Terra: (un)becoming

Photography Exhibition Review

Terra: (un)becoming | Multiple Artists

Photo Access | 7 – 20 December 2023

Terra: (un)becoming is the outcome of Photo Access’ annual “Concept to…”workshop series. After nine months of mentorship from local photographers Sari Sutton, Mark Mohell and Gabrielle Hall-Lomax, participants were to create new bodies of work.

The exhibition is described as reflecting on “the urgent need for the community to reassess connections with each other and the environment under the threat of climate crisis and complex global challenges.” The idea of becoming/unbecoming is defined as seeking “to challenge the expectation that we, as humans, must keep striving to become something or someone.”

The 26 participating artists are Annette Fisher, Zoe Haynes-Smith, Saskia Haalebos, Toni Hicks, Adam Henry, Nathan Hughes, Joanne Hutchinson, Natalie Finney, Lynne Flemons, Alison Ford, Yasmin Idriss, Leanne Joyce, Diana Pearce, Fernanda Pedroso, Julia Platt, Caroline Lemerle, Margi Martin, Peter Murphy, Helena Romaniuk, Corin Rossouw, Christina Seccombe, Roger Skinner, Martin Skrydstrup, Sari Sutton, Ed Telfer, and Ruby Wilde.

There are, in my view, too many diverse artists showing too many diverse artworks. Whilst there are some worthwhile pieces to examine, too many competing pieces does not always help. The title of one piece by Natalie Finney is another word that might be used to describe the problem.

Discord, 2023 – © Natalie Finney

I confess to being surprised that the works of all three workshop groups were being exhibited since only one workshop was actually styled as Concept to Exhibition. The other two were Concept to Portfolio and Concept to Photobook. Whilst it would be good to somehow also publicly share the results achieved by participants in those two groups, perhaps the works exhibited here should have only been those by the Concept to Exhibition participants.

Amongst the 63 works, there is considerable variety – silver gelatin and inkjet prints and “darkroom fragments” (some in boxes, others in a white lacquer tray), mixed media and collage, “photographic paper” on cardboard, commercially printed and handmade photobooks, a 3-drawer black box containing prints and a field diary, and even a screenprint displayed in negative sleeves. Exploring it all properly takes considerable time.

Ed Telfer’s small handmade photobook maquettes are a delight to hold and look through. Lynne Flemons’ mixed media and collage on paper and Julia Platt’s print on cotton voile embellished with embroidery threads and glass beads are both pleasing. Alison Ford’s “photographic paper on cardboard” works are different and interesting. Corin Rossouw’s prints of minimalist images are pleasing. Fernanda Pedroso’s inkjet prints are high quality. Nathan Hughes has created a colourful collage.

IT DOESN’T SOUND RIGHT, 2023 by Fernanda Pedroso – installation shot

Profiterolé of Doom, 2023 by Nathan Hughes – installation shot

Caroline Lemerle’s set of inkjet prints Transient – At the end there’s always a beginning, 2022 (made before the workshop?) successfully shows her concept. I was able to discuss the works with her on site and learn about her thought processes. That emphasised for me the lack of detailed information available to viewers about each exhibitor’s concept – at least some accompanying words about what the artists were “unbecoming” would add to the experience.

Roger Skinner’s A Box of Nudes, 2023 challenged me to ask why images of nudes are sometimes hidden away – here inside wooden boxes (but visible). I understand he had more boxes, some plastic, that were not exhibited. I don’t know whether other artists also had works not included, but it is puzzling. In contrast, Adam Henry has 10 inkjet prints in his displayed series Remnant: A Photographic Journey of the What is Left Behind, 2023.

Another exhibit utilising a box is Martin Skrydstrup’s The Black Box of Climate Science, 2023. The most interesting item in the 3-compartment black box is a field diary but, as with various other works in the show, I wanted to know more about it than just its contents.

Yasmin Idriss has 8 works displayed. One is a photobook of flower images from her 2022 solo exhibition of the same name – “Delicate Delights” – at Strathnairn Homestead Gallery. Another Idriss photobook – “Journal” – is of considerably more interest because of the subject matter.

