This exhibition is a survey of the Adorned Collective’s creative journey over the past seven years. It features photographic and video work, plus wearable artworks and sculptural installations.
The Collective was formed in 2015 as a participant-driven initiative to support artists, artisans, makers and craftspeople of all ages and abilities from culturally diverse backgrounds and experiences, by providing a friendly, culturally safe and accessible creative space. The community that was established participates fortnightly in supported drop-in skill-sharing workshops and public programs. The Collective meets and works on Dharug Country, Western Sydney, and is based at Parramatta Artist Studios in Rydalmere.
Within the workshops, participants collaborate and share creative processes, stories and skills in order to professionally develop and to build community capacity. The group nurtures friendships and celebrates life, culture, diversity and difference whilst creating inclusive social and professional networks and opportunities for local creatives.
During the seven years since 2015, the Collective has developed and exhibited solo and collaborative works. The Adorned artists have utilized each exhibition and project as a way of engaging community through public programs and creative workshops.
So, what is in this extensive exhibition? There are numerous handmade wearable artworks on display. They include wonderful and intricate masks and hatbands. Then there are woven baskets, and sculptures using various materials such as second-hand paper, wire, twigs and sequins. There are letters from a letter exchange project that connected artists living in regional Queensland. And more.
How does photography and video come into this? Well, the artists have been photographed and videoed wearing their own artworks. The photographs in the exhibition are large portraits from 2015. They are all colourful and well-photographed. Each image reveals a considerable amount about its subject. Firstly, we learn about their cultural connections and identities. However, if we take the time to study the works more closely and to think about the details that each reveal, we might begin to understand something of what motivated them when deciding to create the artwork being worn. We might say they embody the souls of each artist.
There are two video installations, each quite different from the other. The creative directors of Adorned Wisdom, Memory and Song, 2017, show us the excellent outcomes from a period when guest dance and performance teachers engaged ten of the artists and their drop-in visitors with performance and script development as a means of weaving their stories together and bringing their wearables to life.
The resulting high quality two panel video created from camera footage and sound recordings is most engaging. Diverse music styles, movement, voices, stories and more hold the viewer’s attention as each segment reveals something different and new. The musical score adds the skills of yet another artist to the collaboration. The Do you remember me? Segment tells a wonderful story. Another part, about domestic violence – is simultaneously simple and powerful. And the concluding piece where our eyes watch numerous eyes watching us is delightful.
In another part of the gallery the second video installation Incognito, Adorned, 2010 is very different. It features footage captured by the artists themselves. They have put on their wearable masks and performed for their cameras, revealing small moments – tender, humorous and, most importantly, empowering of themselves. I particularly enjoyed one artist playfully interacting with a pink blossom tree whilst wearing her “matching” mask and dress.
Indeed, empowering is the word for this entire exhibition. Working together in the Collective and with the numerous guest artists brought into the projects undoubtedly has professionally developed each and every participant – and enhanced the creative community of Western Sydney.
This review was published on page 10 of Panorama in The Canberra Times of 13.08.22. It was published on the Canberra Times website here on 14.08.22. It is also available on the Canberra Critics Circle blog here.
As I noted when reviewing the 2021 NPPP here, group exhibitions can be awkward to review because of the diversity of imagery subject matter and quality. In a major show such as this though, there is unlikely to be poor quality work. Furthermore, with a focus on portraiture the diversity is diminished. That’s not to suggest there is a sameness as there are many approaches to portraiture on display here. As in previous years, the diversity of the quality artwork delivers a powerful visual exhibition.
The winning work Silent Strength 2021, by well-known Indigenous photo artist Wayne Quilliam, is a fine portrait, beautifully portraying Culture through the rich colours in the ochres and feathers of his indigenous subject, and also his sense of pride. Quilliam is a lovely modest man and very proud of his prizewinning artist daughter who was with him at the media preview I attended. And he’s giving the $20,000 worth of gear he won to Indigenous communities and organising for them to learn to use it.
As always, in such shows, I look for works by locals and other people whom I know personally, as well as images by artists whom I follow. Canberrans in the show include Cat Leedon, with a powerful, perhaps confronting, self-portrait titled Breast Cancer, aged 37. It clearly shows the anguish she was feeling after her second breast surgery.
Fiona Bowring has a delightful Family Portrait, incorporating another shot of the same family hanging behind them. This again is a story which, no doubt, includes pain – it relates to palliative care and to love of family.
Greg Stoodley’s contribution is another self-portrait Greg & Orbit that I had seen previously on his website. The image was taken during lockdown and features a cat looking at his apparently bored face and supine body.
