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Lake Boga photo-camp

The exhibition at the Swan Hill Regional Art Gallery has finished,  and Gilbert Roe and I  decided to add on a photo-camp at Lake Boga when  we  picked up our prints from the gallery. The  photo-camp, even  for a few days,  would allow us to explore the Mallee region  around Swan Hill,  and to build on the new beginnings that had we had either briefly scoped or seen whilst  we were in Swan Hill for the exhibition opening.

I had two large format  scenes lined up from the earlier scoping:  a 5×4 of exposed river roots along  the River Murray and a 5×7 of an edgelands scene near the Little Murray River  on Pental Island.  I also wanted to photograph  the deserted motels around  Lake Boga in the early morning light,   and then some of the shops in the township at Nyah West in the late afternoon.    That was the plan. The early morning motel photoshoot with a medium format camera went okay,  but I just couldn’t get it together at Nyah West in the afternoon.  Read More

black and white 35mm archives

After seeing how successful the history section worked  when it was  integrated into  the contemporary photos in the  2018 Mallee Routes exhibition at the Swan Hill Regional Art Gallery,   I remembered that I had  some black and white 35mm  negatives of the Murray Mallee in my photographic  archives.  Over the weekend I went back and  looked at the contact sheets of the pictures from my  initial exploration of  the South Australian Mallee  country in the  late 1980s. I was curious to see  these 35mm photos,   and to assess  if  they would be suitable to construct  a history section in the Mallee Routes exhibition at the Murray Bridge Regional Gallery in early 2019.

I have not seen these 35mm pictures since they had been  sleeved and filed away in  the  1980s.   I had previously only looked at the large format b+w ones that I had made with the 5×7 Cambo on the same road trips,  when I  was   selecting  a couple of  my images for  the history section of  the 2018 Swan Hill exhibition. This land had been permanently altered  for  agricultural production. 

 

From what I could  judge  from looking at the contact sheets of  these 35mm images, these  were made on  a few day trips  to the Mallee  in the VW Kombi.   I recall that most of them were made with  Kodak Tri-X film using a Leicaflex SLR,   rather than the 35mm Leica M-4  rangefinder, that I normally used.   Surprisingly, I discovered that  there were  no medium format contact sheets of  photos of the  Mallee country  in the archives. Read More

new beginnings

The post’s title new beginnings refers to me starting   to scope work for  the 2018 section of the Mallee Routes project whilst I was  at Swan Hill for the exhibition at the Swan Hill Regional Art Gallery.    This is new work for the  upcoming group exhibition at the Murray Bridge Regional Gallery in early 2019. I want to present new work that has been made during 2018, rather than old work  made in 2017.  

It is a tentative start–exposed tree routes and low water levels along the Little Murray, which is an anabranch of the Murray River, and forms one side of Pental Island.  But it is a topical subject,  given both  the history of over extraction in the Murray-Darling Basin’s  rivers,  and the Murray-Darling basin plan, which was introduced in 2012 to return water towards the environment ($13bn in funding to recover water diverted to irrigation so as to  restore environmental  flows)  is failing to restore the Murray-Darling rivers’ health. There are not enough environmental flows in these rivers. Read More

exhibiting Mallee Routes at Swan Hill

Exhibiting  Mallee Routes  at the  wonderful Swan Hill Regional Art Gallery in Victoria  opened on Friday the 23rd March, was a great experience.   The exhibition  was the result of a years work photographing the  South Australian and Victorian Mallee by Eric, Gilbert and myself Mallee after our  initial exhibition at Atkins Photo Lab in Adelaide in late 2017.

It was  a successful opening with Mark Thomson giving an excellent opening speech based around the Mallee’s contradictions: the harsh,  flat country and the resilience of the people who lived and made the Mallee their home.  It expressed a sense of place.  Eric and Gilbert gave artist  talks about their work and the way they approached their photography on the Saturday morning.  What was surprising was that neither Eric nor Gilbert  offered any insights or responses to each other’s work, even though they would often travel together to photograph on  their Mallee trips. Surprising because  the Mallee Routes  project is a collaborative one. 

