The Coral Street Art Space is not planned to be a permanent art gallery with its own curator, as is the case in Goolwa with its South Coast Regional Art Centre and Signal Point, or the Murray Bridge Regional Gallery at Murray Bridge or Fabrik at Lobethal in the Adelaide Hills. The Victor Harbor Council is way behind its neighbouring regional councils in investing in the arts and culture–especially compared to Alexandrina Council, which successfully runs a popular yearly Just Add Water cultural and art festival. The Coral Street Art Space is a temporary stop gap, and it is designed to eventually become a multipurpose art space. I assume that this means that Victor Harbor will be without a permanent art gallery for the visual arts.
I have spent the last couple of months working on the Reconnections: Walking Wellington project. This is based on my walking Wellington around the time of Photobooks/NZ in 2018 and on my previous visits. These visits were designed for me to walk Wellington.
The blog was the easiest way for me to construct the project fragment by fragment, and it is also provides an accessible way for people to see the project in its embryonic form. The picture below is an outtake from the project:
If these submissions are not successful– I am assuming that they wont be, given both the nature of publishing in Australia and New Zealand and the strength and creativity of photography in New Zealand —then I have the basic draft for a new photobook. This time around I will submit the pdf to various book publishers. If I am not successful, then, and only then, will I consider publishing it on my own. I do need to explore the submissions route and experience the normal series of rejections. Continue Reading…
Georgina Downey has usefully suggested that the collaborative project of photographing industrial Melbourne by Stuart Murdoch and myself can be usefully framed as belonging to what landscape architects, call drosscapes. We have been photographing in and around waste urbanscapes that are different from edge lands as it is a junkyard that is a by product of industrialisation and is in the process of being redeveloped.
The concept of drosscape was coined by Alan Berger (a landscape architect and associate professor at Harvard’s Graduate School of Design) in 2006 in his book, Drosscape: Wasting Land in Urban America to refer to the waste landscapes. Berger proposed classifying a differentiation between waste landscapes (places that store, manage or process urban or industrial waste), wasted landscapes (polluted or abandoned sites), and wasteful landscapes (huge extensions of developed land with virtually no use for the community).
wasteland, Nth Melbourne
The idea of drosscape applies to the industrial Melbourne site that Stuart and I have been photographing, as this wasteland is currently being redeveloped as part of the extension of the Melbourne underground. Berger says that a drosscape is:
“the creation of a new condition in which vast, wasted, or wasteful land surfaces are modeled in accordance with new programs or new sets of values that remove or replace real or perceived wasteful aspects of geographical space (i.e., redevelopment, toxic waste removal, tax revenues, etc.)”. As a verb, he sees the ‘drosscaping’ as the practice incorporating social programs and activities into the transformed waste landscape.”
He adds that one must not commit the mistake to call an abandoned train station by itself a drosscape. In this instance, a drosscape would be the integration of new horizons onto the unused site, which by itself it is only dross. Continue Reading…
Despite this conceptual simplicity and clarity it is taking me quite a while to realize the idea behind the project. It started in 2016 on some road trips, but, to my surprise, I have discovered that getting it up and running has proved to be difficult. I initially thought that I would photograph in colour as well as black and white but that approach ended in confusion. I then encountered various problems using the camera, the coverage limitations of the initial lens I was using (a Schneider-Kreuznach Symmar 210mm f/5.6), and difficulties developing the 8×10 sheet film without my own darkroom.
silo, Mallee Highway, Victoria
I also thought that I could work on the Silo project whilst simultaneously working on the Mallee Routes one, given that I was frequently travelling up and down the Mallee Highway to go toad from the various Mallee Routes photo camps. However, I found that though I carried the 8×10 Cambo with with me whilst on the Mallee Routes road trips, I would never get around to using it to work on the silo project. I was too caught up in the Mallee Routes project. I eventually came to realise that these were two separate projects that required quite different approaches to photography. Continue Reading…
Prior to going on the camel trek to the northern Flinders Ranges I was in Melbourne for a photoshoot about old industrial Melbourne for an upcoming SALA exhibition at Atkins Photo Lab with Stuart Murdoch. We spent a part of Sunday afternoon walking along Kororoit Creek in Sunshine in Melbourne’s west. It was a pleasant afternoon walking for a couple of hours along the creek from Stuart’s place, even though I was suffering from a painful back that I’d damaged just prior to leaving Adelaide for Melbourne.
Though Sunshine is generally regarded as one of the forgotten suburbs of Melbourne’s west, I find it to be a fascinating place, both photographically and sociologically. It is a low-density residential suburb that is close to Melboune’s CBD by rail; the Vietnamese migrants are rapidly changing this suburb from its old industrial and white working class base; it still has plenty of industrial sites; it is earmarked for redevelopment; and there are some well cared for public commons. It is a photographically rich suburb to walk around in. Stuart’s Sunshine project is a making sense of this place that is his home. Continue Reading…