Ruby Wilde’s zine is the work I most appreciated. Exposure Therapy Vol. 1, 2023, authentically portrays the artist and her ways of interacting with the world in what, clearly, was a most therapeutic way for the artist. We should all have the courage to use our art in such a way.

Exposure Therapy Vol. 1, 2023 – Installation shot

Annette Fisher’s handmade photobooks are complex and not easy to explore because of the way they are displayed. Margi Martin’s “darkroom fragments” were somehow more interesting for me than her whole prints.

Catch the show if you can and take the necessary time to explore it all.

This review is also available on the Canberra Critics Circle blog here.

PALIMPSEST

Exhibition Review: Textiles, mixed media, ephemeral artworks, installations, artist books & photobooks

PALIMPSEST | Victoria Cooper, Maggie Hollins, Doug Spowart

BAINZ Gallery, Wangaratta Library | 5 – 28 August 2023

The Winton Wetlands are at Winton North in north-eastern Victoria – near to Benalla. I’ve never visited them, but after viewing this exhibition and speaking with two of the artists about it, I have some understanding of what these wetlands now are like.

Three artists from Benalla have collaborated to produce and display a wonderful visual exhibition inspired by the layered human and natural history and contemporary renewal of the wetlands. They have sought to associate the altered landscape with the concept of a palimpsest – one dictionary I checked gives the meaning as “a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing” or as “something reused or altered but still bearing visible traces of its earlier form”. The artists are contributing to discussion of different, yet overlapping, stories of the wetlands.

The restoration currently happening at these wetlands has been described as a project of national scientific, environmental and cultural significance. It is the largest wetlands restoration project in the southern hemisphere and has been ranked as a ‘wetland of distinction’ by the Society of Wetland Scientists.

Victoria Cooper and Doug Spowart have been involved in the arts as practitioners, teachers and commentators for a lengthy time, including having residencies at Bundanon. Maggie Hollins has qualifications in ceramics, leads art workshops and makes music with her fiddle. Unsurprisingly therefore, each and every artwork displayed is of a high standard.

There are unique, handmade textural and sculptural artworks by Hollins that use a diverse variety of materials – including found small branches, knotted bark, dyed cotton thread, solar and rust dyed cotton fabric, metal rings, and found grasses. Some are accompanied by postcard sized images of the same artworks “displayed” on site in the wetlands. Those images were a team effort – Hollins operated the camera, Cooper was location scout and camera assistant, and Spowart did the lighting and Director of Photography duties.

Hollins montage of works – Photo Spowart

Hollins ‘Drifting on a Current’ – Photo – a collaboration

Spowart and Cooper commonly work collaboratively with each other and their extensive experience of doing so is clearly on display here in their further collaboration with Hollins. In this show, we see Cooper’s images of Spowart taking other images – and Spowart’s images of Cooper taking other images. They have described the resultant diptychs as Witnessing. In Witnessing winter the smaller of two images shows Cooper photographing a wintry scene along a track, whilst the larger image in the diptych is the photo that she took. Witnessing The Lunette adds a  further witness in that one photographer’s shadow is included in the image of the other photographer photographing the scene.

Cooper+Spowart – ‘Witnessing The Lunette’ diptych

When visitors stand and look at each diptych they, in turn, become further witnesses.

When we view Hollins piece titled Harmony – small branches, knotted bark and dyed cotton thread, we can also see an image of it at the wetlands being held by the artist with a view of the wetlands behind her. Visitors to the gallery are, therefore, seeing the artwork itself together with a view of how it looked within a wetlands space. This too is “witnessing”.

Hollins with ‘Harmony’  – Photo Spowart

There are also larger standalone photographic prints by Cooper & Spowart conveying stories of witnessing, magnificent 3-metre-wide concertina photobooks by Spowart displayed folded out and attached to the wall, plus artist books and poetry by Cooper.

In a foreword to her artist book A Work in Progress, Cooper says “I have an ongoing exploration of desire paths created by animals and the marks on the land made by …. trees, water and wind”. Over time ….. these agents of change create a palimpsest….”

Winton North Road with Vicky – Photo Spowart

Doug at Ashmead’s Swamp – Photo Cooper

Spowart ‘Once was’ + ‘Story Trees’ closeup – Photo Spowart

Cooper ‘A work in progress’ (artist book) from the video by Spowart

Cooper reveals a further strength in her artist’s arsenal through her poem which relates to the Witnessing winter diptych mentioned earlier.