And then there is Lauren Sutton’s work Lauren and Poppy. Yes, another self-portrait during lockdown. All work cancelled, the artist took this and other selfies to document the time spent with her four-month-old daughter.
There are various other images made during restrictions, including Andrew Rovenko’s The Shuttle, a delightful shot of four-year-old astronaut Mia wearing her homemade space suit and helmet.
There are also other good portraits of Indigenous people, such as Cordy in the Clouds by Adam Haddrick.
There are people from other cultures, an Olympian, well-known people such as Barry Jones, a survivor of a lifetime of abuse and mistreatment, a 6’ 9” tall man, neighbours, lifelong friends, a dancer, music journalist Bob Gordon, and a young woman in transitional housing after a period of homelessness.
One of the represented photographers whose work I always appreciate is Michael Bowers. His work Stella is of a grandmother whose grandson was last seen where she is seated on the banks of the Gwydir River.
As in previous years, there are numerous works in this diverse exhibition that we all need to study and explore, such as Matthew Newton’s Indigo, featuring an activist, dressed as an endangered wedge-tailed eagle, heading into the Tarkine forests in Tasmania, where they spent a bitter winter to halt development of roading to access a planned tailings dam – yet to be built.
This is far more than pretty pictures, far more than high quality portraits. There are so many stories, so many varied aspects of our Australia and its peoples, so many identified issues for us to think about – all revealed through the talented story-telling photographers using their insights and artistic skills to depict their subjects.
We who view the works are privileged to gain access into the personal lives and emotions of the people portrayed.
This review was first published on page 23 of The Canberra Times of 11 July 2022 and online here. It is also available on the Canberra Critics Circle blog here.
Tuggeranong Town Centre (on windows of Lakeview House & under the Soward Way Bridge) | Until 4 July 2022
Sammy Hawker is a visual artist working predominantly on Ngunawal Country. She works predominantly with analogue photography techniques and often works closely with Traditional Custodians, scientists and ecologists.
In 2021 Hawker had two highly successful solo shows as part of a PhotoAccess darkroom residency. She is currently an artist-in-residence with the CORRIDOR project and is also preparing for another solo show before year end.
Over the last six months Hawker worked closely with nine young people from Headspace Tuggeranong exploring ways they could co-create photographic portraits. This was part of a City Commissions project delivered by Contour 556, one of seven artsACT initiatives in the Creative Recovery and Resilience Program.
Headspace is a safe space that welcomes and supports young people aged 12–25, their families, friends and carers, helping them to find the right services. Learning the Headspace motto “clear is kind”, Hawker realised her project was also about finding clarity as a form of self-compassion – shining light on what for many was a particularly dark and confusing time.
Hawker challenges the notion that a photograph constitutes the moment that a shutter is released. She explores ways of making, rather than taking, images. She wanted the project to be empowering – with no right or wrong and where the final photographs celebrated identity and experience beyond just the way her subjects looked in the frame. It was an opportunity to realise we always have some choice whether we repress difficult experiences.
The portraits of the young people were captured on a large format film camera. Commonly, in photographic practice, touch and marks on negatives are to be avoided. But Hawker invited her subjects to handle, manipulate, scratch or even bury negatives in order to introduce something of themselves. The young folk wrangled puppies, dived into rivers, got dressed up, sprinkled bushfire ash on negatives and processed film in the Headspace carpark.
Chanelle reflected about living in the moment. The negative of her portrait, showing her immersed in the Murrumbidgee River, was processed with water from that river, ocean water and permanent marker.
Sophie spoke of learning to embrace everything in life. Her portrait’s negative was processed with bushfire ash and the word Embrace scratched into it. The ash creates a frame that embraces her.
Sanjeta really likes her photo with jellyfish manipulations as metaphors for how she now goes with the flow of her life journey. Her expression conveys a “so be it” attitude. The negative was processed with Murrumbidgee water, rainwater, seaweed and chemical stains.
Ray wanted to keep connected and bring some joy into the lives of others. The portrait’s beaming smile conveys joy. The idea of processing the negative with Whiz Pop Bang bubble mixture and wattle pollen adds to the joy.
Jazzy is photographed with her much loved dog Milo. So, of course, the processing of the negative utilised Milo’s pawprints.
When I reviewed her Acts of Co-Creationshow (for which she received a Canberra Critics Circle Award) in this publication, I wrote of Hawker’s then newly formed relationship with Ngunawal custodian Tyronne Bell who helped her to learn about sites she was working with. For this project, Hawker arranged for Bell to escort her subjects walking Ngunawal Country, providing a healing experience for them.