Eric and Gilbert both exhibited 30 A3 size prints each with Gilbert also providing a map of the Mallee.  I exhibited 11 A1 prints along with  a book of digital photos that I’d made whilst scoping  for the  film images in the exhibition.  The book  was printed by Momento Pro in Wellington, New Zealand,  and it was shown  at the Photobook/NZ festival, which  just prior to going to  Swan Hill  to help hang the exhibition. The historical section of the exhibition consisted of the 3 Lie of the Land images by Linda Marie Walker that were made in the 1980s, 2 black and white images of mine that were made in the 1980s and 6 images (black and white and colour) made by Eric in the 1990s. Read More

forthcoming exhibition at the Swan Hill Regional Art Gallery

The second exhibition of the Mallee Routes project is coming up. It will be at the Swan Hill Regional Art Gallery from 23rd of  March to the 6th of May 2018. The exhibition   represents new work, namely work  that has been made  by Eric Algra, Gilbert Roe and myself since our  initial exhibition at the Atkins Photo Lab’s gallery in late 2017.

The Swan Hill exhibition will include a historical dimension in that there will be a section of  photos of the Mallee that were taken  prior to our project. This will  be a section of photos that I have come across in my research  and  posted in the history gallery on the website.   This  historical dimension is designed to indicate that there is  a photographic culture with respect to photographing the white settler’s  history of the  Mallee. Read More

history of water in the Mallee

As is well known, the history of the Mallee is one of an extensive clearing of  the Mallee scrub woodland and then substantial engineering efforts  to pipe water across the semi-arid Wimmera region. Whilst searching for photos  for the history gallery,  and  for the historical section of  the forthcoming exhibition at the Swan Hill Regional Art Gallery in March 2018,   I came across some historical images relating to land  clearing and water infrastructure to establish the expansion of  rain-fed agriculture into arid  lands.

These ‘development’ pictures  of the settlement of the wheatlands  show a pioneering settler world that has disappeared into the archives of the state and national libraries. The heavy roller (scrub -bashers) and the subsequent stump-jump plough were 19th century technologies associated with heavy, slow hand labour and peasant agriculture.

This was domesticating the land—  clearing, settling, organising and establishing and agricultural industry on marginal lands by the pioneering settlers.  They had high hopes  and big dreams for this agricultural  frontier after 1918.  What enabled the agricultural expansion was a big investment in railway networks,  public works and  roads  in the early 20th century.

Once  the marginal land had been  settled and the wheat industry established  technology in the form of  the internal combustion engine  (tractors, cars and trucks) and increased mechanisation made life and work easier by the 1940s.   It was drought that was  the big problem in these arid lands— it occurred in  1914-16, the early 1930s, in 1945-6,  in 1957-9, and 1965-66–and resulted in the failure of soldier settlement schemes, farm bankruptcies, foreclosures and widespread  soil erosion.   Drought, high winds, and constant tillage to increase crop rotation eroded the land and lead to the  widespread dust storms.    Read More

Irrigation and the Mallee

When  I was at the Morgan photo camp   with Gilbert Roe  in early November I  noticed that  the stretch of land around Morgan and Waikerie   was increasingly being transformed  by the ongoing clearing of the original mallee scrub and its  replacement by irrigation in the form of irrigated agriculture.  This is a  landscape is one of red sands, the Murray River and  gum trees and the horticultural crops now being grown appear to be primarily critus fruit (mandarins and oranges)  and vines. It is an extensive transformation of the land.

This transformation is an  indication of the ongoing  history of the continual  clearing of the Mallee scrub in this  region. From what I can gather it started  when soldier-settlers returned from World War I and grew grenache and palomino grapes for the big wineries to make generic sherries and ports.  In the 1960s and ’70s,  the emerging Australian thirst for table wine required huge quantities of sweet white gordo and sultana grapes to fill flagons and casks of fruity moselle. Through the 1990s and early 2000s it was sunshine-in-a-glass chardonnay and shiraz exported to the supermarkets in the  UK in bulk.

