Jeremy Piper - The Creation of Oculi and The Intensity of Political and News Photography
Christian: I wanted to discuss your inception into photography, you stated that you “were in the darkroom in high school.” How were you first inspired by photography? Is there anyone in particular that incentivised you?
Jeremy: The darkroom for me was a place where I learnt my craft , when photography was a craft. the chemical processes , the mixing of chemicals , pushing films from 800iso to 1600 iso , watching the print appear from the tray after fine tuning the printing process after many mistakes both shooting and processing. Photography was something I fell into with open arms. The equipment was basic , all manual cameras and focusing , 36 maybe 37 frames if you were lucky on the roll and discovering what you had only after you processed it. The pathway I went down was newspapers and press photography , after leaving school I began as a copy boy , which would go and grab the lunches and pick up envelopes full of undeveloped film from photographers out on assignment. Photographers were out shooting sport, politics , breaking news events , the days were full and exciting , I had become hooked on the buzz of the culture. Everyday was different from the last.
Jeremy: I eventually got a cadetship and began processing the film and printing the negatives and shooting . The darkroom in its day was massive , it was the hub of everything. 28 enlargers all in one dark room, all full constantly with photographers printing for the next edition. It was fun, there were plenty of great characters with so much experience to learn off , that was the best part and one that I am most grateful for, learning off those that came before us, incredible photographers. I dabbled in it and could have gone the fashion photographer way or even made heaps of money doing advertising but I chose to stay with the side of the industry that told history , I saw it as that. News-makers that were able to see the best and worst of life everyday. Fashion bored me but was inspired a lot by the magazines and the Helmut Newtons of the fashion world.
Christian: I wanted to ask about your idea of “photography”. It is quite evident that your photographs address political and social problems that are constantly circulated throughout news outlets globally. I wanted to ask, what is your reason for photographing, and specifically, the subjects you photograph?
Jeremy: I dabbled in it and could have gone the fashion photographer way or even made heaps of money doing advertising but I chose to stay with the side of the industry that told history , I saw it as that. News-makers that were able to see the best and worst of life everyday. Fashion bored me but was inspired a lot by the magazines and the Helmut Newtons of the fashion world. Shooting news takes its toll on you eventually emotionally , the physical act and the emotional scenes eventually wear you down. I am fortunate to be able to experience these scenes and have for many decades , but at a cost.
Christian: I wanted to discuss your inception into photography, you stated that you “were in the darkroom in high school.” How were you first inspired by photography? Is there anyone in particular that incentivised you?
Jeremy: The darkroom for me was a place where I learnt my craft , when photography was a craft. the chemical processes , the mixing of chemicals , pushing films from 800iso to 1600 iso , watching the print appear from the tray after fine tuning the printing process after many mistakes both shooting and processing. Photography was something I fell into with open arms. The equipment was basic , all manual cameras and focusing , 36 maybe 37 frames if you were lucky on the roll and discovering what you had only after you processed it. The pathway I went down was newspapers and press photography , after leaving school I began as a copy boy , which would go and grab the lunches and pick up envelopes full of undeveloped film from photographers out on assignment. Photographers were out shooting sport, politics , breaking news events , the days were full and exciting , I had become hooked on the buzz of the culture. Everyday was different from the last.
Jeremy: I eventually got a cadetship and began processing the film and printing the negatives and shooting . The darkroom in its day was massive , it was the hub of everything. 28 enlargers all in one dark room, all full constantly with photographers printing for the next edition. It was fun, there were plenty of great characters with so much experience to learn off , that was the best part and one that I am most grateful for, learning off those that came before us, incredible photographers. I dabbled in it and could have gone the fashion photographer way or even made heaps of money doing advertising but I chose to stay with the side of the industry that told history , I saw it as that. News-makers that were able to see the best and worst of life everyday. Fashion bored me but was inspired a lot by the magazines and the Helmut Newtons of the fashion world.
Christian: I wanted to ask about your idea of “photography”. It is quite evident that your photographs address political and social problems that are constantly circulated throughout news outlets globally. I wanted to ask, what is your reason for photographing, and specifically, the subjects you photograph?
Jeremy: I dabbled in it and could have gone the fashion photographer way or even made heaps of money doing advertising but I chose to stay with the side of the industry that told history , I saw it as that. News-makers that were able to see the best and worst of life everyday. Fashion bored me but was inspired a lot by the magazines and the Helmut Newtons of the fashion world. Shooting news takes its toll on you eventually emotionally , the physical act and the emotional scenes eventually wear you down. I am fortunate to be able to experience these scenes and have for many decades , but at a cost.
Christian: Following on from my previous question, I wanted to ask, what sort of emotions are you feeling when photographing such events? For example, the Black Summer Photographs document such an intense catastrophe (that Australia unfortunately suffers from continuously). From grabbing your camera and going to these places and photographing, what are you feeling?
Jeremy: The blacksummer fires were a lot of work. I have been shooting fires since the early 90's but normally they flare up here and there over a couple of days or weeks,but I chased that summer for over 6 months . You become ultra aware of the weather and the surroundings, how to get into the fire ground but most importantly how you can get out safely, having others , like my oculi colleagues chasing and reporting as well , I felt safe as we would discuss location and scenarios everyday . The death of the animals and people's lifelong possessions is heartbreaking to watch unfold, but that is our role , to bring awareness of these situations and many others to the attention of the public. Politics can be mundane but I enjoy the power switch that you have over decision makers . Photography is a way of keeping the power of ego balanced.
