The world around us is perpetually changing – ice melts, glaciers shift, weather changes and time passes. Nowhere stays the same, and neither do we.
‘Passage’ captures a transitional time in Tom Goldner’s photography practice. In 2015 and 2016, Tom made two physical expeditions around the Mont Blanc regions of France, Italy and Switzerland. Ever-conscious of the changing nature of the landscape – the fact that you could stand in the same spot one year later and find everything had changed – he shot fleeting moments on medium format film.
Back in Melbourne, Tom painstakingly developed and printed each photograph by hand in his darkroom. The experience reawakened his love of manual photography, and he saw parallels between the physical exertion of actually taking the pictures and the intense concentration needed in producing the series of atmospheric silver gelatin prints.
Field, a solo exhibition by Jon Butt, constructs a view from which to consider nature, the material universe and its inherent phenomena. At its core, the work is landscape photography, however a number of filters are at play. Microcosm, in contrast to vast unending place (where action, time and space are evident), the interconnectedness of matter and the sublime, all inform this inquiry. Stillness and motion, the residue of chaos and unending time are deliberated through a variety of material approaches and visual cues.
Geoffrey H. Short’s series “towards another theory” is an exploration of risk, terror, beauty and the sublime.
The fuel explosion is part of the cinematic vocabulary of special effects and as such is a simulation of terror. (Notably, in these days of computer generated imagery, the best way to simulate an explosion is still with an explosion). Hiring film industry special effects technicians to create “big bangs” on the black sands of New Zealand’s west coast, Short uses fossil fuel (with all its geo-political associations) mixed with gunpowder (with its own history of war, plots and dangerous entertainment) as an unpredictable, dramatic and multi-layered imaging material.
This work is an interrogation of that material, and of the effects of presenting “terrible objects” in an aesthetic realm.
The photographs offer both illusion and allusion, the illusion reinforced by the large scale and fine detail of the photographs, and while they document actual, staged explosion events, they allude to every explosion from the original big bang of creation to the anxiously anticipated big bang of a terrorist bomb or nuclear disaster. The near absence of a recognizable physical context emphasizes this referential quality, allowing the viewer to imagine their own context, to supply their own narrative around these isolated climactic moments.
Geoffrey H. Short lives in Auckland, New Zealand. He graduated Bachelor of Fine Arts (Hons) with first class honours from the University of Auckland in 2009 and was awarded a Senior Prize in Fine Arts. His work is included in the survey exhibition and book reGeneration2 – tomorrow’s photographers today produced by the Musée d l’Elysée, Lausanne, Switzerland and touring internationally. He was nominated for the Lacoste Elysée Photography Prize 2010, was a finalist in Photolucida Critical Mass 2011, and was nominated for the Prix Pictet in 2012 and 2013. The towards another theory series has been exhibited in the United Kingdom, France, China, New Zealand and the USA.