I strongly recommended readers to visit City Commissions – Portraits – and reflect on your own difficult times.
An edited version of this review was published in The Canberra Times of 28/6/22 on the Capital Life page, and the full version online here. It is also on the Canberra Critics Circle blog here.
Research School of Social Sciences, ANU | Until September/October 2022
Whilst reporting on conflicts, acclaimed journalist Liz Deep-Jones, was deeply disturbed that they unfolded in the name of religion or racism. Inspired by a community-led, grassroots initiative ‘Racism Not Welcome’, Deep-Jones joined forces with portrait photographer, Tim Bauer, to present this exhibition ‘We Bleed The Same’.
Deep-Jones grew up in a Lebanese, Arabic-speaking household trying to figure out how she belonged in Australian society where she experienced bigotry. She says the exhibition is “about you, me, humanity!” Bauer is the child of a refugee European father and an Australian mother who taught him to love and respect all human beings.
Thirty-nine women and men from varied backgrounds, religion and race feature in Bauer’s images. And in an accompanying documentary produced by Deep-Jones, they share personal and emotional stories about their diverse cultures and experiences with dangerous and demoralising racism. Like them, we should all be seeking to defeat racism.
As he is a pre-eminent Australian portrait photographer, it is no surprise that Bauer’s diverse images here are simply superb. The people he has wonderfully portrayed include former Race Commissioner Tim Soutphommassane, First Nations Elder Leetona Dungay (whose son David died in custody) and refugee Marcella Kaspar.
Lovemore N’dou, one of the other incredible people featured, had a successful early career in boxing but, due to South Africa’s apartheid policies, was not allowed to compete internationally. He migrated to Australia and continued his boxing career before becoming a lawyer.
There is Australian-born Uyghur woman Subhi Bora, indigenous Torres Strait Islander author and union official Thomas Mayor, and Filipino migrant Brenda Gaddi. Also South Sudanese refugee Deng Adut, proud Australian Muslim woman Maryam El-Kiki, and human rights advocate and refugee activist Thanush Selvarasa.
Accompanying each wonderful Bauer portrait are the subjects’ deeply personal stories in words assembled by Deep-Jones – explaining who they are, what their personal racism experiences have been, and how they are involved with seeking to combat bigotry. Those words take the already powerful images even further – they are profoundly moving. It is highly probable that studying the images and reading the words will make most viewers quite emotional.
From Mayor, we learn “Indigenous people experience racism in this country every day. Racism makes me feel less than human, insignificant, like I’m not even there but we need to stand up and be proud of who we are. We are on our country and that can’t be ignored.”
The exhibition also features various installations – including the interactive Kizuna (Japanese – meaning ties or bonds) in which family photographs submitted by the local community are being hung from a red Hills Hoist using red strings. The threads of photos represent the connectedness between Australians whilst reflecting our diversity. Deep-Jones hopes this exhibition that she has produced will convey that message and spark visitors into ongoing conversations about racism in Australia.
Another installation comprises vials of fake red blood, each labelled with a name of a portrait subject and, so, symbolising them and shouting, ‘We Bleed The Same.’
There are opportunities for visitors to share their personal experiences of, and views about, racism by writing in red alongside images of a “blood-soaked arm.” And a Cedar Tree of Lebanon installation, inspired by Deep-Jones’ family roots, seeks to touch our souls and ignite our hearts to inspire positive action for humanity.
Deep-Jones expects the exhibition will continue until at least October 2022. It is in the foyer and also the first floor of the RSSS building at the ANU. I urge everyone who can to see this important presentation.
National Press Club Building, | Until 19 June 2022 – by appointment only – bookings to view the exhibition or to experience insights with the artist can be made athttps://voicesofveterans.com.au/events
Molasses! A viscous substance primarily used to sweeten and flavour foods. A major constituent of fine commercial brown sugar. And a primary ingredient used to distil rum.
I’ve eaten food containing molasses, seen photographs of it, even found a photography business with the word molasses in its name. Never before have I seen portraits of people covered with molasses with its thick, sticky consistency. Glue-like, tacky, treacly, and slimy might also be used to describe this substance.
Voices of Veterans, created by artist and veteran Michael Armstrong, is a collection of photographic works that visually represent individual experiences of living with Post Traumatic Stress Disorder (PTSD). So is this an exhibition of artworks or is it simply about supporting a Veterans’ cause?
The exhibits are most definitely photo artworks and very fine ones indeed. But the exhibition is also part of an important project. Every sale contributes to the Voices of Veterans Fund, supporting veteran health and directly funding grassroots arts programs in Australian veteran communities. And it is always great to see art being used to highlight important issues.