Christian: Going back to my question regarding your photographic inception, have you always been interested in documenting political and social issues?
Jeremy: Politics can be mundane but I enjoy the power switch that you have over decision makers . Photography is a way of keeping the power of ego balanced . Political photography and social issues are connected . They work together in parts. Issues that arise from new laws like cutting down old growth forest, weapon manufacturing , pill-testing, housing developments , all these stories and much more come down to policies made by the government and keeping pressure on the political elite is an important part of democracy.
Christian: I am greatly motivated by your series “Tropical Cyclone Pam, Vanuatu”. What can you tell me about your impressions of Vanuatu after seeing the destruction caused by the cyclone?
Jeremy: Tropical cyclone Pam was a category 5 cyclone that demolished Vanuatu , it was raised by the ferociousness of it when it crossed land. I was sent over to cover it by AFP, Agence France Presse . I was able to get there a day after it happened. First impressions of the island and people was how resisient they were . Instead of waiting for emergency services that really don't exist like we have here in Australia , the locals would do their best to remove trees from houses and clean streets of debris.We had no electricity and were bunkered down with other news agencies and NGOs with whom we shared power and satellite connections. It wasn't a dangerous assignment , but it was tough to get images out and get around the island. The locals were very kind and friendly , so taking photographs was easy.
Jeremy: The blacksummer fires were a lot of work. I have been shooting fires since the early 90's but normally they flare up here and there over a couple of days or weeks,but I chased that summer for over 6 months . You become ultra aware of the weather and the surroundings, how to get into the fire ground but most importantly how you can get out safely, having others , like my oculi colleagues chasing and reporting as well , I felt safe as we would discuss location and scenarios everyday . The death of the animals and people's lifelong possessions is heartbreaking to watch unfold, but that is our role , to bring awareness of these situations and many others to the attention of the public. Politics can be mundane but I enjoy the power switch that you have over decision makers . Photography is a way of keeping the power of ego balanced.
Christian: Going back to my question regarding your photographic inception, have you always been interested in documenting political and social issues?
Jeremy: Politics can be mundane but I enjoy the power switch that you have over decision makers . Photography is a way of keeping the power of ego balanced . Political photography and social issues are connected . They work together in parts. Issues that arise from new laws like cutting down old growth forest, weapon manufacturing , pill-testing, housing developments , all these stories and much more come down to policies made by the government and keeping pressure on the political elite is an important part of democracy.
Christian: I am greatly motivated by your series “Tropical Cyclone Pam, Vanuatu”. What can you tell me about your impressions of Vanuatu after seeing the destruction caused by the cyclone?
Jeremy: Tropical cyclone Pam was a category 5 cyclone that demolished Vanuatu , it was raised by the ferociousness of it when it crossed land. I was sent over to cover it by AFP, Agence France Presse . I was able to get there a day after it happened. First impressions of the island and people was how resisient they were . Instead of waiting for emergency services that really don't exist like we have here in Australia , the locals would do their best to remove trees from houses and clean streets of debris.We had no electricity and were bunkered down with other news agencies and NGOs with whom we shared power and satellite connections. It wasn't a dangerous assignment , but it was tough to get images out and get around the island. The locals were very kind and friendly , so taking photographs was easy.
Christian: I have noticed that certain series of yours are documented in black and white whilst others are quite bold with colours, what is your process for deciding whether your photographs should be black and white or in colour, what establishes your decision?
Jeremy: Black and White to me is the way to see most things . If I could, the world of photography would have stayed black and white. I sometimes convert a colour digital file to black and white , in most parts because the lighting was ordinary to start with and the scene itself looked like it should be. In Australia the Hi-visibility safety wear does my head in, and at times if in the background a stray worker with his hivis just destroyed the scene then i convert it to black and white, for an example. The composition is always there and the perspective of my way of shooting remains the same. But that only caters for my own personal work , not many people run images in black and white these days , so most things are in colour and that's what i offer them.
Christian: Lastly, I wanted to ask about Oculi Creative, what can you say about Oculi’s impact on Australian documentary photography?
Jeremy: Ah Oculi !! Well , 25 years next year and somehow we are still there and stronger for it every year. It survives because it's not about money, it survives because of an underlying belief in photography , camaraderie and storytelling. It has come a long way and morphed into many shapes over the years but what it does is, it stays the course. We have stamina . For what it has done for documentary photography in Australia , others will be able to answer that better than me, everyone has their opinion of Oculi. You need to remember oculi was born in the golden age of photography , there was print and magazines , before the birth of instagram and before digital. As the photo practice now becomes a mundane, self indulgent look inside itself, imagery that relates to artist statements about the photographer more than it does the subject .
We stay the course of ethical , best practice. We nurture the emerging practitioners and open doors to places that otherwise would not be possible to some photographers. Oculi does not bow to the ideals of the so-called industry elite that others aspire to. Its impact is a visual record of Australia and its pacific neighbours , a historic documentation of our time.
Jeremy: Black and White to me is the way to see most things . If I could, the world of photography would have stayed black and white. I sometimes convert a colour digital file to black and white , in most parts because the lighting was ordinary to start with and the scene itself looked like it should be. In Australia the Hi-visibility safety wear does my head in, and at times if in the background a stray worker with his hivis just destroyed the scene then i convert it to black and white, for an example. The composition is always there and the perspective of my way of shooting remains the same. But that only caters for my own personal work , not many people run images in black and white these days , so most things are in colour and that's what i offer them.
