Some recent media for Porch Diaries:
Porch Diaries featured on The Guardian and Photo Collective
in EDITORIAL
Porch Diaries at Counihan Gallery
in EXHIBITIONS
A selection of 66 prints from Porch Diaries are up at Counihan Gallery in Brunswick, along with an installation of the book dummy and the bookmaking process. The exhibition closes on 18 July and the artist talk is scheduled for 2pm, Saturday 26 June (register to attend).
Installation at Counihan Gallery
Installation at Counihan Gallery
Portraits of Peter Singer published on TheNewYorker.com
in EDITORIAL
I had the opportunity to photograph Peter Singer recently for TheNewYorker.com. See the feature here.
Porch Diaries at Blue Mountains Cultural Centre, Katoomba
in EXHIBITIONS
A small selection of prints from Porch Diaries is now being exhibited at the Blue Mountains Cultural Centre, Katoomba as part of the group show ‘This Changes Everything’. The exhibition is curated by Rilka Oakley and closes on 20 June 2021.
Images by Dean Sewell.
Porch Diaries x Letterboxes at Tempo Rubato
Brunswick-based artists and neighbours, photographer Alana Holmberg and cellist Josephine Vains, come together to present Porch Diaries & Letterboxes at Tempo Rubato on Monday 3 May.
Porch Diaries reflects on community as a remedy for isolation. Comprising more than two hundred colour photographs, the heart-warming series features neighbours, strangers, workers and loved ones who passed by the Brunswick home of photographer Alana Holmberg during lockdown.
On the adjacent street, Josephine Vains had the idea of providing cello concerts for her neighbours from the footpath outside her house. The first Letterbox Concert was given at the end of March 2020 and they continued every fortnight through lockdown for neighbours and others who passed by.
Through these two projects that Alana and Josephine met, united by their interest in connecting with their local community through music and photography. For the first time, Alana and Josephine will share excerpts of both projects in a collaborative and multidisciplinary performance that explores what it means to be part of a neighbourhood community.
Date: Monday 3 May 2021
Time:
7pm bar open & A1 Bakery Food Truck on site
8pm performance starts
Tempo Rubato, 34 Breese Street, Brunswick
Tickets: $22 - Buy tickets now
Profits from ticket sales will be donated to the Porch Diaries project to help fund the production of a self-published book of the series. You can also make a tax-deductible donation to the project via the Australian Cultural Fund, all donations will be matched by Creative Partnerships Australia until 21 April.
Porch Diaries will be exhibited at Counihan Gallery, Brunswick from 29 May-11 July 2021 and a book will be available in June 2021. The exhibition is supported by Moreland Arts through the Flourish Arts Recovery Grant Program and the book is supported by Creative Partnerships Australia through Match Lab.
About Josephine Vains | josephinevains.com
Josephine Vains is an Australian cellist, chamber musician and educator, with a performance career that encompasses modern and historical cello. An adventurous spirit has taken her to some far-flung concert venues, from a 1000-year-old cave in the heart of China to mountain-top Bach in the French Alps. Josephine was recognised in the 2020 Moreland Awards for her series of free Letterbox Concerts during lockdown, winning the Contribution to Arts and Culture Award.
About Alana Holmberg
Alana Holmberg is an Australian photographer based in Melbourne. In 2019 she won Australia's National Photographic Portrait Prize. Raised in regional Victoria, Alana’s work is sociological in nature and increasingly focused close to home. Through her projects, she comments on contemporary issues within Australia, drawing on family archives, personal experiences and observations of her community.
Australian Open 2021 for The New York Times
in EDITORIAL
I am a Melburnian and a tennis fan. Despite month upon month of a hard lockdown last year to achieve our much-envied covid-free status, despite low-level ire at the preferential treatment sport gets here compared with things like the arts, I wanted the tournament to go ahead. I willed it to go ahead.
