For years, this empty lot on Burwood Rd, the main street of Belmore, Sydney, has provided refuge to local wildlife, and a dumping ground for discarded furniture, rubbish, and unwanted stolen cellphones. Situated next to a public housing block in a lower socio-economic area, the fences covered in graffiti, this location has since succumbed to Sydney’s property developers, and is now the building site for a block of “luxury apartments”.
The title of the work is a play on the Serengeti, one of the world’s most famous, and photographed, ecosystems. “Ghetto” for the appearance of the site, in what is nevertheless a vibrant and diverse community experiencing the relentless march of gentrification, which tolerates no gentle decay, or fallow land.
This location was shot as found, the arrangement of the orange traffic bollards serendipitous, and was accessed with the prior permission of the owner. If there’s one thing that can be salvaged from the debacle that was the Belmore warehouse experiment, it’s that I was able to create this image. At its full native size, it’s about 3 metres wide. If you’re interested in a print, get in touch to discuss sizes and costs.
In the near future, homeless, unemployed, former Machine Intelligence researcher Eddie finds himself at the mercy of a shady group of people who’ve kidnapped, or rescued him, from an even more shady government detention facility.
He’s also paralysed as a result of an overdose of a neuro-enhancing hallucinogen, has just found out he’s responsible for multiple deaths due to his latest piece of contract work, and that all the troubles in his life are due to a somewhat megalomaniacal Machine Intelligence, which has taken a personal interest in him.
All in all, not a great day.
Meanwhile, his former partner has just tortured her fiancé into unconsciousness, or worse, over a lie. Now, she’s preparing to revisit her old life, diving back into the dangerous world of The Deathline.
This EPUB version is available on the iTunes / iBooks Store, and can be read on Mac, iPad, iPhone or iPod Touch.
These are from two years ago, but since I’m heading to the same location, having planned around the position of the sun and the stage of the tide to try to reshoot with a polarising lens to cut glare, I thought it was worth putting them up for a comparison.
The final proof of concept for my Little Planet production process. This is the image where everything clicked into place – camera, panoramic mount, and stitching software. Shooting before dawn in this location yielded a number of images. The other major finished piece – Dawn at The Serenghetto Waterhole, was entered into the Head-On photo competition.
My first attempt at a little planet shot with my Nikon D800 and 60mm lens. 142 images total went into stitching this together. This is a proof of concept – as you can see the flare in the lens to the right hand side. I’ll control for that in future
Dissent was an entry for Sculpture By The Sea Bondi 2014. It was accepted for the exhibition, but unfortunately I was unable to secure funding to cover the estimated $15,000 construction cost, and so I had to withdraw from the exhibition.
The work combines the pipe and valve material language of my steel sculpture, with the massing and repetition of objects that is a part of my wall sculpture and photographic practice. It arrays a field of identical (but for one) anthropomorphised valve figures, whose arrangement creates dynamic moiré patterns as clear lines of sight through the work appear, shift, and then disappear.
My goal was to capture an experiential quality similar to that which I felt while standing amidst Antony Gormley’s A field for the Art Gallery of New South Wales. However, rather than the godlike delight one feels while standing within Gormley’s work, looking down at the upturned faces, and perhaps naive adoration from the figures, it is my intent for the viewer to experience something else – that precise moment for a person in power, at which the spell of obsequious conformity amongst countless supplicants is broken by a single dissenter returning their gaze.
The dissenter either proves us wrong, or forces us to be more right.
In the near future, homeless, unemployed software codemonkey Eddie has taken a job disrupting a machine intelligence, as a last ditch option to avoid having his organs brutally repossessed over his student debts.
To get the edge he needed, Eddie turned to a powerful neuro-enhancing hallucinogenic – The Deathline, so named for its tendency to kill users. It gave him the edge he needed, but in his triumph, he forgot to heed the warnings about visiting one’s own memory.
Now, he finds himself paralysed in what looks like a hospital room. He can do nothing, as the machine intelligence who ruined his life to this point, offers a terrible deal. Life in a prison of stone, or of his own flesh – a cure in return for his cooperation.
That is, until someone, and a great many somethings, open the door.
Meanwhile, Eddie’s ex-partner is testing her suspicions that her fiancé, their former employer, has been less than truthful about the circumstances surrounding Eddie’s firing. She isn’t liking what she finds.
This EPUB version is available on the iTunes / iBooks Store, and can be read on Mac or iPad.