 

Even though this part  of the South Australian  mallee is above  Goyder’s Line, the extensive irrigation based on the  extraction of  water from the River Murray overcomes the lack of rain. The water for irrigation is based on a water entitlement (calculated based on crop area and crop requirement) with the total usage capped by State legislation. Any expansion  comes from either  buying up properties or water trading.  The region has a high vulnerability and high dependence on water  whilst  the community has limited options and a low ability to cope with a reduction in water allocation.

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finally, another photocamp: Morgan

I leave  Encounter Bay tomorrow for a 5 day photocamp at Morgan in South Australia with Gilbert, even though  it is a little late in the year  to be photographing in the SA Mallee.  I haven’t been able to get away on a phototrip to the Mallee as I’d  previously planned,   due to  the need to  kickstart  the Adelaide Photography 1970-2000 book.

I am hoping that the weather  in early November is reasonably cool (it does not get too hot),  the mosquitos are few and far between and there is some cloud cover .

Though I haven’t been able to go on road trips in the Mallee  during the late winter and early spring  months,.  I have been looking at other bodies  of work that bear some kind of  resemblance to Mallee Routes.  One is  the Desert Cantos by  Richard Misrach, a  significant and  remarkable body of work of the deserts of the American West, begun in 1979.  It  is evaluated in this essay by Gerry Badger.
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topographic photography + trauma

Can trauma be connected to a topographic approach to  photographing the Mallee?

I have been mulling over this whilst  I put the  Mallee Routes  project aside for a month or so,  so that  I could  work on the Adelaide Photography 1970-2000 book, which is  to be produced by   Adam Dutkiewicz and myself for Moon Arrow Press in 2018.  The Adelaide Photography project  has been kickstarted, as it were, and the break has been beneficial.

The reason I  started to think in terms the topographical approach to my photography  on the Mallee  Routes project is that the topographical approach is roughly seen in the art institution as being  observing the word in a sort of detached way,  so as  to show you something that was always there but that you didn’t see before. This approach is also held  to  characterise what the art market has called the  Düsseldorf School of Photography, even though this photographers are diverse and conceptually orientated.  Read More

In Birchip: reflections on landscape photography

I briefly explored in and around  Birchip  during  the Hopetoun photo camp in July, looking for material  for a large format photoshoot.  Birchip is  in the WimmeraMallee region of Victoria.  It is situated in mostly wheat country,  and it lies between Donald in the south, Sea Lake in the north, Hopetoun and Warracknabeal in the west  and  Boort and Wedderburn in the east.

This is a pretty amateurish photo–it was exposed at midday using my  Sony NEX-7 digital camera.  This is not a good time to photograph using  digital  technology,  especially when photographing into the sun. Hence the flare.   However,  the composition  is okay,  the picture  suits  the 5×7 format,  and the softer light of the  late afternoon or  flat  light would work.  So the scoping has done its job. I have something to work on and work with.

But how to do this  photographically?

The scoping picture  is a deadpan image of an unexpressive and repetitive subject  that appears impersonal, blank and boring. It repeats the same idea–silos in the landscape— in different ways whilst  avoiding the artistic subjectivity and narrativity represented by photojournalism.  There is no event in this picture,   there is little human interest, and no first hand witness to pain and suffering associated with tragedies.  It is not a subjective documentary of the auteur photographers such as Diane Arbus, Lee Friedlander and Gary Winogrand in the US or Carol Jerrems in Australia. Nor is it an architectural photograph that celebrates the building and  the style of the master architect.

Instead we have a cool, distanced view of ordinary, everyday subject matter that many  would tend to characterise as ‘neutral’ or ‘objective’. For many it is the  blank gaze of a deadpan photography –what you see is what you get. This is it. Most would see it as unexciting, emotionless,  dull, flat and boring.  Mind numbing. Read More