So why use molasses, covering large expanses of the subjects’ bodies with it? Armstrong says “Molasses behaves in a manner that mirrors many of the symptoms of PTSD. Its weight and dark enveloping form, it’s staining and sticky qualities mark everything it touches. The manner in which it mirrors qualities of light and dark around it. My models naturally resonated with the experience of working with molasses and found the medium profoundly evocative”.
There are both monochrome and colour images – dark and brooding portraits, some where facial expressions are not easy to interpret, others where the molasses reminded me of bleeding wounds.
A very powerful one features a hand hanging down alongside part of a torso, richly coloured molasses clinging to it yet also dripping. Indeed all the images featuring hands stand out.
A PTSD survivor himself, Armstrong was motivated by personal experience. Each veteran subject in the exhibition has a story, and their stories are told, expressed, felt and heard through his use of a challenging and rewarding creative process with molasses as a metaphor. The works show both sides of lived experience – the dark emotions of challenging moments and the light feelings of healing, release and hope.
Subjects’ own words are shared alongside artworks. One speaks of “the feeling of being dragged down into the thick, welcoming abyss until you are choking and drowning. Being able to barely keep your head up enough to catch a breath.”
So, the choice of molasses is enormously successful. The resultant images almost force you to study them. They are at once poignant and haunting, dark and evocative, graphic and expressive. They will bring strong memories or feelings to the minds of people who have family or friends who have suffered the effects of PTSD. They will remind others of different, yet also traumatic, experiences.
Indeed, the created artworks have resonated with veterans deeply. When posted on Armstrong’s social media they reached a broad audience, creating high levels of engagement and many conversations. This sparked the need to create widespread awareness – and the project was born.
The exhibition will tour Australia raising awareness of the individual experiences of veterans living with PTSD, and veteran art-based workshops will support the creation and growth of healthy communities. Community events will be offered during the Canberra exhibition, including trauma-informed movement classes with health practitioners and veteran art workshops with Armstrong.
Jess Cochrane is an Australian contemporary visual artist. Canberra is her hometown. She has been based in London for a few years now but has recently returned to Canberra for a brief time. She created new large-scale multidisciplinary pieces specifically for this solo exhibition, Mixed Signals. A well-known Canberra dairy product even features in one of the pieces.
Cochrane’s work questions the relationship between society, consumerism and pop culture. Her focus is on feminine beauty, illustrated through the application of paint over photographic images. She paints highly gestural and expressive marks over the surface of glossy photographic portraits. This approach seeks to reflect our relationship to imagery and, particularly, to our own self-image.
The artist reflects upon insecurity and perfectionism in the modern age. Connecting the history of art, design and advertising, she plays on the idea of pop culture and its roots that are planted in both displaying and disguising parts of ourselves.
It is a body of work that explores themes around desire and semiotics through digital photography, which Cochrane styles in an editorial manner then embellishes with rough, gestural mark-making using acrylic paint to provide the element of subversion she has become known for. These are portraits featuring her friends, acquaintances and people she admires. By including recognisable elements and iconography that reference popular culture and identity, Cochrane reveals the reflective creative spirit that pervades her work.
Two artworks titled Carbs, and Guilt and Pleasure, feature the model cradling and holding substantial quantities of sweet pastries. Another with the title Gluten Free had me thinking “something for everyone” until I realised it includes even more of the same baker’s confectionery. Whether the goodies were gluten free or not, I’d be sure they were not sugar free.
Another work has cherries on a model’s ear, in her hands, against a breast obscuring the nipple, in the crotch area and on the fabric where she is seated. The boots she is wearing are painted over in red. The model has a dreamy, wistful look. What was she thinking whilst her photographic portrait was being taken?
Boots feature in various images. Indeed one work is titled Gucci Boots. They appear to be from that company’s latest collection, designed by Alessandro Michele, the Italian fashion designer who is its creative director.
Fresh figs feature in more than one work, opened to reveal the pink/red flesh inside – some held by the model, others scattered around her feet. And there are shucked oysters. Again, some being held by – and others scattered around – the model.
In one work, I’m the Pearl, a dark-skinned beauty wearing a beautiful necklace holds an opened oyster “containing” a pearl. A heart shape has been painted around the oyster. The model’s eyes, her full lips – indeed everything about her – shout to us that she is a pearl.
This use of cherries, figs and oysters is all very sensual. And the seductiveness is added to by Cochrane’s use of her paints – for example, by drawing attention to a breast and nipple by painting an enlarged outline of the same around them.
