GEELONG FINALISTS         Sally Walker Gallery                 18th Oct - 8th Nov


Elias Redstone (Independent Curator, Writer and Editor)

Lisa Sullivan (Curator at Geelong Gallery) 

Anne Scott Wilson (Artist and University Lecturer at Deakin)

Kate Robertson (Artist and University Lecturer at RMIT)

Kiah Pullens, WOW, 2017
(1st Place)
Victorian College of the Arts

WOW, Woman of the west is a series of silver gelatine prints which explore he ideas of loss, absence and memory. I am interested in how much visual imagery humans are exposed to and how we prices images of the past. Our society has gained a digital dependance which has lead to a corroding human memory. Through the use of public archive imagery, I put my photographs through an extensive process, photographing and rephotographing and again. In doing so information and the truth of the image is lost through the act of photographing. This results in a haunting faceless past. 

Melissa Smith, BAFFLED, 2017
(2nd Place).
Deakin University

I enjoy creating environments where I can observe the playful nature of light. 

In using carefully selected materials and controlling light, I watch to see how the call and response of the two elements work together, this truthfulness in behaviour between the material and light is what interests me most. 

Shannon Steuer, Interconnection, 2017 (3rd Place).

A). to connect with one another.

B). to be or become connected or interrelated.

The archive of images in the 21st century has become one of a digital presence, losing their self value over the possession within physical realm. These traits cause that of what we have known to become adrift beyond the cloud; the origins of emotion, texture, and feeling, being presented in the visual language of data.  As humans living parallel to this space, our memories become fragments much like these images; merging the physicality of our reality, to the one of the inconceivable product of the digital utopia. 

Sam Foryth-Gray, untitled, 2016-2017.
(Highly Commended) 
Photography Studies College  

This work is part of a year long project that uses various techniques and processes to explore the idea of a photograph existing purely as physical object. The project uses found vernacular images alongside my own photographs to raise questions of how we project our own memory and history onto each image we encounter

James Bugg, 2017. 
(Highly Commended)
Photography Studies College

Joseph Haxan, Nativity, 2017. 
University of South Australia  

Nativity is staged as a meeting place for different parts of my mind to present themselves. I am the sole model and photographer of all images in the series. The pictures are taken in a fictional place I call 'Black Canyon Drive' where a cult of 'me' act on their most basal desires, driven by an unseen force that controls their lives. Love, lust, malice and hopelessness play out on The Drive, a place you enter with ease, but struggle to leave.

Jason Smith, Urban Existence, 2017. 
Deakin University 

In the cold and lonely surrounds of the Urban Industrial Landscape we find hidden treasures such as colour, geometry and order. In this environment where industry grinds to the daily beat of the endless demand of commercialism, where planned obsolescence is at the heart of all activity and the driving force behind productivity, traces of human activity and existence are ever present in this humanless landscape.

Jarred Mullenger, Its 11:00am and I’m still in my dressing gown, 2016.
Photography Studies College

These images are from a larger series titled ‘Its 11:00am and I’m still in my dressing gown’ which focuses on the family aura in my household and the changes occurred over time. I reveal a strong female presence in the house following the separation of my parents and the repercussions it's had. Photographs hang on the white walls, featuring a family smiling, they are reminiscence of the past. Through this project I begin to accept the family dynamics and disconnect that has established.


Patrick Riley, 2016. 

Alex Walker, 2016-2017. 
Victorian College of the Arts

Joshua Thomas, 2016 - 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.  

Amynoel Van Eymeren, Partners in Crime, 2017. 
Australian Catholic University 

Partners in Time explores the manipulation of memory through collapsing time and distance in a collaboration with my deceased grandpa. I used Grandpa Frank’s 1933 No.2 Brownie Special to capture images from around Melbourne - where I live as an adult and he lived as a child. Photographs taken by Frank with the same camera while travelling in the 1930s are then digitally combined with my own. The project blurs the lines of analogue and digital processes, past and present, seeking new narratives of memory.

James Lawson, Masked, 2017. 
Deakin University  

Masked is a triptych of portraits that have been lit in a classical manner and reproduced on a 380gsm canvas to embrace the classical lighting in the images. The three images each standing at 2mX1.3m have a larger than life brilliance exasperating the subject matter of the portraits. The wartime Russian and Israeli gas masks are unsettling and dehumanise the subject wearing the mask. To remove all personality from the already dehumanised subject a canvas bag has been placed over their head.

Rodeen Malek, 2017. 
Deakin University  

Colour has been known to evoke strong, optimistic reactions; a theme that I have always been attracted to. Combining my passion for colour and still life photography, I created a series of eccentric images that plays with multiple concept and elements of 2D and 3D forms. I constructed an imagined landscape using colour paper that highlights the relationship between geometric lines, light and colour.  

Alicia Dickson, 2017. 
Deakin University  

Geometric shapes and colours correspond with certain emotions. This series focuses specifically on how emotions are communicated. Anger is depicted through triangles, as when not on their base they are unstable. Depression utilises circles that have no beginning or end to protect, endure, restrict and confine what is within and keep things out. Healing is represented by squares and the need for balance and connection. Love is shown through sensual curves. Calmness illustrated through wavey lines, with less active waves giving a calmer feeling. Processing emotions and understanding them is the key to a happy and balanced life.  

EXPOSURE is an online curated publication showcasing the latest in Australian contemporary photography. Contributors are selected by current academics to highlight the most innovative, exciting and sophisticated student photography emerging from within Australian Universities.
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