Waterwalker was shown as part of “Landing Points” curated by Hayley Megan French and Lee-Anne Hall at Penrith Regional Gallery. The installation rethinks early colonial photographs of the Nepean River from the late 19th century. These pictures are from a series titled, “Rising Mists” taken by the Sydney photographer Henry King and are now part of the Tyrrell Collection at the Museum of Applied Arts and Sciences. I have inserted a character called Schleimgurgeln into King’s glass negatives to challenge and complicate the legitimacy of his images and how they present the landscape. Schleimgurgeln is a time-travelling landscape critic that was created to explore and reflect upon 2000 years of imagined antipodean space. From observations made by Aristotle in Meteorology (350 BCE), to Dante’s Inferno (1314) and Gabriel De Foigny’s The Southern Land Known (1692) the South has been a region where Europeans have projected their fears and desires. By haunting King’s archive Waterwalker suggests that King’s images are part of this history of European imagining and its inherent complications.
This project was made possible by the Faculty Small Grant Scheme, Faculty of Fine Arts and Music, University of Melbourne
Thank you to Lee-Anne Halls, Hayley Megan French, Marian Simpson, Jack Halls, Nina Gilbert, Eliza Dyball and the staff of the VCA School of Art Photography Studio
This project was made possible by the Faculty Small Grant Scheme, Faculty of Fine Arts and Music, University of Melbourne
Thank you to Lee-Anne Halls, Hayley Megan French, Marian Simpson, Jack Halls, Nina Gilbert, Eliza Dyball and the staff of the VCA School of Art Photography Studio
Waterwalker was shown as part of “Landing Points” curated by Hayley Megan French and Lee-Anne Hall at Penrith Regional Gallery. The installation rethinks early colonial photographs of the Nepean River from the late 19th century. These pictures are from a series titled, “Rising Mists” taken by the Sydney photographer Henry King and are now part of the Tyrrell Collection at the Museum of Applied Arts and Sciences. I have inserted a character called Schleimgurgeln into King’s glass negatives to challenge and complicate the legitimacy of his images and how they present the landscape. Schleimgurgeln is a time-travelling landscape critic that was created to explore and reflect upon 2000 years of imagined antipodean space. From observations made by Aristotle in Meteorology (350 BCE), to Dante’s Inferno (1314) and Gabriel De Foigny’s The Southern Land Known (1692) the South has been a region where Europeans have projected their fears and desires. By haunting King’s archive Waterwalker suggests that King’s images are part of this history of European imagining and its inherent complications.
This project was made possible by the Faculty Small Grant Scheme, Faculty of Fine Arts and Music, University of Melbourne
Thank you to Lee-Anne Halls, Hayley Megan French, Marian Simpson, Jack Halls, Nina Gilbert, Eliza Dyball and the staff of the VCA School of Art Photography Studio
This project was made possible by the Faculty Small Grant Scheme, Faculty of Fine Arts and Music, University of Melbourne
Thank you to Lee-Anne Halls, Hayley Megan French, Marian Simpson, Jack Halls, Nina Gilbert, Eliza Dyball and the staff of the VCA School of Art Photography Studio