Cooper+Spowart – ‘Witnessing winter’ diptych

The entire exhibition all comes together splendidly, most successfully conveying the messages the artists want visitors to hear. It is a fine illustration of how a number of artists can collaborate and produce a body of diverse work which speaks clearly and loudly to those willing to listen, as well as look at the individual pieces. It is clear that all three collaborators are consummate artists.

If you are in the area, or able to travel to Wangaratta, whilst this exhibition remains in place, it is well worth seeing. You might also visit the Winton Wetlands any time you are in the area.

This review is also available on the Canberra Critics Circle blog here.

VIEW 2023

Review of Photomedia, Mixed media, Animation exhibition

VIEW 2023 | SEVEN ARTISTS (Emily April O’Neill, Aidan Gageler, Harry Merriman, Gabriela Renee, Aaron Sun, April Widdup and Chenfei Xiao)

Photo access | 2 Mar – 15 Apr 2023

The 2023 edition of VIEW (an annual exhibition celebrating emerging talent) delves into the themes of cultural identity and the queer body. Showcasing seven emerging artists from the ACT region, it includes a diverse array of multimedia installations, traditional and non-traditional photo media, and animation.

Each artist presents a personal exploration of self, drawing upon shared experiences and perspectives in social, digital, and environmental realms. PhotoAccess Director Wouter Van de Voorde says “Their work highlights the strength and diversity of emerging artists in our region, and we are thrilled to provide a platform for their voices to be heard.”

Multimedia artist Chenfei Xiao uses digital and augmented reality technologies. Here we see a discussion of a personal experience living as a queer Chinese Buddhist. The resultant three portraits fascinate us as we explore them, discovering features of that experience and delighting in Xiao’s various identities. I encourage you to spend time with these works before reading any explanatory material about them.

Chenfei Xiao, Guan Yin Help You (III), production still, 2022, augmented reality headset rendered images printed on gator boards, 59.4 x 84.1 x 0.5 cm

Aaron Sun is a new media and technology artist. Here he uses 3D modelling, virtual reality photogrammetry and more to create an excellent video work investigating racism in Australia. Watching it forces us to ask ourselves what we might do to remove our own biases.

Aaron Sun, White Australia 1 (still from video, provided)

Abstract artist Aidan Gageler works on film, but never uses a camera as part of the production process. Happenstance played a major role in determining the end product. The collection of six works here takes us through various senses, emotions and colours (or lack of). Our responses to one work, Old Skin, will reflect how often we have each seen ageing skin in our long (or short) lives.

Aidan Gageler, Old Skin, 2022, dye sublimation on aluminium

Interdisciplinary artist Emily April O’Neill has viewed how today’s modern technology has affected our lives. How are our public and private lives being modified? Are our personal behaviours, our confidential communications and even what defines us as individuals being permanently transformed beyond recognition?

Emily April O’Neill, Between Bodies & Screens – interacting with installation image – by Maria Koulouris

Harry Merriman’s video artwork Landscape of Light explores physical space and investigates how the alteration of our rural environment through human impact then affects our sense of self. It invites us to consider how various things change our views of the landscapes we are amongst.

Harry Merriman, The Landscape of Light, 2019, Still from Video

Multidisciplinary artist April Widdup explores place and isolation from a queer perspective, focussing on their art’s potential to challenge. They are showing two pieces in memory of Queer lives lost to hate-crimes and suicide. These artworks use numerous materials, including recycled wood, mirrors, hot sculpted glass, LED lights, vinyl and laminated sheet glass.

April Widdup, You lived, and I will remember that (II) (detail), 2022, [In memory of Queer lives lost to hate-crimes and suicide], recycled wood, hot sculpted glass, monitor, mdf, laminated sheet glass, 94 x 141.5 x 163 cm.

Through their immersive installation pieces, Widdup and Gabriela Renee explore complex cultural and personal narratives and challenge critical thinking around identity, mobility, and place.