Christian: Lastly, I wanted to ask about Oculi Creative, what can you say about Oculi’s impact on Australian documentary photography?
Jeremy: Ah Oculi !! Well , 25 years next year and somehow we are still there and stronger for it every year. It survives because it's not about money, it survives because of an underlying belief in photography , camaraderie and storytelling. It has come a long way and morphed into many shapes over the years but what it does is, it stays the course. We have stamina . For what it has done for documentary photography in Australia , others will be able to answer that better than me, everyone has their opinion of Oculi. You need to remember oculi was born in the golden age of photography , there was print and magazines , before the birth of instagram and before digital. As the photo practice now becomes a mundane, self indulgent look inside itself, imagery that relates to artist statements about the photographer more than it does the subject .
We stay the course of ethical , best practice. We nurture the emerging practitioners and open doors to places that otherwise would not be possible to some photographers. Oculi does not bow to the ideals of the so-called industry elite that others aspire to. Its impact is a visual record of Australia and its pacific neighbours , a historic documentation of our time.
Christian: So, regarding environmental impact, could you tell me specifically what birthed your passion for photographing such visually captivating imagery? Have you always been enamoured by such spectacles?
Liam: I grew up in the country (Central Victoria) surrounded by nature, as a child I used to spend hours alone in the bush or lying on my back watching the birds of prey, particularly brown hawks & wedge-tail eagles circle in flight looking for a meal. I guess that fascination has never left and probably formed the basis of my wildlife photography over the years.
Christian: I am especially fond of your series titled Sea Dragons & Sea Horses. The final results are so elegant and beautifully constructed with the Seahorses' shaping, which is further enhanced by your cohesive understanding and presentation of Platino-Palladiotype printing. What do you believe inspired your concept of demonstrating these photographs through this methodical way of printing?
Liam: The idea of separating the species from their environment without removing them from it was inspired by the early from Joseph Banks’ botanical drawing catalogues, and Darwin’s specimen collections. At the time Banks & Darwin’s specimens were derived from species either found washed up dead or removed from their environment for scientific research, for me taking a studio underwater my aim was to recreate and emulate their illustrations using live subjects unharmed in the process. An extension of the process was to print them using the 19th century Palladiotype printing technique which if done correctly will remain stable for up to 1000 years which at the current rate of decline in marine habitat will outlast the species itself.
Christian: When I consider photographers who document the underwater spectacle through a humanist impression, I am instantaneously reminded of the work of Trent Parke and his ability to compose images in those settings, what artists/photographers have you been inspired by that compose similar themes to those of your own?
Liam: I’m not familiar with the work of Trent Parke but will be sure to look him up, I’m a fan of simplicity in style and form and as such have been inspired by many photographers over the years, from Italian fashion photographer Paolo Roversi to American visual artist Henry Horenstein there’s too many more to mention.
Christian: In your visually and theoretically compelling series Nyaru Menteng Orangutans, there is an evident attachment to these Orangutans, vividly imagined through the breathtaking photographs of the orphan’s faces. What sort of feelings did you have in this environment, whilst photographing these orphans?
Liam: At the time I was probably concentrating on trying to capture visually compelling imagery whilst in the midst of a pretty surreal environment, it wasn’t until I returned from that assignment that the gravity of the plight of the species really hit home and my focus towards creating impactful environmental imagery began. It was without sounding cliched “truly eye opening”.
Christian: Photographing an almost celestial creature like the humpback whale must be an ethereal experience. What sort of emotions are present when capturing photographs of these extraordinary lifeforms?
Liam: Having one of the largest mammals ever to grace this planet allow you a snapshot of their life is absolutely amazing, I've had the pleasure of several hours and countless memorable moments with them along with taking several friends with me to share int he experience. Just last year I had the pleasure of taking my kids to swim with mantarays for the 1st time, at times I’ll actually put the camera away and live the moment.
Christian: Can you recall the feelings you had when you first submerged in the waters of Cuba in 2005, a profound experience that cemented your devotion to the rigorous, yet substantially rewarding endeavours of photographing life in the sea?
Liam: Yeah I can recall the first time I dived in Cuba.. Profound fear after being suited up with SCUBA equipment and dropped out of the boat with absolutely no training. But yes it did spur a passion that continues to deliver.
Cihan Bektas - Memories and Nostalgia in Photography
Christian: In your series Her, you chose to portray the subject through a neutral perspective, specifically highlighting the use of a polaroid camera in this case, which seems to eliminate secrecy and create a sense of performance. Could you elaborate on this concept of the Polaroid camera having such capabilities?
Cihan: In "Her” the Polaroid camera is used as a powerful symbol of intimacy and permanence. Unlike digital photography, Polaroid photos are physical and tangible, capturing moments in a way that feels real and lasting. When I chose to incorporate the Polaroid camera into the story, I wanted to emphasise the authenticity of the protagonist's interactions with the subject. I believe that each snapshot becomes a tangible memory, eliminating secrecy and encouraging transparency in relationships. By adopting a neutral point of view, the Polaroid camera becomes more than a tool; I wanted to turn it into a narrative tool that allows the viewer to interpret the story without prejudice.
Christian: it’s evident that this series places a strong emphasis on visuals, even in the absence of the text that accompanies the images. Were the locations of these photographs specifically chosen for this series? do they intertwine with the subject?
Cihan: Actually yes and no because being able to imagine that moment and needing a camera to negate it is definitely an affirmative answer, and at the same time, negating it by reacting quickly to the moment you are approaching without knowing what will happen even a minute later requires me to say no just as much.
