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Ballarat International Foto Biennale 2017: Fringe

From what I can judge, it looks as if  the Ballarat International Foto Biennale  2017 (BIFB17) is starting to come together. It has a online public space as the new website has gone live.    However, there is nothing yet  about the photographers who comprise  the core programme,  what the 2017 Biennale is trying to achieve in relation to contemporary Australian photography, or what the issues the  symposiums and talks will address. My understanding is that the full program will be released in April,  with glimpses and reveals being unravelled from late January.

At this stage, apart from the portrait and icons photographic competitions, there is little public information about either the content or the  approach of the biennale.  Given that  her background  is in graphic design and strategic branding, rather than art  festival directorships  or in photography,   it is hard to form  a sense of what Fiona Sweet’s first  Ballarat International Foto Biennale will be like. Given the emphasis on visual narrative in  her   design background it will be interesting to see what  the core  idea of the Biennale’s  graphic design and visual campaign will be,  and how she will grow the regional and national brand so that it becomes a global centre for the photographic arts.

Registrations for the Fringe Program were recently  opened, and we have applied  to exhibit work from  the Mallee Routes  project in one of  the Fringe spaces.  We want to show some recent work –ie.,  some of the pictures  that we have made since our initial exhibition at the Atkins Photo Lab’s gallery  in late 2016 that explore place through the language of loss, land, culture and memory. In this mapping of  photography to place the images map critical histories, preserving place and memory by giving voice to the invisible stories. This mapping of photography to place  uncovers  traces and share experiences of places that transform over time.

 At this stage we are currently waiting to hear if our application for a particular space in the Fringe  has been successful.    Read More

painting the silos

One innovative  representation of the Victorian Mallee that I came across whilst on the Hopetown phototrip  in 2016  was the murals that were being  painted on the silos throughout  the Victorian  north-west Mallee. One  notable example was the mural on GrainCorp’s disused silo at Brim,  which  had been  painted by the Brisbane street artist Guido van Helten  in collaboration with the local community.

This site  has become a tourist icon in the Wimmera,  judging by the number of  people I saw who were  stopping, photographing and talking about it:

 

The individuals in the mural  are unknown as the mural is about  place,  community and the whole Wimmera region which has been struggling through drought. It suggests that it  is still a tough life  to keep  the farm going.  The work represents  the struggles pf the people in the Mallee in coming to terms with their place  at a time of immense economic pressure and climate change.  Read More

wheat

The wheat was everywhere  whilst I was on the Hopetoun road trip.  I took a few 35mm snapshots  of the dryland wheat fields with my  old  film Leica (an M4-P) whilst I was on my way back to our  campsite at Hopetoun  from Sea Lake. I’d been to Lake Tyrrell  that afternoon to look for the remains of an old salt works butI didn’t have much luck. I just couldn’t find it.

The wheat field  was somewhere on the road after I’d passed after Woomelang. It was a quick snap because I was hit by a swarm of mosquitos I was taking photos.   The mosquitos made it  impossible to spend  the time setting  up a large format camera to photograph this wheat field in the late afternoon light.     

It was just on the cusp of harvest time when I was there. It looked as if it was going to a bumper harvest, due to all the winter rain. That probably meant low prices and high rates of on-farm grain storage. A bumper harvest  does mean income  for famers and that, in turn,  means that they are able to pay off debt. Read More

Mallee abstractions

Whilst I was on the   Hopetoun road trip in the Victorian Mallee in 2017 I experimented with photographing with black and white medium format film and with making some industrial  abstractions.  I wanted to broaden the way that I was photographing and I thought that black and white would work quite well  with some subject matter in the Mallee.

This is an example from a photoshoot on a trip to  Rainbow and Warracknabeal. It was over 40 degrees when  I was scoping around Warracknabeal and I ended up wandering around an abandoned flour mill site  at midday looking for some subject matter in the shade. I came across a couple of old   water tanks and made some abstractions synthroid price.

The black and white photos were not that successful as I failed to expose the  contrasty subject matter  properly,  whilst  the development  of the negatives by Black and White Photographics was overdone.  Basically, they overcooked the negatives despite instructions to do the opposite. I realise that if  I am to continue to work with medium format black and white film on the Mallee Routes project,  then I am going to have to develop the negatives myself. I need greater control.    Read More

where photography meets philosophy

I ‘ve been  in the process of reworking the  little speech that I gave at the opening exhibition of Mallee Routes at  the Atkins Photo Lab in Adelaide in late 2016. It has been posted on the text  tab on the website.  The speech, which was designed to link photography to the Humanities,  was based around a quote by  G.W.F. Hegel on philosophy that is towards the end of the  Preface to his Philosophy of Right (published in 1821). This is the quote:

When philosophy paints its grey in grey, then has a form of life grown old. Philosophy cannot rejuvenate it, but only understand it. The owl of Minerva begins its flight only with the coming of the dusk.”

In  the speech I suggested  that if we replace the word philosophy with photography,  then we could  see some affinities between  Hegel’s text and the photography in the Mallee Routes project. The affinities include: the monochrome painting of grey in grey; the Mallee as a form of life grown old; photography cannot rejuvenate this form of life only understand it;  photography takes place at the coming off dusk.

The speech then unpacked what this could mean for photographing the Mallee project through interpreting (or a making sense of) Hegel’s quote.