Binging on tennis was the way my family rounded out the summer school holidays and escaped unrelenting blistering mid-summer days of above 40C. At 11am curtains were drawn to block out the heat and minimise reflection on the television screen. The squeak of sneakers on the hardcourt and crack of the tennis ball became the ambient soundtrack of the house, accompanied by pedestal fans and air conditioning. Over the course of the tournament, an installation of tennis photography grew across my wardrobe door, each player carefully cut out from the newspaper and attached with lumps of bluetak. Anna Kournikova, Martina Hingis, Steffi Graff, Pat Rafter — tennis was at the heart of my first photography exhibitions.
I wanted the tournament to go ahead to achieve a true feeling of summer normalcy, to believe the year ahead would be different than the one before. I wanted a chance to photograph an event that marked the end of every summer I can remember. While the virus found ways to disrupt and public sentiment towards the event dipped and swayed, somehow the show did indeed go on.
Here are some of the features that ran on The New York Times with my pictures, written by Matthew Futterman:
The Other Serena (interactive)
Big thanks to Fujifilm Australia for loaning me an incredible kit for this assignment. I was able to get my hands on a GFX 100 and two X-T4 camera bodies plus a range of lenses to cover me courtside and beyond.
Porch Diaries published on The Washington Post: Perspective
in EDITORIAL
What started as simple idea to record visitors on my iso-birthday has expanded to become an ongoing record of this global moment in history from a single perspective: my porch. I was thrilled to have the early stages of this series published on The Washington Post recently. Thank you to Olivier Laurent, photo editor there who loved the work and published it immediately, giving me such a boost and motivation to continue as long as we’re under social distancing restrictions.
And see Porch Diaries unfold here.
Currently working on a few grant applications to get Porch Diaries turned into a book and exhibition, stay tuned!
New work published on The New York Times - In Australia, an Architect Designs for a Future of Fire
in EDITORIAL
On a windy day in February, I visited the beautiful south eastern corner of Tasmania on assignment with The New York Times to photograph Apex Point House and Dr Ian Weir, the architect who designed it.
As the country rebuilds after its devastating wildfires, Ian Weir is leading the push for integrating houses with the land, rather than mass clearance of vegetation.
Along with a lovely read by journalist Casey Quackenbush, a small selection of the images were published online and in print on Monday 20 April, 2020.
Nominated for World Press Photo 2020 Joop Swart Masterclass
I am amongst 196 nominees for this year’s Joop Swart Masterclass, World Press Photo Foundation’s well known education program held in Amsterdam each year. I’ve had my eye on this masterclass for a long time, but age restrictions prevented me from being nominated. Last year those restrictions were lifted in recognition of the fact that you can still be emerging talent, but over the age of 35! Very cool.
I’m putting my application together now, the final 12 will be announced in the middle of the year. Wonderful to see such a diverse bunch of photographers in the mix from all over the world, including many Australians this year.
Run as a week-long intensive program, the Joop Swart Masterclass identifies, supports and educates new talent in the field of documentary photography, visual journalism, and visual storytelling.
The masterclass is named after Joop Swart, a passionate supporter of photographic talent who played a major role in the foundation's history, first as the photo contest jury chair from 1966 to 1974, and then as a member of the foundation's board from 1970 until his death in 1994.
Launched in 1994, the masterclass has contributed to the development of generations of visual storytellers. Participants have later gone on to lead the masterclass themselves, be awarded in the World Press Photo Contest and have their work published in some of the most prestigious publications around the world.
Selected for 2020 Farside Collective artist residency in Leh, India
Wonderful news to be selected as one of five artists to participate in Farside Collective’s long residency in Leh, India this year. I’ll be heading there for a month in July to make new work and produce an artist book along with photographers, writers, curators and illustrators from Wales, Mexico and India.
The residency is our attempt to bring artists from around the world to this small town in the mountains and create books. Art-books and zines are new to India and we believe it is important to expose people here in Leh locally and India in general to the idea of self-published books. Over both the short & long residencies the artists will work closely with us in a project selected by them manifesting in photographic, literary or illustration based printed matter. Additionally, the long-residency artist offer small workshops for fellow artists and locals in Leh. Upon mutual agreement, Farside Collective will choose books/zines made during both the residencies to be published and distributed in India & abroad.