Christian: What specifically propelled you career as a Photographer? I discovered black-and-white film development in my adolescence and have been captivated by it since then. I believe that we all have unique experiences that foster our fascination within this medium, and I’m curious to know what your experiences consisted of.
Cihan: My photography journey began with a curiosity to capture moments and emotions in a tangible form. It sounds like church, but that's how it is. Like everyone else, I came across the magic of developing black and white film at an early age and it ignited a passion in me. The process of watching an image slowly appear on paper in a dark room was mesmerizing and immensely satisfying. As I developed my skills, I found myself drawn to the power of storytelling through images. Each photograph became a narrative, a glimpse into a moment frozen in time. Whether it was the play of light and shadow, or the subtle details that reveal themselves on closer inspection, I was constantly fascinated by the endless possibilities photography offered. Every interaction, every moment shared, reaffirmed my belief in the transformative power of photography. After all, it's not just about the images we create, but the stories we tell and the emotions we evoke. It is this ability to touch hearts and minds that continues to inspire me every day and pushes me to go further, explore deeper and capture the beauty and complexity of the world around us.
Christian: I’ve noticed that your work often blurs the lines between reality and fantasy, venturing into dream-like states. Series such as Catharsis and B&W embody this concept through their stunning composition. Why does the concept of “dreaming” recur so frequently in your work?
Cihan: Absolutely! Dreams are often full of metaphors, symbols and hidden meanings that reflect our subconscious thoughts, desires and fears. In art, capitalizing on this dream-like quality allows artists to convey complex ideas and emotions in a symbolic and abstract way. As you know, many artists use metaphorical elements inspired by dreams to create layers of interpretation, inviting viewers to delve deeper into the artwork and uncover its hidden messages. This approach adds depth and richness to the artistic experience, allowing for multiple interpretations and a deeper connection between the artwork and the viewer. I think this is the effect on me.
Cihan: Absolutely! Dreams are often full of metaphors, symbols and hidden meanings that reflect our subconscious thoughts, desires and fears. In art, capitalizing on this dream-like quality allows artists to convey complex ideas and emotions in a symbolic and abstract way. As you know, many artists use metaphorical elements inspired by dreams to create layers of interpretation, inviting viewers to delve deeper into the artwork and uncover its hidden messages. This approach adds depth and richness to the artistic experience, allowing for multiple interpretations and a deeper connection between the artwork and the viewer. I think this is the effect on me.
Christian: What do you believe is the most important thought to have in the development of a project, at any stage of its development?
Cihan: In the development of any project, one of the most important considerations to constantly have is to focus on the end. It is very important to constantly ask questions such as: How will this work benefit them when it is finished? What problems does it solve for them? How can we make their experience and perspective better? I think by keeping this at the forefront of your thoughts at every stage of development you will ensure that your project remains relevant, useful and ultimately successful.
Cihan: In the development of any project, one of the most important considerations to constantly have is to focus on the end. It is very important to constantly ask questions such as: How will this work benefit them when it is finished? What problems does it solve for them? How can we make their experience and perspective better? I think by keeping this at the forefront of your thoughts at every stage of development you will ensure that your project remains relevant, useful and ultimately successful.
Christian: Across all artistic mediums, what artist do you believe has similar work to you, both conceptually and in its looks? If there is someone that comes to mind, how would you describe the way you view their work? If it links to yours in similar concepts, would you look at this work as you look at your own?
Cihan: In terms of conceptual similarity and aesthetic resemblance, it is somewhat complicated to directly compare my "work" as an AI language model to traditional artistic mediums such as painting, sculpture or music. However, if we consider the essence of creativity, expression and exploration of ideas, there are some parallels. If we were to make a comparison, perhaps the work of conceptual artists or experimental writers would come close. Conceptual artists often explore abstract ideas and challenge traditional notions of art. When I look at their work, I look through the lens of curiosity and discovery, just as I do with my own talents. I would be interested in the way they push boundaries, question conventions and present new perspectives, just as I aim to expand the possibilities of communication and thought. So, while there may not be a perfect parallel in terms of artistic medium, there are certainly common principles of innovation, experimentation and expression that I can appreciate in other artists' work.
Cihan: In terms of conceptual similarity and aesthetic resemblance, it is somewhat complicated to directly compare my "work" as an AI language model to traditional artistic mediums such as painting, sculpture or music. However, if we consider the essence of creativity, expression and exploration of ideas, there are some parallels. If we were to make a comparison, perhaps the work of conceptual artists or experimental writers would come close. Conceptual artists often explore abstract ideas and challenge traditional notions of art. When I look at their work, I look through the lens of curiosity and discovery, just as I do with my own talents. I would be interested in the way they push boundaries, question conventions and present new perspectives, just as I aim to expand the possibilities of communication and thought. So, while there may not be a perfect parallel in terms of artistic medium, there are certainly common principles of innovation, experimentation and expression that I can appreciate in other artists' work.
Anthony Brink - Inspirations as a Potter
Christian: What are the specific design theories that you entertain whilst creating these ceramics and why?
Anthony: I do not consider design as a practice to be somehow separate from the act of making. I think of design-in-making, rather than design-and-making. But of course there is necessarily a starting point which precedes an actual engagement with material. For me, that starting point is an idea of or about something — an object. It is an idea in the form of a visualisation. That is what lies at the heart of design in my practice. The act of making then involves an active process of thinking and acting to realise, literally to materialise, the form of the object. Each object made at the wheel, subsequently glazed and fired, is the result of discovery through shaping and reshaping. In this way I have not made, for instance, one thousand bowls of a particular kind, but rather, one bowl one thousand times.