Gabriela Renee – Gedara Yanava Going Home – installation image by Maria Koulouris

There are points along our journey through this exhibition where we are invited to get down amongst the work, temporarily becoming part of it. Quite near the floor, I peered through a small hole and saw another face looking back at me surrounded by names, including Devanny Cardiel, a transsexual woman ambassador for the state of Guanajuato in Mexico, and Disaya Smith, the 36th Trans American killed in 2021.

Uncomfortably on my back, head inside a space, I immersed myself into Widdup’s everchanging scene. Looking at other visitors doing this, and doing it ourselves, adds an extra dimension to our experience.

Brian at View2023 © Robyn Swadling

This excellently curated (by Gabrielle Hall-Lomax) exhibition of diverse works, and accompanying publication, is challenging to think about. Leaving, I wondered how I’d review it. I needed some time to digest what I had viewed before writing this. The artists should be proud of their work and we should look forward to seeing each of them develop their art.

This review was first published by The Canberra Times on page 10 of Panorama and online on 25/03/23 here. It is also available on the Canberra Critics Circle blog here.

SPIRITS, PERMEATING ECOLOGY, POISONOUS

Review of Photography, Mixed Media Exhibition

SPIRITS | B-Dam Pictures (NSW)

PERMEATING ECOLOGY | REMI SICILIANO

POISONOUS | ELLIS HUTCH

Photo Access | 26 May – 25 Jun

Over five years, B-Dam Pictures (artists Anthony Sillavan and Stephanie Sheppard) used a motion-sensor camera to obtain a series of what effectively are self-portraits of Australian wildlife. They suggest Spirits is the native animals themselves revealing their habits, pleasures and dangers – about their tenuous life existence and, by extension, our own fragility.

B-Dam Pictures – Self Portrait 6

The sense of motion is more obvious in some images than others. Which is best – a greater or lesser sense of motion? Contemplating that, I realised it was not always obvious what had triggered the camera.

Is that a shadow of a bird in flight that triggered the camera? Another shot has the feeling of being a pinhole camera image, even though I know it was not. And in a third shot, at first glance I thought the featured animal was a log.

One shot of a dam has an animal’s tail disappearing out of the frame. Another shows the same dam with no clear evidence of an animal at all. There is much to see and contemplate in this fine set of images.

Remi Siciliano practices “Ecological Image-Making”, her methodology for embracing and celebrating all the different organisms, materials and forces at play within her work. Collaborative interactions entangle divisions between artist, organism, material, subject, object and landscape. She dissolves these categories as we know them.

In Permeating Ecology, Siciliano has intentionally relinquished technical control in her image making; instead playfully collaborating with other organisms and natural processes to produce her photographs.

Fungal networks have grown through 35mm negatives documenting landscapes, while moisture softened and encouraged the film emulsion to peel. The images reveal meeting points of growth and decomposition.

Remi Siciliano – Plexus, 2021

Although very different to B-Dam Pictures works – large rather than small, and abstract rather than documentary – these artworks also are great.

Remi Siciliano – Image 2

I recently read of the “strange allure” of fungi and how it has always captured the imagination. An ecologist has described fungi as the “third forgotten kingdom” behind flora and fauna and said there is much to be discovered about their vital role in our ecosystems.

By using the playful techniques described above, Siciliano has created “strangely alluring” images. Fungi growing through negatives is the starting point for artworks revealing things we would otherwise have never seen – except, possibly, in our imaginations.

Ellis Hutch combines photography, drawing, animation, sound and projection. This resultant exhibition, Poisonous, investigates the microscopic world of our waterways. Hutch navigates the complexities of the ‘health’ of those waterways.

She questions how people establish social relationships and transform their environments to create inhabitable spaces. Recently, she has been paying close attention to the place she lives and works, unceded Ngunnawal (also spelt Ngunawal) and Ngambri country, investigating the effects of ‘invasive’ humans and other species on the Molonglo River. Here, she has done that by combining large-scale drawing and video projection.

The charcoal drawings by Hutch are, indeed, large and quite arresting – not simply because of their scale. Some might even say “awe and wonder” to describe their reactions when first entering the gallery space through a dark curtain. With a video projecting moving digital images on to the drawings, the works become an installation.

We see glimpses of the molecular structure of minerals and microbes that are both toxic poisons and useful contributors to the ecosystem. This is art, successfully revealing a realm invisible to our eyes – a place critical to our survival.

