Looking back over 2021 I can see that the Delta strain of the Covid-19 pandemic had a large impact on my large format photography during 2021. South Australia’s borders were closed throughout 2021 and that meant my photo trips had to be within South Australia’s state borders. Even so, apart from a 12 day camel trek from Blinman to Lake Frome plus walking in the Vulkathunha-Gammon Ranges National Park, I stayed close to home in Victor Harbor. The exception was a trip to Melbourne and a visit to the Otways between Melbourne’s two lockdowns.
My large format photography in 2021 has been mostly done within my local area, with much of it being representations of the roadside vegetation along the back country roads. These roads are ones that I often walked along with the poodles in the early morning or the late afternoon. An example of the early morning:
The other reason that I didn’t really do that much large format photography throughout 2021 was that the public health restrictions designed to eliminate Covid-19 pandemic provided an opportunity to concentrate on working on the images and text The Bowden Archives and Industrial Modernity project. This mostly involved researching and working on the text of the four sections of the project, and that meant sitting in front of the computer screen for most of the day, day after day.
Xmas 2021 was my self-imposed deadline for finishing the text. Then I could take a holiday break. It happened — just.
The picture below was made in the local remnant bushland during the Covid-19 lockdown in 2020 in the late afternoon. It was made with a Linhof Technika IV using Kodak Portra 160 ASA film.
From memory, during the national lockdown we were able to move up to 5km from our place of residence. This bushland was within that range. I visited it often, in the early morning and afternoon on the poodlewalks. I even made a video using my old iPhone 6.
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.