Christian: How does an area like the Blue Mountains provide a sense of hospitality for a ceramicist like yourself? I recall the Blue Mountains being a place of serenity for me in my youth, bringing forth feelings of elation.
Anthony: I have said on occasion that I feel ‘surprisingly comfortable in my skin’ living in the Blue Mountains. In many ways it is a privilege to live in a place surrounded by world heritage listed wilderness. And it is an extraordinary environment: over a thousand metres above sea level, rugged and impenetrable terrain, massive cliffs and escarpments, big sky and far horizons. Sometimes I think that the external environment is a mirror to the internal landscape. The string of towns which populate the upper mountains are within easyreach of the city of Sydney; on clear days you can see the city skyline in the distance below. I think that at heart I remain a big city dweller. But I like the sense of space around me in which I live and work. It is very convenient. My commute to work is from the back door of my house, along a short garden path to the workshop.
Christian: Your series of teapots demonstrates your specially honed dexterities as a ceramicist; contextually I personally have little experience of creating ceramics, so I would like to ask about your minimal use of colour within your creations, what constitutes this choice?
Anthony: The major preoccupation, the aesthetic motivation in my work is in finding expression for a language of form. Stemming from the ideas and actions — the gestures — of making, I hope to get close to, to brush up against perhaps, a little poetry in ordinariness. Just that. In this context, if any one element of design should predominate it may obscure a desired visual, tactile and, hopefully, sensual quality held in and around the materialised object. Colour then, such as it may appear — or disappear — in my work, is simply supplementary. It arises only in an integration of elements as well as, and crucially, in response to specific material choices.
Christian: What birthed your passion as a ceramicist? Was it an early discovery?
Anthony: My interest in ceramics stems from influences in my childhood and teen years in South Africa. My father was a sculptor. He made models in clay for larger public commissions later cast in bronze. I had access to all the clay scraps and trimmings accumulated over years, in a large outdoor tank in which I loved to play. I much enjoyed also, visits to the clay studio at the art school where he taught. Still in the family, an aunt of mine had had an early training as a thrower and decorator in the pottery industry. In her later years she was well known as a maker of ceramic tile panels and an exemplary practitioner of on-glaze brush work. Her studio was a place of inspiration to me. And lastly, an uncle was a geologist who instilled in me an interest in rocks and minerals and the formations of the earth.
Christian: I am quite drawn to the imbalance of uniformity within the designs of your bowls, I was wondering if you could explain your reasoning for this as for me, they appear to provide the bowls with a sense of elegance.
Anthony: Working with clay at the potter’s wheel continues to be really compelling for me. I love the process — the way of working — and being in that expanded moment. I like working with soft clay on a slow wheel, and to achieve efficiency in attaining a design purpose through a necessary economy of gesture. And I think that the art of throwing at the wheel is all about gesture, movement, timing and pace. It’s a very interesting question. I am certainly drawn to making particular things. This is why I enjoy making multiples of ‘the same’ object — it’s always a discovery and is inherently a creative process.
Sometimes I get caught up making a particular thing, it may be certain bowls or boxes. It may be plates, whatever, but it won’t let me go because the discovery is not complete, or not at a stopping point. Even though I make multiples the same things many times I am always drawn back to those same forms — or the idea of them. I suppose it’s like a repertoire that I play again and again and it’s never quite the same. So far as a feeling of reassurance or comfort goes, I would say that all of the objects of my making provide me with this. But sometimes getting to the point in the making cycle in the life of the workshop where I can put one series aside and move on to the next can be quite difficult. This is because I need to feel a sense of comfort or reassurance — and I stress it’s never a complacency — about the work that I’m producing at any one time before moving on to the next. I enjoy also developing and discovering new forms from time to time of different and divergent aesthetic and functional purpose.
Anthony: Working with clay at the potter’s wheel continues to be really compelling for me. I love the process — the way of working — and being in that expanded moment. I like working with soft clay on a slow wheel, and to achieve efficiency in attaining a design purpose through a necessary economy of gesture. And I think that the art of throwing at the wheel is all about gesture, movement, timing and pace. It’s a very interesting question. I am certainly drawn to making particular things. This is why I enjoy making multiples of ‘the same’ object — it’s always a discovery and is inherently a creative process.
Sometimes I get caught up making a particular thing, it may be certain bowls or boxes. It may be plates, whatever, but it won’t let me go because the discovery is not complete, or not at a stopping point. Even though I make multiples the same things many times I am always drawn back to those same forms — or the idea of them. I suppose it’s like a repertoire that I play again and again and it’s never quite the same. So far as a feeling of reassurance or comfort goes, I would say that all of the objects of my making provide me with this. But sometimes getting to the point in the making cycle in the life of the workshop where I can put one series aside and move on to the next can be quite difficult. This is because I need to feel a sense of comfort or reassurance — and I stress it’s never a complacency — about the work that I’m producing at any one time before moving on to the next. I enjoy also developing and discovering new forms from time to time of different and divergent aesthetic and functional purpose.
Jennifer Keeler-Milne - Ecological Passions Depicted Through Art
Christian: First of all, I saw that you were a finalist for the Ravenswood Art Prize, congratulations. In regards to your work being established as a finalist, the Elkhorn Fern Drawings, I was wondering if you could discuss in depth the intentions behind this series? I read upon your discovery of the horns in Bali and was intrigued about your observation and wanted to know if you could expand upon your thoughts when finding these objects.
