It is a thrill to have one of my portraits of the great Australian sculptor Clem Meadmore acquired by the National Portrait Gallery in Canberra.
The image of Meadmore dates from 2002 during a visit to Australia and I was writing/photographing a piece for the arts magazine InDesign. The image recurred to me again when I visited a recent Meadmore Retrospective at Melbourne University's Potter Gallery. I really felt my image was a seminal one of the sculptor and so I presented it to the Canberra Portrait Gallery curators who thankfully agreed with my view that it captures Meadmore well.
Standing in front of his heroic sculpture 'Awakening' on the AMP forecourt in William St. Melbourne, Meadmore is virtually enveloped in the Corten steel wings and under the 'halo' like centre of the work.
AMP lost interest in the masterwork by Meadmore and by 2008 had it consigned for scrap metal before the Besen family presciently saved and poetically reinstated the work at their Tarawarra estate in Melbourne's Yarra Valley.
It was a lovely end for the sculpture and finally a fine resting place for my image of Clem now to be finally seen by a broad audience.
A good piece of good news for me as I embark on my first solo art show this week at Melbourne's fabulous fortyfivedownstairs Gallery in Flinders Lane.
I hope visitors enjoy the work I have put into this show of over 12 months in the making. Hope to see you there.
“If you're lonely when you're alone, you're in bad company.”
- Jean Paul Sartre
‘Incandescent’ explores the city as dark carnival. High-voltage images comprising points of light and shadow are transformative windows-to-the-world. Vivid, abstract mosaics are achieved through veil, focus and structure to give subjects greater energy and voice.
Separation and ‘alone-ness’ contrast their busy urban context. It requires a building devoid of people in ‘Embrace’ and trees with connecting limbs, like outstretched hands, in ‘We Touch’ to consummate the unfulfilled yearning.
My experience as an architectural photographer helps explore the human condition and anonymity in an over-stimulated, overwhelming world.
Unlike the frequently bleak, urban realism portrayed by many post-war modernist artists, these images pulsate with molecular intensity.
Visceral, voyeuristic views employ a graphic style and incandescent colour palette both psychedelic and beige.
The theme of alone-ness, anonymity and anxiety carries through this daily theatre of busy life. ‘Incandescent’ signals a major transition from commercial photography to fine art imagery.
The collection was produced especially for The Other Art Fair, 2016.