Of course, sensuality is also the condition of being pleasing or fulfilling to the senses. And that is very much what the artist is seeking to do – and achieving – with all her works. They dazzle with their sensuality, their colours.
This exhibition is a powerful interrogation of our aspirational and perfection-seeking modern-day culture. It’s a collection of artworks unafraid to probe the historical conditioning of society, especially in the context of femininity, and ask the question ‘What do we perceive as beautiful and what is grotesque?’
This review was published in The Canberra Times on 5/3/22 here. It is also available on the Canberra Critics Circle blog here.
I’d helped him move his stock of books in boxes to Canberra’s The Street Theatre earlier in the week, then we transported a final box of pre-sold copies ready signed for each purchaser arriving at his request around 2.30pm on the day of the book launch. He was already there set up at a small table underneath the permanent installation on the wall commemorating the man who the book is about. Nearby, a theatre staff member was ready to start selling copies for him to sign as purchasers brought them to his table.
The book If This Is The Highway, I’ll Take The Dirt Road – the Formidable Encounters of David Branson Esq. was written by my stepson Joel Swadling, hence my involvement – although I also knew the late David Branson, and all his family are also my friends. I’ve written about Branson and Swadling on this blog previously here. My concluding sentence then was “I’m looking forward to the attending both the 20th Anniversary Concert and the book launch, reading/hearing the interviews, reading the reviews – and completing my own reading of the book.”
By the time the launch date arrived I had attended the Concert and read almost to the end of Act One in the book. Both had added to my “looking forward to” mood. My wife and I had been on tenterhooks after having been deemed casual contacts of a grandson who contracted the Covid virus earlier in the launch week’ forcing us to have tests – thankfully negative. A positive result would have prevented us attending both the concert and the launch.
A publicity shot I prepared was displayed on monitors in the foyer/bar area of The Canberra Theatre before, during and after the 20th Anniversary Concert by Mikelangelo & the Black Sea Gentlemen, plus their guest Fred Smith.
Also displayed were numerous photos of David Branson taken by ‘pling.
But here we were at the appointed time on the appointed day, with many people gradually joining the crowd in the theatre foyer, purchasing drinks from the bar, purchasing books, getting them signed by the author and greeting numerous friends – some from other places than Canberra, and some not seen for years. What to do first was the challenge. For me, it was getting my camera out and starting to document the event – book selling, author signing, friends mingling. One of the first images shows Dominic Mico, whom I got to know personally when heading the (ACT) Arts and Recreation Branch way back in 1987. I went to many of Mico’s events at Canberra’s TAU (acronym for Through Arts Unity) Community Theatre. Later, Mico was founding director of the National Multicultural Festival. And here he was getting his copy signed.
There’s my wife Robyn Swadling speaking with our friend Pauline Everson, who has come along with her neighbour at Goodwin Ainslie Retirement Village.
And there’s Paul Branson, who will be speaking during the launch – reading his own words about brother David from the book.
Michael Simic (aka Mikelangelo) is here too – ready to perform. He’s talking with Iain Campbell Smith – Australian diplomat, singer/songwriter and comedian. He performs under the stage name Fred Smith in Australia. Smith has been described as ‘Australia’s secret weapon’ in international diplomacy. As a career diplomat, he served for two years in southern Afghanistan. Working alongside Australian soldiers in Uruzgan Province, Fred’s second career as a musician came to the fore, his guitar serving as a bridge not only to the troops, but also to the people and tribal leaders of that war-torn region. His song, ‘Dust of Uruzgan’, captured the hearts of many serving in Afghanistan. And he authored a book with the same title.
A little after the scheduled time we began moving into the theatre for the launch. I headed in early to get a front row seat where photography would be easy. The woman beside me and I thought we knew each other. It was Kate McNamara – poet, playwright and critical theorist. For almost ten years she worked as a dramaturg with David Branson’s Splinters Theatre of Spectacle. But I probably had met her through her involvement with TAU, alongside Mico.
Seated on stage are David Branson’s sister Liz Bishop and brother Paul Branson, together with Louise Morris (Branson’s partner at the time of his death), and our author Joel Swadling. At one end of the front row are Mikelangelo and the Black Sea Gentlemen, including the other Branson, Pip (aka Rufino), waiting to perform.
Elsewhere in the theatre are other members of the Swadling and Branson families. Joel’s father Paul and wife Janet Scott, brother Anthony and partner Sarah Powell, and brother Justin with partner Rache(l) Pettit and their children Jasmine and Riley. That damned pandemic has prevented brother Adam from being present. Margaret Hunt (previously Branson) and her husband David, Paul’s wife Jeanette Watts, Pip’s wife Megan and their children Denholm and Holiday. They are all here.