Ellis Hutch – Blackmtnpeninsulaboatramp

Each artist is curious about the processes that drive the varied eco-systems of our planet. Each has employed a distinctive method to investigate the natural world’s intricacies.

This review was published on page 10 of Panorama in the Canberra Times of 16/6/22 and online here. It is also available on the Canberra Critics Circle blog here.

SELECTED SUBURBAN WORKS – WILLIAM BROADHURST – FANTASY COLLISION – GABRIELLE HALL-LOMAX, REVERBERATION TIME – JAMIE HLADKY

Review of Photography, Mixed Media Exhibition

At Photo Access, 10 March – 9 April 2022

These three solo shows have been described as each sharing a fascination with the strange. They are said to probe notions that have long intrigued photographers in numerous ways, demonstrating the diversity of contemporary photo-media.

One show, William Broadhurst’s Selected Suburban Works, imbues everyday scenes with a sense of mystery through abstraction. He presents a series of fleeting encounters shot in south-west Sydney.

The majority of Broadhurst’s works convey a powerful sense of movement and, if you like, blur – causing the detail of the content to be strangely abstracted whilst, sometimes, revealing almost ghost-like shapes and figures.

William Broadhurst, Untitled#6, 2021

There are other works where particular content is more obvious – the moon is a clear presence in two works, in one seemingly hovering over a field of suburban lights.

Another work includes a person pushing a shopping trolley near the top of a hill. Others reveal a young person near a post and two youngsters alongside a soccer goal – doing precisely what is unclear in both images.

William Broadhurst, Untitled#5, 2021

Yet another work features a shirtless man (the artist?) working with a whipper snipper, although what it is cutting is out of the frame leaving us to imagine it. Perhaps the image I enjoyed most includes, it seems, a blurred reclining kangaroo surveying suburbia from a nearby hill.

William Broadhurst, Untitled#1, 2021

A second show, Gabrielle Hall-Lomax’s Fantasy Collision, integrates paint and digital manipulation techniques into layered photographic images. The works draw some attention to how human activity has transformed our Australian eco-systems. Expanding on environmental photography traditions – often used as a tool to raise awareness and educate us humans about the impact we cause on the environment – Hall-Lomax integrates paint and digital manipulation techniques into her works to reflect on the interconnectedness of nature – the body and the psyche are unified.

One work is titled Slip – whereas I saw a leap.

Gabrielle Hall-Lomax, Slip

Another titled Bushfires did not speak to me of that phenomenon – but is a lovely image, nonetheless. These are reminders, perhaps, that titles are unimportant to many artists and exhibition visitors. Whatever our views about that, these are fine images.

Gabrielle Hall-Lomax, Bushfires, 2021

Yet another is titled Rituals – it shows four modest-sized, standing stones amongst the mist – an acknowledgement of Stonehenge perhaps?

Gabrielle Hall-Lomax, Rituals

And Touching the sun is a sublime work that deserves lengthy contemplation – for me, the most interesting piece in the suite of three exhibitions.

The exhibition catalogue says the third show, Jamie Hladky’s Reverberation Time, “uses flash to explore places that have been reclaimed by nature after human occupation, illuminating the power of natural forces and our futile attempts to corral them.” Hladky himself has told me that the work is not so much about decay, or nature reclaiming, as he’s seen written. For him, his imagery is about “the irrelevant brevity of our short endeavours and our moments of self-absorbed pride.”

The titles of Hladky’s works reveal only where the images were taken. Around half are of decaying building interiors and half of cave and mining tunnel interiors.

Jamie Hladky, Gilgandra NSW, 2021

Jamie Hladky, Yarrangobilly NSW (1), 2021

One shot of the exterior of a neat and clean motel located in a desert area initially seemed out of place. Asked about it, Hladky told me he sees it as the first image in the series to pull the rest of them indoors – demonstrating that it is always good to have opportunities to discuss works with their authors!

In addition to viewing the three exhibitions, reading the delightful “essays” in their catalogues is a definite must, especially The House by Paddy Julian and A Cloak Stands in a Bore Hole, Arms Extended by Simon Eales.

This review was published in The Canberra Times of 4/4/22 here. It is also on the Canberra Critics Circle blog here.

