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…
Whilst working through my archives of the photography that I did in the 1980s when I lived in Bowden, Adelaide I came across this outtake from the Mallee Routes exhibition that Eric, Gilbert and I had at Atkins Photo Lab in October/November 2016. It was an outtake since I eventually decided that I didn’t want to exhibit any large format black and white photos in this particular exhibition.
ruins, Mantung, SA
In looking back to this period I relaxed that I came to Adelaide in the 1970s in an attempt to escape from the influence of the high seriousness of American modernism that was then sweeping through the newly established photographic galleries. The modernist aesthetic in the US and Australia was established as the “institutional art” supported by the political establishment and championed by cultural conservatives, and thus the antithesis to the avantgardism that closely accompanied modernism’s diffusion in Europe. The post-modern movement in the US can be interpreted as the American version of the avantgarde when it began to take shape in the 1970s and it suggested “new directions and new vistas” for artists in cultural politics.
This period was the tail end of formalist modernism and industrial capitalism. If it was prior to the emergence of postmodernism
in Australia it was the beginning of the new era of postmodernity, then marked by the Reagan/Thatcher era, the process of de-industrialization, the advent of economic deregulation, the new salience of globalisation, the emergence of finance capitalism and a neo-liberal mode of governance.
I struggled with my photography on the recent phototrip to the Wimmera-Mallee for the Mallee Routes project I am working on with Eric Algra and Gilbert Roe. Though it involved slow travelling as a way of making sense of a changing world, my method of working –scoping scenes with a digital camera, then re-photographing with film cameras at a latter date—quickly hit its limits.
I was there on the cusp of summer. It was hot and dry and the light was very bright, intense and contrasty. I could only work very early in the morning after sunrise and in the early evening for a very short period of time. The exploring and scoping of material was during the heat of the day the distances involved in travelling from town to town—about 50 km– meant that it was not feasible for me to return to what I had previously sketched in the brief period of time that I was there.
Memorial Hall, Hopetoun
We camped at the Mallee Bush Retreat on the foreshore of Lake Lascelles in Hopetoun, and I mostly photographed around this regional town. This image of the Memorial Hall was made around 8pm on the last night. We had just come out of the pub and I saw the soft light on the building’s facade. I quickly scoped it, but I had no time to re-photograph it with my 5×4 Linhof before the gentle light disappeared. What I have is a photographic document in the form of a digital file.
In our culture of computer-pictures--our society of information is a society of pictures—it is held that with the emergence of computer-generated imagery the very foundation and status of the photographic document is challenged due to the profound undermining of photography’s status as an inherently truthful pictorial form.It is true that digital nature of the image has challenged the essential qualities of analogue photography: its evidential nature, and the identification as a form of visual truth. It is also true that representing the world through a camera lens is giving way to new forms of vision and image with the new digital image technologies associated with the computer.
This image is no deadpan documentation; nor a mummified effigy that is properly housed in a museum; nor a fading memory in a post-photographic culture of what photography once was. Looking at this particular photographic file on my computer screen is to look at the past: this photograph gives me a particular recollection of an experience and it gives me something to hold onto about he Mallee’s history. Continue Reading…
Abstraction x 5 is a forthcoming group exhibition that opens at the Light Gallery in Adelaide, Sunday 2nd October. The exhibition builds on my 2015 Australian Abstraction exhibition at the Light Gallery in Adelaide. Abstraction x 5 features work by Adam Dutkiewicz, Beverley Southcott, Graeme Hastwell, Stuart Murdoch and myself.
Adam Dutkiewicz and myself will be launching our book on abstract photography, which is published by Moon Arrow Press, at the opening of Abstraction x 5. The book recovers the abstractions produced by Adelaide based photographers in the 1950s -1970s and it establishes a tradition by linking this to some of the work in my Australian Abstractions exhibition in 2015.
Adam and myself plan to make this the first in a series of photography books. The next book planned features some of the underground photographers in Adelaide from the 1970s to 2000. Underground in the sense that the photographers produced a body of work that was largely ignored by the established galleries. Continue Reading…
This 35mm outtake is one of the exploratory pictures that I made whilst I was working out how to approach photographing the 15 silos on the Mallee Highway project. Several work in progress images from this series form my contribution to the Weltraum exhibition at Magpie Springs in the 2016 Shimmer Photographic Biennale.
The location of the picture is Murrayville in the Victorian Mallee, and I was photographing all the silos on the Mallee Highway whilst making my way to the camp at Ouyen with Gilbert Roe. I made notes as photographed each silo along the way as to side of the silo provided the best perspective and whether am or pm was the most suitable time.
The options that I had were: should I stand well back from the silo and make it part of the landscape rather than focus on the silo itself; should I use backlight to give the landscape a gloomy atmosphere; should I use colour or black and white film; what camera would I use? I decided that I would focus on the silo, use frontal light, work in black and white, and photograph with the Cambo 8 x10 monorail.
In the light of this straight-on gaze of the large format camera the photographic approach of the above 35mm outtake is sidelined to become a part of the Mallee Project. Continue Reading…