The doors close. Louise approaches the lectern. She speaks lovingly of David and praises Joel for his dedication and persistence in bringing the book to fruition. Joel replaces her at the lectern, welcomes us all, thanks key people and delivers a short speech, starting:
I’m not going to give a long speech, because the readings I’d like to give are self-explanatory. But I really must thank the management of the Street Theatre, particularly Dean and Carolyn, who’ve so graciously organized this event; as well as Cathy Winters, in helping me to plan the running order. I’d also like to thank my friends, Mikelangelo and the Black Sea Gentlemen, for agreeing to play for us. I’ve had several compliments on my book’s title. But I can’t take full credit, as they’re cribbed from Michael’s song, “In Carnival Time”: “If this is the high life, I’ll take the dirt path”.
For this book couldn’t have been produced without the direct involvement and support of our entire community. Of course, I want to thank you all for being here today. But I know equally that there are many who wish they could be but aren’t able. I think in particular of Patrick Troy and Peter Wilkins. Also, some who have passed from our number in the time it’s taken me to finish the book: Phillip Crotty, David Unwin, Renald Navilli, and ’pling (whose photographs so graciously accompany my pages). This, of course, is a celebration of the magnetic force of David Branson. But it’s equally a celebration of the upward spiral of the community which he so richly engendered. As David would have said, “Love you, love your work!”. So please, raise your glasses and toast: “Creative Community!”
Those in the audience who happened to have a glass of something in their hands raised them as directed. Joel then invited Mikelangelo and friends to sing us a song. They take the stage and perform below a projected poster for the book featuring the image of David Branson. In their inimitable style they entertain us and speak of David. They then take seats at the rear of the stage.
Next Joel invites Liz, Paul and Louise, each in turn, to join him. He reads his own words from the book, whilst they read words spoken by them years ago when interviewed for the book. Words that Paul later tells me he didn’t remember saying. All of this is well received by the large audience.
After that it is Fred Smith’s turn, accompanied by Pip. Fred sings his new song about David whilst a video of ‘pling’s images of David plays on the screen above him. Pip plays his violin beautifully to accompany Fred. This is a truly emotional moment for all who were closest to David, indeed for everyone. Then Pip speaks about David and what he meant to him. More emotion!
To bring the actual launch to a close we are treated to more Black Gentlemen, ending with Mikelangelo being unable to resist removing his jacket and throwing it (landing at my feet), waving his arse at us all, then climbing into, over and onto the audience.
Joel thanked everyone and invited all to return to the foyer for refreshments. Later in the foyer a friend confided to me that he thought Mikelangelo took the focus off Joel. I replied – but it is exactly what David would have done when he had such an opportunity.
Back in the foyer Joel signed more books, we ate provided food, drank more, laughed, cried and talked until the staff packed up around us and, eventually, closed the doors. All a bit of a blur really!
Gemma Clare, who plays cello with The Gadflys amongst other groups, is speaking with Louise Morris – and I do believe that is Marc Mowbray, the Piano Guy, with them. Nearby, there’s a smiling Helen Musa, OAM – art journalist and critic, Canberra City News Arts Editor, founder and Convenor of the Canberra Critics Circle, consultant at the Asia Pacific Journalism Centre.
Rev. Dr. Bruce Stevens – founder of Canberra Clinical and Forensic Psychology, currently providing pastoral care to folk from St Margaret’s Uniting Church in Hackett which the Swadlings, Bransons, and Bishops all have connections with – says he enjoyed it immensely. Sue Wilson – who recognised Bruce Stevens and says he saved her life at a difficult time – also had a great time.
Megan – wife of Pip Branson – and their children are having fun. Simon Clarke – lay preacher at St Margaret’s – is in animated conversation with Margaret Hunt.
John Goss – chair of the church council at St Margaret’s and Mark Bishop – husband of Liz – are catching up with her and with Rev Paul Swadling who used to be the Minister at St Margaret’s.
There’s Fiona Edge – graphic designer (whom I first met when she did design work for the Deafness Forum of Australia when I was its CEO for 10 years) and with personal links to ‘pling (Kevin Prideaux, 1955-2018) who was deeply respected within the arts community for his continued passion, love and support. His photographic legacy is an immense record of the Canberra theatre/music scene from 1970s – 2010s. It is his photographs that feature in Joel’s book and on Fred Smith’s video of his song about David.
