Feeling the Djang, or concerns about temporary permanence. 2018 (WIP), 180cm x 540cm. Photograph: four silver gelatin negatives, pigment ink on cotton paper x seven panels.
As human beings we often see ourselves as separate to the natural world. We protect it, exploit it, spend the inside it; to heal, escape, forget and sometimes, remember. The truth is, we are as much an expression of nature as the forest's company we seek, the desert we journey into, or the beach on which we play. From a scientific, metaphysical, anthropological, physiological - and real point of view, humanity is but an aspect of the singular expression of nature. When it comes down to it, there is no separation between the two other than the one we create for ourselves.
My work with photography is a remembrance of sorts, not in the way photographs collect memories, but as an experiential reminder of the synergetic relationship with the natural world. For the past four years I have dedicated myself to a one-mile stretch of coast at the tip of the Fleurieu Peninsula in South Australia. The patterns of currents, cadences of tidal pools, lilt of dawn winds and the temperate crash of waves that wash against the rocks all collaborate to realise a photograph. Marking time, walking, not walking, seeing, not seeing, be-ing in the world to remember I am of the world - is what makes the work. The aim is not to represent the physical envrionment, but render a feeling that embodies the Australian landscape on its own terms.