I’m looking forward to this experience and will post preparations and work in progress here.
Portaits of Zoë Foster Blake published on The New York Times for IWD2020
in EDITORIAL
It was a pleasure to meet and photograph Zoë Foster Blake, Melbourne-based CEO & Founder GoTo Skincare, recently as part of The New York Times’ Women & Leadership special feature published online and in print on 6 March, 2020. See the online article here.
New work published on Washington Post: Amidst Australian bushfires, Kinglake remembers 2009
in EDITORIAL
As Australia experienced the devastating bushfire crisis in the summer of 2019/2020, I spent a smokey day in Kinglake for The Washington Post. A small hilltop community an hour from Melbourne, Kinglake that was devastated by the 2009 Black Saturday Bushfires.
See the work, accompanied by a feature written by Kate Shuttleworth, on the Washington Post.
New work published on Libération.fr - In Australia, with Victoria fire refugees
in EDITORIAL
During Australia’s bushfire crisis, I spent a few days Wangaratta, north-eastern Victoria working on a story for French daily newspaper Libération. Along with journalist Valentine Sabouraud, we met with fire evacuees, volunteers and emergency services near the Ovens-Complex, in the state’s Alpine areas.
A selection of the images are featured below, you can see the photo essay online here.
Unless You Will Studio - new business launch
Yesterday I launched a new business called Unless You Will Studio, with copilot Heidi Romano. After working together on various clients and projects including LensCulture, Photography Studies College, and World Bank, Heidi and I decided to join forces in an official capacity to offer communications and design solutions for the photography industry.
Unless You Will is not a new name in photography. Heidi started Unless You Will as a passion project some 10 years ago. First realised as an amazing online photography journal, it went on to inspire a festival and later shape-shifted into a gallery residency and then a weekend conference. I’m proud to be part of the next chapter for Unless You Will and continue the legacy Heidi created over the past decade. Our aim is to be an invigorating and positive force in our community, and we’re excited about new collaborations on the horizon.
Read more about our services here: https://www.unlessyouwill.com/services
Our past projects here: https://www.unlessyouwill.com/projects
More about the Unless You Will journey here: https://www.unlessyouwill.com/about
Looking forward to some exciting new projects in 2020!
btw, I’m still freelancing as a photographer and teaching, UYW part of the bigger hustle :)
Photo credit: Katrin Koenning
'This time it's personal' group show at Sun Studios, Sydney
in EXHIBITIONS
A print of mine is part of the massive tenth annual ‘This Time It’s Personal (TTIP)’ exhibition at Sun Studios, Sydney. I’m one of 100 photographers selected by curator Rachel Knepfer, alongside some friends and mentors in Australian photography.
TTIP offers a glimpse into what Australia’s leading professionals shoot for love alone. Opening on Thursday 28 November in the SUNSTUDIOS Sydney Atrium Gallery, the exhibition provides a platform for the industry’s best professional image-makers to exhibit personal work in the name of raising funds for an important cause, and to come together to celebrate another year.
All works are sold on the night and as usual, every dollar raised will be donated to Chris O’Brien Lifehouse in support of cancer research and treatment.
Opens Thursday 28 November!
Portrait of Shaun Smith, 50, one of several retired AFL player suffering significant mental health challenges following multiple concussions in his playing years.
New work published on The New York Times: AFL & Concussion Photo Essay
in EDITORIAL
In June I worked on my first assignment for The New York Times, a feature on Australian Rules Football (AFL) and impact of concussion on retired players. The images were published recently, along with an insightful feature by sports journalist Ken Belson. See the story here.
Portrait of Amanda Johnstone for TIME Magazine.
New work published on TIME Magazine: Portrait of Amanda Johnstone
in EDITORIAL
“We are all on our phones all the time, so it made so much sense to create something that’s already in people’s hands, which gives them that nudge to reach out and take a little bit of care of each other.”
