head, and it is similar in style to the granite and quartz outcrop picture above.