Ben Drysdale – actor, director, drama tutor, musician, events coordinator and Creative Producer at Canberra’s Rebus award-winning, mixed-ability Theatre Company in Canberra, which seeks to stimulate social change and healing and with which Joel performs – is enjoying a beer whilst chatting with Fiona Edge and Fred Smith.
The book launch was over. Joel had much to be pleased about – not the least the large volume of book sales! His family and friends were proud of him. And the launch was a fine celebration of David in a place where he is permanently remembered.
Group exhibitions can be awkward to review because of the diversity of imagery subject matter and quality. This exhibition has a specified theme but, like all themes, it was open to wide interpretation and, unsurprisingly, the images in it approach portraiture in differing ways. Overall, the quality of the prints is high as we would hope in such a show, although I was disappointed with a small number.
So, what is on display in this, the 15th annual National Photographic Portrait Prize (NPPP)? With its Living Memory theme having been set to acknowledge the seismic events of 2020, it was hoped entries would offer a powerful and historic visual record of the year that was and would capture the unique ways in which we as individuals, and as a nation, responded to it. Many of the images on display certainly show both the photographers and their subjects responding to the dramas of 2020. Others, though, do not – in my view. Nevertheless, the diversity and quality of the artwork combines in a powerful visual exhibition.
In shows such as this I always look for works by locals and other people whom I know personally, and images by artists whose work I have long admired. This year I found a familiar work by local Marzena Wasikowska – A Covid kind of day, from her series Negotiating the Family Portrait 2011-2021. I wrote about that series here earlier this year, noting that this is the fifth time an image from the series has been a NPPP finalist.
I also found two images by Canberra Times photographer Dion Georgopoulos, both taken after the firestorms and previously seen published in this newspaper. I consider Wandella Firestorm, 2020 to be the more powerful of the two but The Salway Family is also a fine portrait with a father and nephew placed before a devastating background.
One of the represented photographers whose work I always appreciate is Tamara Dean. The Goodall Boys, 2021 came from Dean finding beauty in her immediate environment and being inspired to create photographs of the people and places she was surrounded by when unable to venture further afield. That is an experience most artists shared in 2020.
Two of the most powerful images displayed are side by side and both feature emotionally charged situations. When Rachel Mounsey photographed Max, 2020 her subject said ‘All has been erased. Nature has to come back through a black, blank canvas. It’s a lamentable game of survival, but beautiful to watch.’ The resultant image successfully conveys that. Alongside it is Matthew Newton’s Anna, 2020 showing peaceful activist Anna Brozek standing determined, tall and proud on the remains of a logged tree in Tasmania’s precious old growth forests. Her message could not be clearer.
But what of the winner and other awarded images? I have read considerable commentary elsewhere about the winner – a familiar scene (of a farmer walking towards a dust storm), hard to understand why certain photos win these types of Prizes, what does it reveal about the person? Whether or not those are valid comments, there is no denying the emotion the winning work and other awarded images convey.
There are numerous works in this diverse exhibition that we all need to study and explore, especially the few type C prints such as Kalyanii Holden’s beautiful The Cat’s Out Of The Bag.
I could not look at one work as it had been covered. The person depicted has recently passed away. I applaud the Gallery for respecting Indigenous cultural protocols while the person’s family and community are consulted regarding their wishes.
This review was published on 6/11/21 by the Canberra Times here. It is also on the Canberra Critics Circle blog here.
Marzena Wasikowska | Negotiating the Family Portrait
Canberra-based photo artist Marzena Wasikowska has built a name for herself over the years. Since 2000, when she completed her Master of Visual Arts at the ANU, she has had more than a dozen solo exhibitions (as well as being in numerous group exhibitions). Her works are in several public collections, and she also has been publicly commissioned on a number of occasions. Wasikowksa has been successful in various major competitions, including being a finalist in the National Photographic Portrait Prize (NPPP) five times.
Now, Wasikowska has been selected as one of the winners in the 2021 Lens Culture Street Photography Critics’ Choice Awards. Joanna Milter, Director of Photography at The New Yorker selected the series Negotiating the Family Portrait 2011-2021 for an Award. Experts, such as Milter, explored entries from across the globe to select their top three personal favourites. There’s no jurying as a panel; just choices made individually by each of the expert critics.
Images were submitted by photographers from over 150 countries and twenty-one critics chose individual photos and series that captured their hearts. Explaining her choice of Wasikowska’s series, Milter described the images as lively and noted that the artist “purposely captures those instances before everyone is in place. Yet she understands that the presence of a photographer changes everything; even in seemingly offhand moments, her subjects are performing for her camera.”
