As mentioned in this previous blog post the last collaborative exhibition of the 3 year Mallee Routes project will be held at the Murray Bridge Regional Gallery. It involves the 3 original photographers– Eric Algra, Gilbert Roe and myself— plus two extra photographers— Stuart Murdoch and Lars Heldmann. I will have a limited edition photobook in the exhibition which supplements my prints.
The exhibition opens on December 8th 2019 and it closes on January 13th 2020. The opening speech will be given by Melinda Rankin, the ex-director of the Murray Bridge Regional Gallery, and now Director of Fabrik Arts & Heritage at Lobethal. Fulvia Mantelli, the current director of the Murray Bridge Regional Gallery, will take the artists through their work from 1-2pm.
The exhibition uses the 3 gallery spaces of the Murray Bridge Regional Gallery–the Jean Simms Gallery, the main gallery and the Sculpture Court gallery. The work in these spaces is organised along the lines Absent History, Space/place and Unknown Futures.
I have finally put together a pdf of a new limited edition Mallee Routes photobook in collaboration with Paul Atkins from Atkins Lab. Paul’s knowledge and help with the book design and the editing of the images was crucial the production of the pdf. The pdf has been sent to Sydney to be printed by Momento Pro and a quote has been received and accepted.
Entitled Mallee Routes: Photographing the Mallee 2019, the book consists of a series of scoping images made with small, handheld cameras. It is designed to supplement my framed prints in the upcoming collaborative exhibition at the Murray Bridge Regional Gallery in December. It is similar in style to the earlier 2018 book, but unlike that one, it is divided into three sections–‘absent history’, ‘space/place’ and ‘unknown futures’. These are the sections in the exhibition and they correspond to the 3 galleries.
This picture of a door of a deserted house on the Mallee Highway in Victoria is an out-take from the central space/place section of the book:
The limited edition Mallee Routes: Photographing the Mallee 2019 is a concertina style book with minimal text about the Mallee country. The quality has been improved: the book has a hard cover, better paper and improved colour. It is more of a traditional photobook–a book of photos– than an artist book, as the latter is basically an art object in the form of a book.
Surprisingly, the Wimmera Mallee trip turned out to be an addition to the Mt Arapiles photo-session with the Melbourne-based Friends of Photography Group, rather than the reverse. The reverse was what I’d mapped out prior to going on the photo trip.
My time and energy was taken up grappling with the nature photography at Mt Arapiles, rather than actually spending lots of time photographing in the Wimmera Mallee. The latter is what I’d initially set out to do.
One of the Wimmera images that I wanted to rephotograph in the late afternoon light for the space /place section in the forthcoming exhibition at the Murray Bridge Regional Gallery was this old flour mill in Murtoa:
I wanted to represent the boundedness or enclosing around of place, rather than understanding place in terms of a nodal point that gathers various spatial trajectories and flows. Boundedness–or rather, a bounded openness– is what is primary in the concept of place.
The weather was against me staying any longer in the Wimmera Mallee after my overnight stay at Lake Marma at Murtoa. The weather quickly became bright and sunny after the wet, windy weather that I experienced over the weekend camp at Mt Arapiles.
I am planning to make a quick return to the Jung and Murtoa region in the Wimmera Mallee whilst Suzanne is walking in Lord Howe Island. I am piggybacking on spending a weekend (6th-8th September) with the Friends of Photography Group (FOPG) at Mt Arapiles in Victoria’s Wimmera plains.
FOPG are a Melbourne-based large format film landscape photography group who make a number of day excursions together during the year as well as a couple of weekend ones. They also have frequent print viewings and a yearly exhibition. The FOPG group was formed in 2015, and it is led/facilitated by David Tatnall, who also writes the very impressive View Camera Australia blog.
Hence my interest in linking up with those large format photographers in Melbourne who are working outside the photographic industry; even though I am on the margins of the FOGP group, as I am not a wilderness orientated landscape photographer and I don’t print my negatives in a wet darkroom.
I have taken the opportunity kindly offered by a group of people who are walking the Lavender Trail to join them for a 5 day camp at Tanunda in the Barossa Valley this weekend (22nd-27th August). My designation is a non-walking member of the group, which means that instead of walking the different parts of the Lavender Trail each day like the others, I will be out photographing in the Murray Mallee.
The plan is to travel each day from the Lavender camp at Tanunda over the Mt Lofty Ranges, across the agricultural plains (via Kyneton and Sedan) to Swan Reach on the River Murray. I then drive into the country on the eastern side of the river to photograph within the western region of the Murray Mallee.
Initially, I will be endeavouring to complete the work which I was unable to do on the earlier trip to Galga and Copeville. I will photograph some landscapes to construct a Murray Mallee suite to be included in the Mallee Spaces/Places section in the main gallery of Murray Bridge Regional Gallery for the 2019 December exhibition.
Some might say that this photography is journeying through space to undertake some mapping. But it is more a writing, or a photographing, of place; or at least an attempt to adopt a topological approach.
I mentioned in an update on the Claypan post that I needed to make another trip to the Copeville and Galga area of the South Australian Murray Mallee to pick up where I’d have left off. As I mentioned, the previous trip had been cut short, as I’d neglected to take my sleeping bag; and it was too cold to continue sleeping in my clothes in the swag in the early winter month of June.
I plan to start the Copeville/Galga trip within a week so— definitely after the current high winds and stormy weather. I will initially return to stay at the limestone quarry at Copeville, as there are not many public spaces in this part of the Murray Mallee— just unsealed roads between fields. The quarry is a sheltered space away from the roads, and it is preferable to swagging within the sparse roadside vegetation on an unsealed road.
