Browsing Tag

coastal

coastal, fire, Victoria

walking/photography

April 10, 2022

Whilst walking for 7 days on the various trails at Wilsons Promontory National Park in Victoria with the Retire Active SA Bushwalkers group I tried to link walking with photography. It had been 20 years since this group had been to Wilsons Promontory, so it was a big occasion for them. About 65-70 people went and they walked in the 4 different grades of walking in terms distance and difficulty. I was in the C grade to allow myself time to do photography whilst bush walking.

It had been about 10 years since I’d been to Wilsons Promontory and I didn’t remember that much as I was a day tourist then, rather than a bushwalker /photographer We stayed in a farm cottage just outside the park’s entrance and made day trips into the park. I remember going to Tidal River and Squeaky Beach and photographing the rocks along the side of the road up to Mt Oberon.

Squeaky Beach carpark

The inspiration is Eleanor Dark’s bushwalking in the Blue Mountains as well as Manning Clark walking almost every line in his A History of Australia. So is the historian Tom Griffiths, a keen bush walker, who like Clark, is keenly aware that the past is alive and shifting in the present. Their quest for historical understanding helps to inform a contemporary photography.

It is difficult to successfully combine walking and photography with a bushwalking group because their emphasis is on walking, rather than a creative walking art project. So the photography is necessarily limited to digital snaps whilst walking or making photos (digital and film) before and after the daily walks. My photographic emphasis was on the latter.

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coastal, Covid-19,, South Australia

Lockdown

November 19, 2020

There has been an outbreak of the Covid-19 virus in the northern suburbs of Adelaide in South Australia. These new cases are South Australia’s first without a known source of transmission since April 1 2020–7 months ago.  

Known as the Parafields cluster it has been traced back to returned traveller from the UK, to a cleaner, on to two security guards and then into the community. The cleaner worked at a medi-hotel (a quarantine hotel) for Australians returning from overseas, and then transmitted to the cleaner’s extended family, some of whom worked as security guards. The particular strain of this virus is showing no symptoms for people who have become infected; it is highly contagious (it was transmitted from surfaces at the medi-hotel in the city); and the incubation is very short —down to 24 hours.

seaweed + granite, Waitpinga

The state government, in response to this second wave, has instituted a very tough mandatory lockdown of the state at midnight on the 18th of November in an attempt to execute a six day circuit breaker, to get on top of the contact tracing and to get every single person that they can into a quarantine situation as quickly as possible. The lockdown is being used to contain the virus, where as in Europe governments only uses lockdowns when things are out of control 

Basically we cannot leave our house for the next 6 days and only one person per household can leave the home once a day to visit the supermarket, or if they are in an emergency, or if their home is unsafe.  Face masks are advised when in public but they are not mandatory.

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coastal, exhibitions, rocks, South Australia

SALA 2019: Swatch at Fabrik

July 16, 2019

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.

granite + quartz outcrop, Kings Head

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.

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abstraction, coastal, digital, exhibitions, rocks

photography and abstraction

December 21, 2018

I notice that  the Tate Modern has an exhibition entitled Shape of Light: 100 years of Photography and Abstract Art,   one whose art historical approach refers back to the Museum of Modern Art’s landmark photography exhibition, The Sense of Abstraction in 1960.   The Tate blurb states that this is the first major exhibition to explore the relationship between the photography and abstract art, spanning the century from the 1910s to the present day, and it includes some of the contemporary work by Antony Cairns, Maya Rochat and  Daisuke Yokota.

The Tate exhibition    basically re-inserts the history of photography into the well-writ narrative of art history to make a necessary point: – that photography merits serious consideration within the category of abstract art, and that the camera’s attraction to the shape of light rather than the shape of solid form as we perceive it, changed the way images of all kinds were composed. It also suggests that there has been  a fruitful dialogue between abstract painting (Miro, Riley, Braque, Mondrian, Pollock, Kandinsky)  and photography over the  last  hundred years.

This raises a question: has this kind of dialogue come to an end in the 21st century rather than being  continued?

King’s Head abstraction

The curators place the 20th century’s avant-garde’s  photographic experimentations (ie., abstraction) in the context of wider developments in art, with examples of cubism, abstract expressionism, Bauhaus and op art providing benchmarks.  The  curatorial argument  is that abstract photography  has evolved in step with painting and that there is  a shared history.  The relationship between painting and photography has  been a symbiotic one, a close mutualist relationship that has benefited both art forms.

An alternative interpretation is that  abstract photography  followed behind abstract painting,  in that abstract  painters influenced the way photographic artists understood image and  that the photos are the  monochrome equivalents of paintings.  This  interpretation  reinforces the culturally conservative position of the supremacy of painting. This conservative  interpretation  overlooks the way that both Rodchenko and Lazlo Moholy-Nagy challenged the supremacy of painting by refusing to see any medium as more important than another and by working in fields as diverse as film, graphic and theatre design, sculpture, painting and light shows. The common tendency in the Australian art institution is to adopt the conservative interpretation. Continue Reading…

landscape, nature, water

The ‘Our-Waters’ project

November 10, 2018

I have recently become involved in a new project entitled Our-Waters, which is  about the River Murray and the photographic archives of the  Godson Collection  held by the State Library of South Australia.  Some background to the project is here on my  Our Waters  Our Country blog,  which, for now,   is loosely associated with the  Our Waters project.

As it is  still early days in the project,  it has  no  public profile  (ie., there is no website) to inform people what is happening.    However, a   recent update on  the state of play of the  Our Waters project is on this blog post. This indicates that this photography is not what Rebecca Solnit calls eco-porn: photography  that  celebrate the  ‘untouched beauty’ of nature associated with  the nature tourism  and calendars that view our  land and rivers as a place of wildness and wilderness.

 

Lake Alexandrina, 2011

It is an opportune time to start such a project given the recent report on the ecological state of the Coorong by the Goyder Institute.   The  ecological condition of the Coorong has been steadily degrading since European “settlement” due to upstream water extractions, and  the Millennium Drought was a major disturbance causing a rapid decline in condition.   Whilst the relatively recent increase in natural and managed inflows to the Coorong  through the Murray-Darling Basin Plan have improved the ecological condition of the North Lagoon, the ecological condition of the South Lagoon  has  not recovered,  or it has continued to decline.  As Mary E. White wrote in her Running Down – Water in a Changing Land (Kangaroo Press, 2000):

The continuing saga of the extraction of massive amounts of water from inland rivers to satisfy the escalating demands of the irrigation industry is Australia’s most serious, and ultimately potentially most disastrous water-related issue. It is a battle between two essentially irreconcilable attitudes to land use.

To  speak plainly, the Murray-Darling Basin has been, and is being,  managed to  benefit the  irrigators.  Continue Reading…

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