Jennifer: Thank you Christian. Last August I undertook a 1 month artist in a residency program in Ubud, Bali. My intention had been to investigate a range of plants that are important to Balinese culture. What happened was that on my first day I discovered in the garden where I was staying some abundant Elkhorn Fern plants growing on a tree trunk. These plants love a tropical climate and were flourishing. However also in the tropics things break down quite quickly and within the plant were many fronds that were disintegrating. These lace-like structures were what caught my eye as I found them to be very beautiful. During covid I’d painted fragile leaf structures so it felt like a continuation of these works. I had with me plenty of paper, ink, bamboo and metal nibs so I got going with these drawings, and the subject continued to inspire me over the month, so I stayed with it until I completed this series of 50 ink drawings.
Christian: Furthermore, I noticed myself that there is a consistent amount of intricate details in your series Elkhorn Fern Drawings, specifically around the veins of the objects, of which contrast remarkably with the white canvas. I’m wondering if you could highlight on the impressions this choice may have brought upon you and if the impressions others may have conceived with this notion of divergence?
Jennifer: I love getting involved in the detail of natural objects. It is important to note what is unique about a subject and it is often to be found in close observation. Vladimir Nabokov said "Caress the detail, the divine detail."
Christian: Within a multitude of your works, I have noticed a keen amount of detail applied to them, notably your charcoal series; What sort of concepts are you imagining whilst curating the intricacies of these works? Is detail a substantial component to your work? Personally, my favourite work in your generously prolific portfolio is undoubtedly Sea Sponge Taxonomy, because of my curiosity for this series, I am naturally drawn to enquire about its inception. Could you please elaborate on this?
Jennifer: I was really happy with these drawings and still am - so I’m glad they bring joy to you.They became part of a series of nearly 200 charcoal drawings called 'Drawn to a cabinet of curiosities'. Made over a number of years, I collected and drew natural objects from the land, sea and sky. Sea sponge taxonomy were part of the sea themed drawings. I have family who live on the far south coast of NSW where these sponges were collected and on which the drawings are based. I love the abstract quality of these shapes and also the texture which seems to match beautifully with the textured paper I favour. They followed a series of 48 NSW Desert Plant drawings (now in collection AGNSW) which were smaller in size, so I revelled in the larger than life scale of these drawings. After completing them - I turned to other subjects: sea urchins and coral and then for the air series: feathers and moths, and for land: nests, rocks and gem stones or minerals.
Christian: Similarly to Sea Sponge Taxonomy, Urchins and Feathers are curated with charcoal on paper, it is evidently a process that requires the user to be substantially dexterous as the use of charcoal demands precision and focus, which I can identify that you utilise greatly. When did you first use charcoal on paper? Has it been a long-tenured proficiency of yours?
Jennifer Keeler-Milne: I started using charcoal in this manner when I started to draw clouds which are a white subject. This was how I developed a technique of working in which the subject becomes the void when set against a black ground. One of the earliest cloud studies I made is also in AGNSW collection. Here it is pictured when last on display in AGNSW Members room. I’ve continued to use this method ever since.
Christian: I spent the majority of my adolescent years in Sydney, staying in Hornsby, where an abundance of botanical specimens and foliage adorned the Hornsby scenery, it definitely allowed me to ascertain a comprehension to the natural study of ecology, admittedly, quite a small amount considering my age, but I’m wondering if the botanical surroundings of sydney have a profound impact on your work and if you could elaborate on it, if so?
Jennifer: I live in the inner city, so I’m not surrounded by much of a natural environment - but maybe this makes me look harder for aspects of nature in my surroundings. Now that I focus on nature in my work - I’m always on the look out for subject. One of my favourite destinations is the Royal Botanic Gardens in Sydney.
Christian: Lastly, I read upon your work Mt Wilson, and discovered the fact that residing in a rainforest was what incentivised you to curate this project, could you please elaborate on your time within the rainforest? Your general thoughts? Any conceptual ideas you may have had for the inception of this project?
Jennifer: It was a great privilege to spend an Autumnal month in Mt Wilson and I am still working through the imagery that I experienced in this location. It is unique because its has an unusual combination of bush, rainforest and introduced European species. Mt Wilson is located at 1,000 metres above sea level and has a high rainfall, rich volcanic soil (full of basalt) which has resulted in lush vegetation of immense variety. It is a magnet for gardeners and has many beautiful old historic gardens. I found its beauty overwhelming and I am still trying to respond to the immensity of this experience. Ultimately I am trying to convey something about both beauty and mystery and always striving to reach this place with my work. Thank you to Jennifer for taking the time to answer these questions in great detail.
Jennifer: It was a great privilege to spend an Autumnal month in Mt Wilson and I am still working through the imagery that I experienced in this location. It is unique because its has an unusual combination of bush, rainforest and introduced European species. Mt Wilson is located at 1,000 metres above sea level and has a high rainfall, rich volcanic soil (full of basalt) which has resulted in lush vegetation of immense variety. It is a magnet for gardeners and has many beautiful old historic gardens. I found its beauty overwhelming and I am still trying to respond to the immensity of this experience. Ultimately I am trying to convey something about both beauty and mystery and always striving to reach this place with my work. Thank you to Jennifer for taking the time to answer these questions in great detail.
