Continued from The Show is Over: Part One
My photography has always gone ahead of my concious thinking and I never manage to catch up. An example of this is the precursors. Throughout my work there have been precursors, images that seem out of kilter with the work I am doing, but prefigure later portfolios. For example, within the work with women there were some images made with women in the landscape in 1993 which predicted the forest work. At the time I did not know what was pushing me away from my studio, where this work was being done. In 1994 I bought my house in the forest, and very soon decided to move here full time. But the 1993 pictures at Abyssinia Rocks and Walga Rock led the way, I just carried the camera for the pictures to clamber into and dutifully followed where I was led. It has always been thus with my work, I just carry the cameras and feed them film. Yes, total mindlessness . . .
It was the essays, by Sarah and Diana, and re-reading John Barrett Lennard’s essay to my first 24 year survey show calalogue, that opened my awareness to some aspects of my work I never understood, aspects that are possible directions for new work
First printing, printing negatives from 1963 (ninteen sixty three) onwards, a serious printing period to update my body of work
Then more forest work, showing the state of the south west Western Australian forests in 2018+, following from the 1994 – 2003 sets of images. Add to this more Littoral images, but without differentiating them, perhaps re-label all of them as Southern Forest Region. Also simple pictures of trees, like the new images of Melaleuca cuticularis at Broke Inlet, from where Rae and I have just returned. Images where light is prime driver, more important than a mere catalogue of species
The above paragraph shows I have no plans for major travel, the Weatbelt excepted, but that is only a day away. I am one of the photographers who work in their local area and try to dig deeply and extend my understanding of where Iive. The other attitude is to keep constantly on the move and keep finding new subjects, but this approach can lead to a superficial reading of the world. There are, obviosly, workers like W E Smith and Edward Weston who traveled and waited until the local visual mycellium entered their vision and they saw with almost local eyes
After that re-studio my shed and make the big 10×8″ camera portraits I once planned. Perhaps not for Bunbury, ‘though that tiny white confrontational cube is enticing