The ten images in the series have been captured over a decade – indeed it is five of them that have been finalists in the NPPP. Wasikowska says the series title summarises how she thinks about the act and procedure of making family portraits for public viewing. As we all should be, she is keenly aware of the discussions and negotiations of private and public – what to exhibit and what to keep private. She suggests, and I agree with her, that image makers tread a fine line when contributing to the dialogue of family portraiture while revealing something candid but not uncensored.
We have all experienced difficulties taking photos of getting people to smile, not hold fingers above heads, and not hide behind taller folk. Wasikowska has solved those problems. Whilst saying she longs for them to be the actors in her images, she also expresses her hope that each photograph holds the essence of a genuine, personal event, for herself and each of them. These annual portraits of her immediate family are a highlight of her portrait photography, summarising the previous twelve months.
In one image, every family member has brought their year’s story to the table.
In another, one of two young children appears to be struggling in the arms of the adult holding them, most probably longing to be put down and set free to again explore the camera equipment now being used to capture them.
And then another image is filled with visual symbols for the conflicting extremes associated with this dreadful pandemic affecting each and every one of us in various ways; some the same for us all, others different for particular individuals.
It is a delight to see these ten images together. They start with a relatively simple, yet exquisite, image of just two of the family.
Along the journey we see far more complex groupings of much larger gatherings of family members, in which the theatricality and performance style truly shines through.
We are members of an audience. Some may wish they were videos rather than just one still image of a moment frozen in time. But these are the precise moments that the artist selected and wants us to see.
This article was first published in the Canberra Times on 4/9/21 here. It is also on the Canberra Critics Circle blog here.
Beforehand – the private life of a portrait is about the backstories behind iconic works from the NPG collection and the creative and social process of making a portrait. It features excellent works in a variety of media, including thirteen photographic prints.
Entering the exhibition, the first things visitors can read is about storytelling. We are told a portrait captures a person’s presence in time as well as space; tells a story about lived experience – at times conveying a sense of the subject’s past and future. I suspect the vast majority of portraits, including selfies captured by smart phones today, tell very little about lived experience. However, those who are serious about creating good portraits would do well to think about telling their subject’s stories.
The exhibition takes us to the creative journeys behind the portraits, showing us working drawings, studies, scrapbooks, sketches and footage taken in studios or on location. Interviews with artists and sitters tell us much more; revealing relationships and connections between the two parties that generated the story being told.
An interview with champion woodchopper David Foster provides an excellent example of storytelling. Foster is pictured before a tree that he says has witnessed all the years of his family and the legacy of their championships. Photographer Jacqui Stockdale responds “Wow, what the tree saw” and uses that as the title for her image. The collaborative nature of their relationship produced a portrait capturing the essence of Foster’s story.
Greg Weight’s portrait of contemporary artist Lindy Lee shows her standing within one of her own installations. Weight is present with Lee and has captured her much as he might capture a landscape, connecting us with her creativity.
Ian Lloyd has also photographed leading artists throughout Australia. His portrait of the acclaimed indigenous artist Gloria Petyarre was taken as she applied layer on layer of dots on a canvas. The resultant image is remarkable, revealing clearly who she is: “an Anmatyerre woman from the Atnangkere country, near Alice Springs”. It is her country, her family’s country, the country she loves. Lloyd shows how his subject has touched and shaped many others.
When cyclist Anna Meares and photographer Narelle Autio met ahead of their shoot, both were delighted to learn that neither wanted Meares wearing lycra or riding her bicycle. Both wanted an image of who she was, rather than what she did. The image taken amongst the trees and rocks in the Adelaide Hills clearly shows something of her toughness; the dress she wears shows her femininity.
Peter Brew-Bevan’s image of the Artistic Director of the Australian Ballet, David McAllister, is stunning. It most successfully portrays the elegant motion of ballet, whilst delighting McAllister by showing what he describes as a “pensive moment”. The image reveals much about Brew-Bevan as well. His own energy is a major part of the shot’s energy, so it becomes a self-portrait of him as well as a portrait of McAllister.
In a similar way, Hari Ho’s portrait of Dadang Christanto is a document of a powerful moment of performance in both of their practices. All who have seen Christanto’s Heads from the North in the National Gallery’s Sculpture Garden, will immediately see and relate to Ho’s intentions here.
Most of us have followed Jessica Mauboy’s career, either closely or at least with some interest. David Rosetzky’s portrait splendidly conveys her energy. Every portrait in this exhibition reveals something of the stories of the subjects and it is well worth spending time with each work, thinking about what is revealed about lived experiences.
This review was first published in the Canberra Times of 30/1/21 here. It is also available on the Canberra Critics Circle blog here.