2021 Year Ender

Photography, Photo Media, Mixed Media

2021. What a year! Despite everything, local photo artists have continued to make their marks.

There have been many exhibitions. Some openings were conducted outdoors; galleries having to let small numbers inside at a time. Even during lockdown, photo galleries and artists were active, using social media, livestreaming and virtual exhibitions most creatively.

I remain disappointed about poor supporting material available for visitors in some galleries. I urge those that fall short to improve the exhibition experience – catalogues that tell us more than titles and prices, artist/concept statements about artworks, catalogue essays, recordings about the artists and works to hear, and opportunities to look at and, perhaps, purchase books and other material as well as the actual works exhibited.

There have also been interesting new photobooks and books about photography this year, including Capital Country – an ‘exhibition in a book’ by Kate Matthews, and the substantial Installation View by Daniel Palmer & Martyn Jolly which has enriched our understanding of the diversity of Australian photography.

There have been marvellous awards for individual artists. For the third year in succession, Canberra photo artists were finalists in the Mullins Conceptual Photography Prize (MCPP). Indeed, once again a Canberran earned the $10,000 Prize. This year it was Ian Skinner for his poetic work, Ashscapes 01-04, about how the ocean delivered ash to the sandy edge of the land when the catastrophic fires in south-eastern Australia in 2019-2020 were shortly followed by torrential rain.

Skinner also took out 3rd prize in the storytelling section of the Australian Photographic Society (APS)’s annual photobook awards for his Aftermath: Cadgee 2020 – an intimate story of heartbreak and loss in the devastating bushfires which swept through the NSW South Coast hinterland in the summer of 2019-2020.

Lyndall Gerlach was again a finalist in the MCPP, was commended for several works in the Australia’s Top Emerging Photographers competition and the Mono Awards; and was featured in FRAMES Magazine’s Digital Companion.

Ribbons 10 – Milky © Lyndall Gerlach

Judy Parker, winner of the 2020 MCPP, won the portfolio section of the APS’s photobook awards, with her book Afterthoughts, described by the judges as “a stunning body of work with consistent post-production”.

The Canberra Times own Dion Georgopoulos, and Marzena Wasikowska, were both finalists in the prestigious National Photographic Portrait Prize. Georgopoulos has also done some wonderful Darling River photography, whilst Wasikowska was also selected as one of the winners in the 2021 Lens Culture Street Photography Critics’ Choice Awards.

Aaron Salway, with his nephew Harley Salway 2. Just behind them is the ridge where Aaron’s father Robert, and brother Patrick Salway died protecting their property in Wandella. Picture: Dion Georgopoulos

Two photographers received 2021 Canberra Critics Circle Awards. Sammy Hawker – for her exhibition Acts of Co-Creation at the Mixing Room Gallery, comprising unsettling and thrilling prints processed with water, soil, bark and flowers collected from the locations of the images. And Melita Dahl for her intriguing exhibition Portrait at Photo Access exploring connections between the traditions of fine-art portraiture, photography and facial emotion recognition software.

Murramarang NP #1 © Sammy Hawker

Melita Dahl, happy (0.96), 2019

Many professional photographers were hard hit by the pandemic, with sparse numbers of events to photograph, and physical outlets for their works closed. The recent collapse of the Australian Institute of Professional Photography after 75 years of serving photographers is, no doubt, an added blow. So, it was great to see on social media, just before writing this, photos from local professional Ben Kopilow’s coverage of a wedding in a hot air balloon.

I’ve recently reviewed some fine nature prints at the Australian National Botanic Gardens Visitor Centre – Recovery was the eighth annual photographic exhibition by the Friends of the Australian National Botanic Gardens Photographic Group. And also recently I reviewed the final show for the year at Photo Access by 11 photo artists – outcome of a Concept to Exhibition project. And there is one other show to see before the year is done – at Canberra Contemporary Art Space.

This city can, rightfully, be proud of all of the artists I have named here – and of many more making excellent photo artworks. No doubt 2022 will deliver great photomedia exhibitions, events and achievements, including the successful emergence of new local talents. Hopefully, it also will see significant progress on the Kingston Arts Precinct project!

This article was published in the Canberra Times of 23/12/21 here.

