I met a man from Strathalbyn, South Australia, who’s exquisite taxidermy work underpins this body of work. I photographed the exotic animals displayed in his showroom using a homemade camera obscura. A clunky process involving old and new image making technologies resulted in complex images. This photographic chain of events is my personal interpretation of the way a camera
Double Gazelle, 2016, photographic image on german etching paper, 40 cm x 54 cm, raku clay, flocking .
obscura operates; a hybrid of awkward manoeuvres that produces enigmatic and mystical images. By looking closely at the animals, I found the taxidermists' earnest and sincere attempt to restore life to these majestic trophy 'kills', only stills them further. My interest lies within this paradox, as I explore alternative views. The works in STILLED LIFE speak as much to the process as the end result.
Antelope Two Ways, 2016, photographic image on german etching paper, 40 cm x 54 cm, raku clay, flocking.
Only Black , photographic image on german etching paper in Tasmanian oak box, 40 cm x 40 cm x 5 cm.
The Storm, 2016, photographic image on german etching paper in Tasmanian oak box, 40 cm x 40 cm x 5 cm.
Bullet Hole, a,b,c,d,e,f,g, 2016, photographic image on german etching paper, walnut veneer cylinder, dimensions variable.
