20.11.13





                                                                                                                 




The one on the right was shot at mt Buffalo earlier this year.



The print is at the CCP in Fitzroy for their Salon exhibition,
 which is opening on thursday 21 of November.

15.11.13

13.11.13



........ sorting out through my hard drive after a year at VCA

3.5.13

2.5.13

BRIAN W. FERRY'S BOOKSHELF: PART 5

Uta Barth is one of my all time favourites, I am excited to find out she has a new book out, how did I miss this? This is the last of the books Brian Ferry is sharing with us. Thank you Brian, it's been amazing to see what you are looking at.


To Draw With Light - Uta Barth (published by Photo Based Art Inc./Blind Spot, 2012)

Uta Barth taught me about light.  She has taught me about photographic abstraction that resonates with me.   She also taught me about the importance of closely observing something - light, in particular - as a measure of the passage of time.  She infuses light with emotion and meaning and she does this all in the most simple compositions I've ever seen.  You get a glimpse of something - a hand, a sheer curtain, a drawer & drawer pull or a cabinet - and it is illuminating but the focus is always on the light.  Her simple photos show movement and time.

In this book, you see incredible patterns created by the light at various times of the day in Uta's home.  "...to draw a bright white line with light" - this underlines her purpose here.  I look at this work alongside Ellsworth Kelly's "plant drawings" - they are simple sketches focused on line and form as a way to distill something, simplify it, and draw attention to its essence.  Barth (and Kelly) are attempting to show the essence of something - and focusing on how we see, rather than what we see.  This idea of non-representational photography is really inspiring to me.  


_ words and photographs in this post by Brian Ferry



1.5.13

25.4.13

LIGHT: LEAK

I have been experimenting with light leaks on film - very hard to get right, but I am happy with this image and I will probably persevere. I have started my course at VCA and has been enjoying greatly working towards producing prints, rather then just showing things online. Photographs have so much more presence that way, and you also have to edit down your work to just a few favourites.


BRIAN W. FERRY'S BOOKSHELF: PART 4

I love being introduced to the artists I have never heard of, so thanks to Brian for mentioning Matt Connors. Find out more about his work on his gallery's website, if you are interested. Next week I am going to share the last instalment of the series, and probably my absolute favourite photo book I have seen in a while, please check back.


 A Bell Is A Cup - Matt Connors (published by Rainoff, 2012)

I wish I could show you every single spread from this book.  And then, I would take you along with me to Matt's exhibition last year at MoMA PS1 in NYC, entitled "Impressionism" - because there's really no way for me to describe in words why this book (and Matt's work) is so resonant.  You just have to see it and feel it.  Matt's paintings and other works are clever and thoughtful and they reverberate - there is almost a musical quality to them.  I see and hear echoes between various paintings and different materials and subjects.  I think the exhibition had a large part in this reaction; it affected the way I look at this book, for sure.  I open Matt's book often because its contemporary abstraction clears my head and focuses my mind.  In particular, the colors here are such an inspiration to my work.



22.4.13

BRIAN W. FERRY'S BOOKSHELF: PART 3


I was so ridiculously busy last week, I have forgotten this blog even exist, sorry! Here is another fantastic book from Brian and I will post two this week to make up for it. I lpve Luigi Ghirri and was excited to see Brian have choses to share this book.


It's Beautiful Here, Isn't It... - Photos by Luigi Ghirri (Aperture, 2008)

Luigi Ghirri has been an inspiration ever since I saw his photos of Georgio Morandi's atelier.  In that instance, I was pulled into the way he captured the space of a friend and a painter.  I photograph many artists' studios (and I know you do, too, Olga!).  Painters, designers, sculptors, etc.  I like the way that Ghirri makes these photos intimate and at the same time, they stray from a stricly documentary point of view to something more artistic and a bit abstract.  They are almost the representation of the studio and of the individual, a portrait without a person.  I strive to do that. 
When I started looking into more of Ghirri's work, I was simply blown away.  Here is a photographer working at a time when color film was not very popular, creating images that seem so contemporary!  He was truly ahead of his time.  I like the way he makes you understand a place -- without giving too much away.  He finds these moments - absurd moments, beautiful moments, quiet moments, and he draws you in.  Some of these photos are simply details - allowing you to dream up the rest.  He is a master and I love this book.