I leave for a short photo trip to Claypans in the Murray Mallee in South Australia tomorrow morning (Saturday 15th, June). It’s only for a couple of days, to allow me to do some black and white photographs of some of the scenes that I’d scoped when returning to Adelaide from the Wentworth trip. I will also explore around the nearby Copeville and Galga region.
The images are for the Absent History section (in a side gallery) of the upcoming Mallee Routes exhibition at the Murray Bridge Regional Gallery in December 2019. The other sections of the exhibition are Mallee Spaces (the main gallery) and Unknown Futures in another side gallery. The side galleries are a supplement to the core exhibition in the main gallery.
This sandstone church at Claypans is one of the scenes that I want to rephotograph with the 5×4 Sinar f1 and the Cambo 8×10. The digital colour version of the church, which can be seen here, is not suitable for the Absent History exhibition.
I am the only one in the group who is substantively interested in creating a body of photos from an absent history perspectives. This is a different perspective to that of photographing what currently exists in the various regions of the Mallee, since it explores a history that has been lost and forgotten in the present.
Prior to the Wentworth photocamp on the Darling River I spent some time in the Victorian Wimmera thinking about, and scoping for, a series of images that I planned to call the Yarriambiack suite. Would this be a goer?
The trip involved a lot of travelling. I went to Wentworth via the Dukes Highway and the Victorian Wimmera (Murtoa, Donald, Lake Boga and Swan Hill) and I returned to Encounter Bay via the Goyder Highway, Morgan and the South Australia Mallee.
I set up the tent for the 4 days I camped at Wentworth, and swagged the rest of the time that I was on the road. The stopovers at Murtoa, Donald, and Swan Reach were only over-night stays.
Whilst I was driving around the Victorian Wimmera I thought that a Yarriambiack suite would work for the Mallee Spaces on a back wall in the central gallery of the Murray Bridge Regional Gallery for the upcoming exhibition in December. The suite would be a series of photos of the Yarriambiack region –say a series of 4-5 images — that would represent different aspects of the different aspects of the spatial dimension of the Victorian Wimmera.
So I spent a day or so driving around the Wimmera and I ended up concentrating on scoping the ephemeral Yarriambiack Creek. I was looking for places where there was no water in the creek, as I already had some photos of water in the creek near Jung from a previous trip.
I am planning to go on a photocamp at Wentworth and the lower Darling River next Thursday (25th of April) for the Mallee Routes project. I want to travel slowly to Wentworth as I need to spend time in the Wimmera Mallee region, retracing my steps from an earlier exploration. I will probably stay over night at Murtoa or Donald before going onto Wentworth.
My plan in the Wimmera is very dependant on the weather, but I hope to photo the Yarriambiak Creek near Murtoa, the silos in the landscape at Jung in the early morning; then some old machinery at Donald in the afternoon. These sites had been previously scoped when I made a detour on the trip to Melbourne.
The Wentworth photocamp will allow me to explore the lower Darling River, to see if I can make any photos for my climate change contribution to the unknown futures section of the upcoming 2019 exhibition at the Murray Bridge Regional gallery.
The photography in the forthcoming Mallee Routes exhibition in late 2019 will now be spread across the Murray Bridge Regional Gallery’s three galleries, namely, the small Jean Symonds Gallery, the large Main Gallery and the small Sculpture Court gallery. These three galleries are linked and this gives the exhibition a unity. The overall exhibition is organised in terms of past (in the Jean Symonds Gallery), present (in the Main Gallery) and future (in the Sculpture Court gallery.) So the 2019 exhibition will be more conceptual orientated than the 2018 exhibition at the Swan Hill Regional Art Gallery.
The photography in the Sculpture Court emerges from an exploratory nomadic roaming about, and it will be more experimental in content and presentation than the photography in the other two galleries. It will explore themes such as climate change, water, C roads and salt. These themes are part of the specific and complex historical quality of our present, its contemporaneity. It is experimental in that the photography is no longer subservient to the debilitating effects of cliches about the Mallee or drought; it is one that endeavours to adapt the critical potential of the arts to both the new global /digital situation today and the problems that those in the Mallee will face. Since the work is a looking towards unknown futures, the photography necessarily crosses the bounds of common sense to make relations and connections within possibilities not already given in the present. The question that is posed is: how can photography explore this futurity in relation to the Mallee?
The theme that I will personally start to explore is the future effects of climate change in the Mallee based on the CSIRO’s State of the Climate 2018 report, which is the latest biennial snapshot of climate change in Australia. This report says that climate change superimposed on natural variability will continue in the decades ahead. Australia, as a result, will experience more hot days with decreases in rainfall across southern Australia with more time in drought. Water is going to become even more critical so will the health of the Murray-Darling Basin’s rivers and the sustainability of the land. It will be difficult to move beyond the cliches of photojournalism and the myths of Australian history.
The photographic explorations of the different themes can be understood as an experimental crossing of borders to explore the ‘same’ conflictual reality and unknown futures in diverse ways. This involves new ways of thinking, seeing, talking, as these arise from the particular circumstances of the contemporary, which contracts the future into the present: the contemporary is a disavowal of the futurity of the present. This photography about the Mallee’s unknown futures is based on the artist as experimenter or cartographer, working in the zones of the contemporary world where processes may go off in unforeseen directions or function in unregulated and different ways. Read More