I had the opportunity to photograph CEO of Transhuman and suicide prevention app Be A Looper, Amanda Johnstone, in Sydney recently for TIME Magazine, part of their annual Next Generation Leaders.
Read about Amanda’s impressive work here, it was such an honour to have the opportunity to meet someone making such a huge difference around the world.
Freya Brown, MC and organiser of the Melbourne Global Climate Strike, 21 September 2019.
New work on The New York Times: Global Climate Strike, Melbourne
in EDITORIAL
Eight photographers were asked by The New York Times to follow eight young protest leaders in different parts of the world during yesterday's global climate strike. I had the chance to meet and photograph Freya Brown, 16 yr old organiser and MC of yesterday's huge rally here in Melbourne. See the story here.
Greta in her kitchen, 36 weeks (2018) // Pregnancy carried my sister into a new chapter of her life, and she welcomed it warmly. Effortlessly. Ready for things to change. We’d spent much of our late twenties debating the ‘right time’, if there was even such a thing, but she'd found it. This portrait is an attempt to depict the tranquillity in Greta's transition into motherhood and her trust in the future.
Winner, National Photographic Portrait Prize 2019
It means the world to have such a personal image selected as the winner of the 2019 National Portrait Prize. Below is a short excerpt of my acceptance speech but first, I’d like to acknowledge the traditional owners of the land on which the National Portrait Gallery sits: the Ngunnawal people and their elders past, present and emerging. I failed to do so on Friday night so wanted to do so here.
This image is part of a series documenting my family in the months leading up to my nephew’s arrival - the first of the next generation. I think all of us felt that monumental shift, that undeniable progression of time as each of us took on new roles as parents, grandparents and aunts. I photographed that time simply to create a record of a time.
For me personally, this image represents the beginning of an intentional shift away from documenting other places, other cultures and other people to make work that is intrinsically linked to my place in the world and my experiences. I want to challenge myself to make work in an environment where I am not a visitor or an outsider, and where there was an equal power dynamic between photographer and subject. Family seemed like a logical place to start.
I also consider this image a celebration of women’s bodies and motherhood. Greta’s self-love and complete lack of inhibitions when it comes to nakedness has, in equal parts, inspired and challenged those around her for many years. Perhaps this image will do the same, as I consider her attitude alone a revolutionary act.
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Big thanks to the kind and meticulous Peter Hatzipavlis at The Print Shop @ PSC who collaborated with me to make the final print. It was also a pleasure to frame the work with Maurizio at Deans Picture Framers in Thornbury. Thank you also to the RMIT Alumni Residency, a studio space I’ve had access to these past months but haven’t used enough, though it was location for many many dust-spotting hours for this image.
Thank you to the National Portrait Gallery and Canon for the generous support of portraiture in Australia and to the remarkable jury - photographer and visual artist Hoda Ashfar, Senior Curator at National Portrait Gallery, Chris Chapman, and Annie O’Hehir, Curator of Photography at National Gallery of Australia.
The exhibition of all the finalists is now open at the National Portrait Gallery in Canberra and will travel to several galleries in Australia over the coming year. Power, representation and diversity were key considerations for the jury and I feel the finalists, their subjects and images very much represent this thinking. Go see!
And finally, thank you to Greta for her collaboration, participation and openness throughout this experience. The night before the announcement I asked her how she was feeling about this image being online and she said: “I have zero hesitations or apprehension. I look at this image and I feel so proud of what my body did. I also see my old self and my pregnant self in this image, not engulfed by baby like some of your other images. It shows me I’m still there inside this new role and identity I have taken on.”
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Links:
Interview with Ed Ayres on The Art Show (ABC RN, 27 February)
Canberra Times feature by Karen Hardy
New work up on The Guardian: The Great Australian Bight
in EDITORIAL
I’ve got some new work up on The Guardian, a feature + photo essay about my time on board Greenpeace’s Rainbow Warrior III ship, in The Great Australian Bight. This was a collaborative effort with Michaela Skovranova, an incredible underwater photographer based in Byron Bay.