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Mandy Martin, Puritjarra 2, 2005. If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
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looking for something firm in a world of chaotic flux

Alexander Gronsky: Moscow's edgelands   March 1, 2014

The Russian photographer Alexander Gronsky has a series on Moscow's edgelands entitled Pastoral/Moscow Suburbs 2008-2012. Edgelands usually refer to those untidy spaces or zones that are neither urban nor rural, but some undefined zone between the two.

GronskyAPastoral#3.jpg Alexander Gonsky, Pastoral, #3

He explores the way people make use of a patch of green--- sunbathe, huddle round smoky campfires and picnic--that are wastelands or abandoned land within Moscow city.

GonskyApastoral#18.jpg Alexander Gonsky, Pastoral, #18

These are places where people take refuge to find solace far from the cities. He frames the proximity of the big city: glimpses of skyscrapers and industrial parks can be seen in the distance between the trees or, sometimes, surprisingly close to the people “surrounded by nature”.


| Posted by Gary Sauer-Thompson at 12:04 PM |
Darren Almond: moonlight landscapes   February 22, 2014

Darren Almond's series of “full moon” photographs consist of landscapes in far flung destinations that were taken at night, with a long exposure, using only the light of the full moon. Unlike, say, the seascapes of Hiroshi Sugimoto, in which the grey of the sea imperceptibly meets the grey of the sky in epically long exposures, Almond's landscapes have a deep, painterly tonal range.

AlmondDTasmania.jpg Darren Almond, Tasmanian Tracks, 2013

Almond's Tasmania is one of dark forests, empty valleys and a single train track through deserted Tasmanian bush-land. It’s a world without people:

AlmondDEucalyptusforest.jpg Darren Almond, Eucalyptus Forest, Tasmania, 2013

The rail tracks show how technology and industrialisation has altered nature as wilderness.

| Posted by Gary Sauer-Thompson at 3:58 PM |
Australian photography: Sonia Macak   February 12, 2014

Macak was born in Czechoslavakia in 1979 and migrated to Australia in 2002 with her Czech husband, who had previously moved to Australia.She lives on a 13-hectare property at Clarendon, just outside Buninyong, near Ballarat
with her husband and their three boys. On the property is her studio and dark room.

MacakStrings.jpg Sonia Macak, Strings, 8x10in tintype, collodion

Her work mostly consists of children, with her own children being the subjects in many of her pictures. These were shown at the Ballarat International Foto Biennale 2013 in an exhibition entitled Through the Looking Glass.

MacakSbrothers.jpg Sonia Macak, Three, 2012 8x10, collodion

Her photography started in 2006 with a digital SLR (Nikon d700), then 35mm film, then medium format film (Rolleiflex SL66) and the darkroom, then back to collodion photography and salt printing using an Anthony Bellows 8x10in wetplate dedicated camera and a Whole Plate Chamonix view camera.

| Posted by Gary Sauer-Thompson at 1:05 PM |
Australian photography: Sonia Payes   February 1, 2014

Sonia Payes is an international new media artist and photographer based in Melbourne. Her series of portraits of Australian artists and key figures in the art world is one of her most popular series (Sonia Payes: Portraits of Australian Artists, Macmillian Art Publishing , Victoria, Australia).

More recently Sonia's work has veered towards surreal haunting and landscapes. Her landscapes in her Ice Series and haunting, surreal, mysterious and disturbing. These bizarre and beautiful colours reveal the world in a new, unreal and unruly light.

PayesSicescapeseries122.jpg Sonia Payes, Ice Scape Series 3 (2010) c print on metallic paper,

These Icescapes are part of the Luminous Interlude (2011) body of work.

PayesSicescapeseries42011.jpg Sonia Payes, Ice Scape Series #4 (2011) flex paper, dibond backing face mounted to acrylic in 3 panels.

There is spatial play between the surface depicted and the apparent depth of the photograph at work that refers to surrealism and its dreamscapes.

| Posted by Gary Sauer-Thompson at 4:35 PM |