April Brown, Skin, Bones, 2016.
'Skin, Bones' looks to explore the unsettles dichotomy between nature and civilisation in new developments. The series of 10 images illustrate the accelerated growth of commercialism in these areas and how it is resulting in a more disposable society. Inspired by William Eggleston and Gregory Crewdson's use of light to create and/or document a society, 'Skin, Bones' aims to position normality adjacent to the uncanny to force viewers into a state of discontent.
The series was originally presented in a large photo book, with the prints alternated with sheets of thin black plastic: the design was intended to symbolise a commercialised disposable society, by presenting the look of glossy magazines against the plastic usually used to dispose of them.
Jack Foley, Urban Wither, 2016.
Australian Catholic University
Urban Wither is a typology of landscapes (specifically architectural portraiture) that showcases a series of old, dates and deteriorating homes, that now sit and become surrounded within their towns and communities. These past homes are located in suburban towns of Melbourne, and country towns of Gippsland, when cropped the same as one another a necessity to analyse each home is created, disregarding any prior information, which then opens the idea of difference, a unique and beautiful aspect that is an identification to each home, and will maintain throughout its life time… until they completely wither.
Jason Smith, Urbanscape, 2016-2017.
Wandering in and around urban and industrial areas of Melbourne’s suburbs, a fantastical show is taking place. Vibrant colours, bold shapes and striking lines compete and intertwine in a theatrical production. Focusing on these design elements within the urban landscape, my purpose is to challenge society’s obsession and bizarre notion of beauty in my ongoing series titled ‘Urbanscape’.
Fuad Osmancevic, Untitled, 2017.
Photography Studies College
The work explores the uncertainty, using the photographic medium as a tool of awareness. The idea of capturing what is around you does not merely consist of the act of photography itself, but is the representation of silent idioms of subjects and landscapes: feelings and past memories.
Joshua Thomas, Untitled, 2015-2017.
Charles Sturt University
The photograph can be seen as a melancholy object that can be created from the idea of separation and distance from reality, Joshua Thomas believes. ‘With this idea in mind, I tend to focus on what brings forth a more personal and emotional experience within a photo. Using a particular composition and lighting effect, and with a particular concept in mind, I create works ranging from natural-like portraits featuring a sense of anguish and inherent melancholy, to what at first appears to be an intricately choreographed image but was in fact just a completely candid and well composed photograph. Each work has a sense of vulnerability and narrative that transcends its first literal dialogue.
Min Sung Kim, human hidden feelings, 2017.
what do you want to hide?
ego? relity? longing?
people have a lot of hidden truth.
death, escape mixed reality.etc.
Rachel Fogarty, A Play on Self, 2015
Deakin University University
5 digital images from the hybrid series, shot in 35mm E6 slide film and on digital, from the series 'A Play On Self'. Responding to a society saturated by media-generated images, artists such as Cindy Sherman, Diane Arbus, Gregory Crewsdon and many others from across artistic disciplines explored the impact of cinema, tv, advertising, film, magazines and the like in shaping how people think about themselves and their surroundings; my objective was to illuminate a photographers’ works as being subconsciously a psychological search for identity. Tied into the Freudian concept of the Uncanny is the literary trope of the Other, the unconscious repressed self. My series title comes from one of Sherman’s two major works that influenced the works: A Play of Selves, which developed the artistic oeuvre that led to Untitled Film Stills, a series of images with intense cinematic quality, which has strong parallels to the works of photographers like Crewdson who also portrayed the dark and alien side of consumerism, capitalism and the American Dream. Using popular myth and the visual language of 1940’s and 1950’s Hollywood cinema the series is comprised of artificial and suggestive pictures of a Western society ‘alienated from itself’ and ‘its own damaged collective psyche’, that includes the appearances, style and storylines of b-grade and film noir, as well as New Wave European cinema.