The Sweet Forever, and A line of best fit

Photography, Photomedia, Mixed Media – Review

Tina Fiveash | The Sweet Forever

Deirdre Pearce | A line of best fit

ANU School of Art & Design Gallery | Until 8 April 2021, Tue-Fri 10.30AM–3.00PM

These two exhibitions are each part of Higher Degree by Research programs being undertaken by the artists.

Tina Fiveash engages in multiple forms of contemporary photomedia including still and moving-image photography, anaglyptic (3D) and lenticular photography.

In The Sweet Forever, Fiveash has explored how photography might inform a re-imagining of death. Promotional material for this exhibition reveals that her personal investigation of death and dying through photography is paralleled with a text-based investigation of wider understandings of death in our society through the personal letters of a diverse range of people in her community.

What is death? What happens when we die? Fiveash invited fifty Australians to write a letter responding to those two questions. Digitised forms of their letters are on a website. The exhibition includes a large print, being a grid of portraits of contributors, with a QR code link to the website. Taken together, both Fiveash’s creative visual practice and her work with people’s letters, form a contribution to the field of death studies. Quotes from some letters included in the exhibition notes are very moving.

Equally moving is a series of large images printed with pigment inks on cotton rag. I saw powerful stories about love in each image. Twin Spirit, 2013  was the winner of the People’s Choice Award in the 2013 Olive Cotton Award for photographic portraiture.

Tina Fiveash, ‘Twin Spirit, 2013’, Pigment ink on cotton rag, Courtesy the artist

There are two fine triptychs. One reveals a wonderful story about the Hereafter; another gives us delicious blue views of water and sky.

Tina Fiveash, Wide Blue Yonder II, 2014-16. Pigment ink on cotton rag mounted on gataboard, Courtesy the artist

Fiveash told me that discoveries have emerged through scientific and technological innovation in resuscitation, blurring boundaries between life and death. Through creative practice she has explored how photography in the wake of digital transformation might inform a contemporary re-imagining of death and dying. Her constructed images using words from songs and poetry on ‘billboards’ against carefully chosen backgrounds are both beautiful and thought-provoking. One quotes a well-known gospel song There’s a land beyond the river, the lyrics of which include the words ‘the sweet forever’ – the title of the exhibition.

Tina Fiveash, ‘See you on the other side, 2014’, Pigment ink on cotton rag, Courtesy the artist

Tina Fiveash, ‘We Are Stardust, We Are Golden’ 2014, digital photograph, Pigment ink on cotton rag, Courtesy the artist

Tina Fiveash, ‘there is a light that never goes out, 2016-19’, Flip-lenticular photograph, Courtesy the artist

Dierdre Pearce works with drawing, photography, sculpture and installation. In A line of best fit there are three excellent mixed media works.

Pearce is interested in how people interact with the various space types we inhabit, and how we map the boundaries between interior and exterior worlds. She enjoys exploring how technologies influence her experiences and sense of self, focusing on developing visual metaphors for the relationship between the physical self and its growing digital presence.

Her research starting point was the growth of global human-machine networks and the significance humans place on participation in them. This practice-led project investigates how negative space might be used as an analogy for non-machine interactions, which are data-silent yet influence global networks in which humans and machines operate.

Experiments took place through a series of site-responsive installations assembled from everyday materials. Different approaches to describing personal experience were tested, including unusual forms of data visualisation and development of digital and physical ‘windows’ through which audiences could engage with the work.

One work here re-imagines Pearce’s study during the pandemic. It contains a wonderfully vibrant and diverse collection of found and acquired objects that visitors could wander amongst for a long time – irrigation pipe, cable ties, shopping dockets and photographic documentation.

‘A line of best fit’ (installation view) 2020, mixed media, dimensions variable. Photograph Brenton McGeachie

Another work includes yarn, polyester, video documentation and found objects.

‘I am here, I am here, I am here’, 2020, mixed media, dimensions variable. Photograph Dierdre Pearce

The third is a video; both it and the yarns feature ‘dots’ – we see them on screen as when locating a place via maps, and in very colourful woven forms of varying sizes determined by how long Pearce spent at particular locations.

This review was published in the Canberra Times on 5/4/21 here. It is published also on the Canberra Critics Circle blog here.