David Apostol - Human Nature Understood through Photographs
Christian: The Oceans Imprint*, a series documenting the constantly cycling patterns and imprints present on the eternally dowsed ocean sand is a series I am most fond of, I’m wondering if you could discuss the main impressions, motivations and notions that were realised with this project?
David: The main motivation with this series was my fascination with the patterns and impressions left in the sand by the water. The way the ocean water would gently sculpt the sand with each passing is something I find incredibly beautiful. I also find the constant state of flux between the water and land magical.
Christian: Furthermore, I noticed that the sand had been photographed in angles where both the water and sand, which naturally coexist with one another, were almost entirely devoid of each others presence, was this executed with the intention of isolating them both? What was your main motivation for doing this?
David: The reason I left the water out of the photos is because I wanted to emphasise its effect on the sand rather than depict the water and sand interacting.
Christian: I would like to discuss your work “Double Take” in which, the use of double exposures is utilised to efficiently juxtapose imagery; I have specifically noticed that the use of doubled exposures intertwines photographs of individual man-made objects - What can you tell me about this notion and the investigation you sought with this project?
David: In all honesty this was just a fun project that I wanted to play with. I was using it as a test for an idea that I never ended up pursuing (although I might in the future) There was no thought put into the exposures, everything there is pure luck, maybe a little intuition. I think it’s a good example of just having fun with photography, leaving things up to chance.
Christian: The Oceans Imprint*, a series documenting the constantly cycling patterns and imprints present on the eternally dowsed ocean sand is a series I am most fond of, I’m wondering if you could discuss the main impressions, motivations and notions that were realised with this project?
David: The main motivation with this series was my fascination with the patterns and impressions left in the sand by the water. The way the ocean water would gently sculpt the sand with each passing is something I find incredibly beautiful. I also find the constant state of flux between the water and land magical.
Christian: Furthermore, I noticed that the sand had been photographed in angles where both the water and sand, which naturally coexist with one another, were almost entirely devoid of each others presence, was this executed with the intention of isolating them both? What was your main motivation for doing this?
David: The reason I left the water out of the photos is because I wanted to emphasise its effect on the sand rather than depict the water and sand interacting.
Christian: I would like to discuss your work “Double Take” in which, the use of double exposures is utilised to efficiently juxtapose imagery; I have specifically noticed that the use of doubled exposures intertwines photographs of individual man-made objects - What can you tell me about this notion and the investigation you sought with this project?
David: In all honesty this was just a fun project that I wanted to play with. I was using it as a test for an idea that I never ended up pursuing (although I might in the future) There was no thought put into the exposures, everything there is pure luck, maybe a little intuition. I think it’s a good example of just having fun with photography, leaving things up to chance.
From the Series “Drift on By.”
Christian: I have read that the forefront of your photographic career revolved around Sport Photography, could you tell me a bit more about what first encouraged you to delve into this genre and more importantly, photography in it’s entirety?
David: That was so long ago that I forget how it even happened! Part of the reason was I liked motor racing and photography, I got the opportunity to photograph some racing events and it went from there!
Christian: I also read upon your impression of Francesca Woodman’s work, could you please elaborate on the profound impact her work had on not just your own work, but your approach to the depiction of mental health within the medium, as seen through “Enantiodromia”?
David: When I first saw Francesca Woodmans self portraits I was amazed at the way she could capture her own vulnerability whilst exuding a sense of confidence and strength. I think the self portrait is a great tool to help an artist look deep into themselves and shed light on parts that might have otherwise remained in the shadow.
David: I’m not familiar with Karl Bossfeldt so I can’t say I was inspired by his work for this series but what set me on the path to produce these images was pure fascination with the beautiful details produced by nature. At every stage, every element is truly something to behold. It’s actually one that I would like to continue with.
Christian: Do you feel that your work can be not only be more accurately depicted but, understood and adhered to through your transition from digital to analogue photography?
David: At the end of the day, digital or analogue is just a tool. I have used both and they have their strengths and weaknesses depending on the story you’re trying to tell. I use analogue because I like the process. It leaves a bit more room for experimentation and chance. Whether it helps the perception of my work…I’m not sure.
Christian: Lastly, I was wondering if you could expand on your profound interest in human nature and how it has determined the way in which you perceive an image to be of interest? Personally, I am captivated by the concept of human interaction through mutual interests, I am curious to know how you approach “human nature” through photography.
David: I think all photographers are interested in human nature in one way or another, lately I’ve been thinking a lot and I’ve realised that my human nature interest is in how the world is perceived, the metaphysical and how we relate to reality. Looking back this makes my previous work make more sense to me, like it fits into this broader narrative that’s only just become apparent to me.
John Gollings - The Importance of The Australian Landscape
Christian: On your website, you exhibit archival photographs that emanate your foundational passion for photography, regarding your passion and enthusiasm, I’m wondering if you could inform me of any artists who assisted in shaping your profound attachment to the medium and why those artists appealed to you in particular?
John: grant Mudford, Ansel Adams and Harry Seidler and bob Bourne. Grant opened my eyes to urban topographies and point source printing. He had a sparse elegant style to do with composition of every day built environment. Ansel Adams taught me printing, pre visualisation, enthusiasm and generosity (and how to place a tripod). Seidler taught me never to crop into a building, and Bob taught me how to light! One light only and play billiards with it until you get the shot.
Christian: Conceptually speaking, what were you able to understand from working with Ansel Adams when you received teaching from him in 1976?