What I wanted to avoid in taking  this approach was  a melancholy interpretation of Hegel’s quote, and in turn,   the  photos in Mallee Routes project.   On this interpretation  photographing the Mallee is a form of  nostalgic mourning for a 20th century  form of life that is passing away, a late photography  is a way  of preserving  the traces of a life that has passed, whilst  finding it difficult to accept what has been  lost.  Hence there is a  mourning for what is being lost.  Read More

Antecedents

Whilst I have been working on images to build up my digital and film galleries   I have been searching for some Australian antecedents to my documentary approach to photography  for the Mallee Routes project. Who has been here before? What approach  to  documentary photography did they take? Is there a  body of work that exists in the archives? Or do the archives mostly consist of vernacular photography   as the history gallery is suggesting? What does the Australian documentary tradition look like? In what ways have  the tensions in  photography’s ambiguous status as art object and  documentary information been dealt with?

One of the antecedents that I found was  the work of Geoffrey Collings, a designer, film making and photographer who worked in the documentary tradition established by  John Grierson,  the  leader of the British documentary movement, the American filmmaker Robert Flaherty, and the work of the Farm Security Administration (FSA). Under Roy Stryker, the latter  employed photographers such as Walker Evans, Ben Shahn and Dorothea Lange from 1935 to 1943  to  document the impact of the Great Depression on rural America,  to  show the necessity and effectiveness of New Deal agricultural programs, and to to sway public opinion in favor of the Roosevelt administration’s economic recovery programs. Read More

a side-trip

I took the opportunity to make a  side-trip into the  Victorian Mallee when  I was transporting  the prints from the Weltraum and Abstraction x 5 exhibitions to my fellow  photographers—Stuart Murdoch, Judith Crispin and Jeff Moorfoot-— to the pick-up points of the Ballarat/Lyonville meet up near Melbourne.

It was a quick side-trip. I  drove north-east  from Horsham into the Wimmera-Mallee passing  through Jung, Murtoa, Rupanyup and Marnoo to St Arnaud,  before then driving down to Ballarat and Lyonville on the Sunraysia   Highway. St Arnaud is the eastern edge of the Wimmera-Mallee and lies outside it.  It  is in the north Grampians and just north of the Pyrenees wine district. I didn’t know this area of the Wimmera-Mallee at all.

The reason is that I would normally  drive straight to Melbourne from Adelaide via Nhill, Horsham and Stawell along the Western Highway. I would sometimes stop for lunch at Horsham, or stay overnight if I’d  left Adelaide late in the day.   I never made any side-trips north into the Wimmera-Mallee.  Why would you? There’s not much there. It’s the cities that are of interest.  I guess this is what a lot of people do when they are travelling between Melbourne and Adelaide:–they  stick to the modern highway between the two capital cities and  they try to get to their destination quickly with as few stops as possible.

Holden Sales,Nhill

My basic plan was to retrace my steps along the  Wimmera Highway on my  return journey from  Melbourne to Adelaide,  if I found interesting subject matter from the exploring these byways,  and  if  there was more cloud cover during the day. I had packed  both the 5×4 Linhof  Technika and the Rolleiflex SL66 for this purpose.  So my fingers were crossed.   Read More

Eric and Gilbert’s day trip

Mid September I was in Adelaide and caught up with Gilbert for a day trip into the Mallee Country.

We didn’t travel very far but made many photo stops. The day was cloudy which is pretty rare out there. This suited me fine as I love working with the light on such days. Unfortunately it wasn’t so good for Gilbert. The wind and occasional shower made pinhole photography difficult. Regardless, it was a great day out, giving us the opportunity for much discussion about the Mallee Routes project and photography in general.

jabuk-2

Jabuk-2

jabuk-1

Jabuk-1

gilbert-at-work

Gilbert at work

Hopetoun phototrip

With the initial exhibition of the Mallee Routes project Atkins Photo Lab finishing at the end of November I interrupted the archive project I was working on  to go on a  photo roadtrip to Hopetoun to  build up my archive for the next  exhibition, which has been planned  to take place in 2017.  Two  overcast days after a big  storm  provided me with an opportunity to  spend several days in the Wimmera Mallee, initially  working on the silo project  around Murrayville whilst the cloud cover remained. I then linked up with Gilbert and Eric at Hopetoun to explore the north western mallee region  of Victoria.

This was the first time on the project that we worked and camped together.  We were on the cusp of the summer,  and though we only experienced one very  hot, dry day with a north westerly wind, the recent heavy  spring rains meant that there was a lot of stagnant, standing   water lying around the countryside.   This meant  that it was a good season  for  the mosquitoes,  and we experienced   plague  proportions of them, which, in turn, made camping at Hopetoun rather difficult.

railway shed, Hopetoun Wimmera

Though I’d seen the Hopetoun  photos  of Leanne Cole on the web the  area around Hopetoun was  new territory for me. This is wheat country in the form of agri-businesses–ie., corporate farming— with its  agricultural history one of achieving and celebrating human mastery over an  unruly nature.  On this road trip the farmers were starting to harvest their crops; the grain silos were being worked on, the wheat trains were on the move and the trucks were coming and going carrying wheat from the individual farms to the various silos.  Read More

rust + scrub

I have a phototrip to the Victorian Mallee planned around  the 12th-15th November. The trip  is in two parts: a camp at Murrayville on the Mallee Highway on my own for two days so that I can  continue to work on the silo project and to look around the area for the Mallee Routes project,    and then a camp at Hopetoun with Gilbert Roe and Eric Algra so that I can  explore the area around the Jeparit/Hopetoun/Sea LakeLake Tyrrell region around   the Calder Highway.

I’m going because cloudy conditions are expected in this region of the Victorian Mallee for several days. These kind of conditions are  few and far between, as the weather in the Mallee is normally  bright, sunny and cloudless, and so not all that suitable for my  style of photography.

Ruins, Murrayville

I briefly walked around Murrayille on my way back from the Lajamanu trip,  and it looked to offer  photographic  possibilities  with respect to  both the decay and the quirkiness  of  the Mallee. Read More