John: Apart from learning the zone system and seeing his print finishing technique it was his participation in the American art scene that impressed me He was in constant communication with artists and galleries, both learning and teaching.
Christian: Regarding your education at the University of Melbourne, can you tell me what prompted you to fixate on photography as opposed to delving further into architecture, your chosen course of study at the time? I saw that you consistently photographed buildings for your friends who also studied architecture, was that the main motivator, or were there other components that factored into that?
John: My parents thought architecture was a serious profession compared with photography and I was meant to be the architect in the family building firm This may have been the case but I deferred my course when I was asked at the last minute to assist a London photographer peter Gough who was coming to Melbourne and had been promised an assistant. I’d met a few advertising people through Rennie Ellis, my policy is to say yes to everything and see what happens. After a few weeks assistance the studio, called Orpin and Bourne printed a folio for me and made a poster and sent me off on go sees. I lucked onto some giant campaigns and never went back to architecture. Marlboro, Comalco, Sportsgirl Australia post air Nauru great Keppel dunk island so I was an advertising photographer 15 years or so until the architecture photography work sort of took over but I used advertising techniques which gave me a point of difference.
Christian: Your series Aftermath reflects on the destructive power of nature through photographs of towns in Victoria; what kind of impressions were felt whilst photographing these desolate landscapes?
John: In a helicopter with the door off you just concentrate on the composition and directing the pilot to potential images. That’s the thrill of the chase, no time to think of the emotions to do with the disaster I was also at pains not to document the human destruction, just the change in landscape.
Christian: On your website, you exhibit archival photographs that emanate your foundational passion for photography, regarding your passion and enthusiasm, I’m wondering if you could inform me of any artists who assisted in shaping your profound attachment to the medium and why those artists appealed to you in particular?
John: grant Mudford, Ansel Adams and Harry Seidler and bob Bourne. Grant opened my eyes to urban topographies and point source printing. He had a sparse elegant style to do with composition of every day built environment. Ansel Adams taught me printing, pre visualisation, enthusiasm and generosity (and how to place a tripod). Seidler taught me never to crop into a building, and Bob taught me how to light! One light only and play billiards with it until you get the shot.
Christian: Conceptually speaking, what were you able to understand from working with Ansel Adams when you received teaching from him in 1976?
John: Apart from learning the zone system and seeing his print finishing technique it was his participation in the American art scene that impressed me He was in constant communication with artists and galleries, both learning and teaching.
Christian: Regarding your education at the University of Melbourne, can you tell me what prompted you to fixate on photography as opposed to delving further into architecture, your chosen course of study at the time? I saw that you consistently photographed buildings for your friends who also studied architecture, was that the main motivator, or were there other components that factored into that?
John: My parents thought architecture was a serious profession compared with photography and I was meant to be the architect in the family building firm This may have been the case but I deferred my course when I was asked at the last minute to assist a London photographer peter Gough who was coming to Melbourne and had been promised an assistant. I’d met a few advertising people through Rennie Ellis, my policy is to say yes to everything and see what happens. After a few weeks assistance the studio, called Orpin and Bourne printed a folio for me and made a poster and sent me off on go sees. I lucked onto some giant campaigns and never went back to architecture. Marlboro, Comalco, Sportsgirl Australia post air Nauru great Keppel dunk island so I was an advertising photographer 15 years or so until the architecture photography work sort of took over but I used advertising techniques which gave me a point of difference.
Christian: Your series Aftermath reflects on the destructive power of nature through photographs of towns in Victoria; what kind of impressions were felt whilst photographing these desolate landscapes?
John: In a helicopter with the door off you just concentrate on the composition and directing the pilot to potential images. That’s the thrill of the chase, no time to think of the emotions to do with the disaster I was also at pains not to document the human destruction, just the change in landscape.
Christian: Intertwining architecture and photography, two prolific skills of yours, into personal projects allows you to produce work that focuses on both the commercial and personal side of work. Often, artists and photographers are so jaded by the heavy volumes of commercial work needed to be produced that they lose all time and focus on their personal work, what do you believe is a way to balance or counteract this, ensuring a state of equilibrium?
John: I’m probably a workaholic but I say yes to all offers but my imagination keeps thinking of new projects and you just get carried away getting them into production What I learn from the projects I put back into commercial work I think I don’t differentiate much, all photography is both a challenge and a thrill.
Christian: Recently, I’ve been consistently studying three-dimensional design and photogrammetry and have found myself completely immersed in its complex, ever-expanding world, could you tell me what piqued your interest in the realm of three-dimensional design?
John: Purely practical reasons. I was asked to cut photos of scaly models into real backgrounds and it occurred to me that the the new computer graphics could do renders from a given camera and lens so I started the render business to specifically do photo realistic images by putting the render into a background This business took off and now does video as well It changed the profession completely.
John: I’m probably a workaholic but I say yes to all offers but my imagination keeps thinking of new projects and you just get carried away getting them into production What I learn from the projects I put back into commercial work I think I don’t differentiate much, all photography is both a challenge and a thrill.
Christian: Recently, I’ve been consistently studying three-dimensional design and photogrammetry and have found myself completely immersed in its complex, ever-expanding world, could you tell me what piqued your interest in the realm of three-dimensional design?
John: Purely practical reasons. I was asked to cut photos of scaly models into real backgrounds and it occurred to me that the the new computer graphics could do renders from a given camera and lens so I started the render business to specifically do photo realistic images by putting the render into a background This business took off and now does video as well It changed the profession completely.