Shelley Hannigan paintings

This exhibition was a part of Geelong’s Momenta! Arts Festival which showcased the arts in Geelong.  Exhibitions were held in shops, galleries, cafes and private residences. My exhibition was held in the Fiona Pickering photographic studio and showroom (now Beavs Bar). Key themes of these works were time, Place and identity.

Reliability and validity of the Melbourne edge test and high/low contrast visual acuity chart

Purpose. The purposes of the study were to investigate the test-retest reliability and the validity of new versions of the Melbourne Edge Test (MET) and the High/Low Contrast Visual Acuity (H/LCVA) chart and to investigate the agreement between the original and new versions.

Methods. The MET original photographic version, MET new light box version, H/LCVA Chart original photographic version, H/LCVA Chart new printed version, and the Pelli-Robson chart were administered twice to one eye of 22 subjects with low vision and 20 soft contact lenses wearers.

Results. For the low vision group, the test-retest 95% limits of agreement were ±5.2 dB for the MET new light box version and ±0.39 logarithm of the minimum angle of resolution (logMAR) for the LCVA component of the H/LCVA new printed version. For the soft contact lens group, the test-retest 95% limits of agreement were ±2.1 dB for the MET new light box version and ± 0.26 logMAR for the LCVA component of the H/LCVA new printed version. Moderate to high correlations were obtained between contrast sensitivity tests, thus providing evidence of validity. Scores obtained for the new test versions were significantly higher than the original versions (p < 0.01).

Conclusions. Of all the tests administered, the MET original photographic version and the Pelli-Robson Chart had the highest test-retest reliability for the low vision group. For the soft contact lens group, the H/LCVA original version (low contrast letters, 18% Weber) and the Pelli-Robson Chart had the highest reliability.

Another sun, 2012

This work draws upon oral testimonies by Fijian soldiers who took part in the British nuclear tests at Malden and Christmas Island during the late 1950s. The photographic and video archives at the Imperial War Museum in London have been important sources for Bolatagici in understanding the Fijian experience of these events. Broadening her perspective to include Fijian and British accounts, and to compare and contrast the archival footage made by the Ministry of Defence with the recollections of the Fijian veterans.

Stay with me here

A poetic and photographic investigation into place and belonging

Experiments

Projected on two screens, with two separate soundtracks, the always exceptional, and occasionally brilliant, photographic images are enhanced by Dirk de Bruyn's rigorous control over a wide variety of experimental techniques.

Without overindulging in any of them, de Bruyn uses animation, optical illusions, time lapse, solarization, hand tinting, flash frames, refilming and flicker effects, accompanied by a dense atmosphere of word puns, dialogue, primal screams, music and even recycled and letraseted soundtracks.

Packing as practice: creative knowledges through material interactions

Contemporary travellers are presented with a range of material, spatial, bodily and environmental interactions, and may use these to develop experiential modes of creative knowledge production. The study of tourism has had many recent calls for a greater awareness to the interactions between humans and non-humans, particularly the importance of material encounters we have in-transit.

Examining the process of packing a bag, this paper advocates the need for a greater understanding of materiality within travel processes that leads to collaborative and creative knowledges. In addition the process of packing a bag evolves into a creative practice that facilitates a series of strategies that assist in reconceptualising traditional notions of materiality. A rethinking of material interactions presents affirmative, global, and nomadic encounters for a multitude of actors and situations. In the rigorous, daily process of packing, objects are transformed into fluid, malleable forms – as a mass of material that is being collaboratively negotiated.

A range of interdisciplinary propositions, such as Bruno Latour’s collective action and Rosi Braidotti’s nomadic theory, suggest how we may conceive of objects not as singular forms situated within specific representations. These theories open up methods of embodied and situated knowledge production that informs how we, as global citizens, shift between individual and collective modes of experience. Drawing on interviews and photographic documentation of travellers, this paper discusses the potential of creative practices to reveal an array of affective, relational situations that hold potential for collaborative forms of knowledge production.

Focus on photography: Wilkins, Clayfield, Sirianni

Curated by Liza McCosh, an exhibition of photographic artworks by John Wilkins, Peter Clayfield and Mick Sirriani, exhibited at SCOPE Galleries, Warrnambool.  The exhibition surveyed a range of processes and included portraiture, landscape, urbanscape and experimental photography on paper and aluminium.

Castlemaine Art Gallery and Historical Museum : history and collections

A publication of works from the permanent collection and a history to mark the centenary of the Castlemaine Art Gallery and Historical Museum. The photographs have been produced using superimposed exposures of polarised and non-polarised light; a technique for the optical and digital enhancement of colour saturation, reflection reduction and surface effects in reprography of painting developed by James McArdle.

Transiting with the environment: an exploration of traveller’s reorientations as creative and collaborative practice

Travellers undertake a process of reorientation and realignment that is particular to each destination. This process intensifies when travelling long distances across borders, cultures and climates, as travellers utilise performative, embodied and creative methods that respond to each new environment. Certain destinations, such as those with unique and extreme natural environments, induce a socio-cultural imaginary that primes travellers for what kind of experience they might have. Large, immersive landscapes and climates congeal with expectations of what each destination requires in order to navigate through it. Common bearings of distance and scale are skewed, as travellers are positioned within areas of vastness. In these moments immersive experiences contrast with daily processes, such as the act of packing a bag, as this heightened sensory awareness exacerbates the subtle material and spatial negotiations. Utilising interviews and photographic documentation of travellers to Iceland and Nepal, this paper develops the proposal that certain destinations intensify our attunement to these moments of reorientation, facilitating situated and creative methods.

As recent developments in the fields of mobilities and tourism draws attention to material interactions during travel, and current ‘new materialism’ movements in theory and practice reveal alternative affective methods of engagement, an exploration of interactions with/in immersive sites is needed in order to evaluate the potential that these kinds of transitions offer everyday experiences of movement. Nigel Thrift’s proposition of Non-Representational Theory provides clarity on the ways in which spatial awareness influences such transitions and environmental experiences. Using his acknowledgement of a more ontologically driven responsiveness to space, this permits a shift away from the presupposed containment of spaces as isolated destinations, toward a relational spatiality that encompasses all actors – including environments – as vital elements in the generative processes of situating our movements.

Creative strategies that afford sensory, aesthetic and embodied performances provide ways to examine these experiences, providing a multitude of possibilities as individual experiences shift towards collective and collaborative performances, as we are immersed within a range of human and non-human actors. This paper explores the transition away from ‘consuming’ environments, and advocates for the need to turn towards a situated collaboration with environments, propelling an awareness of sustainable and creative travel practices. An understanding of affirmative differences is required within travel cultures, rather than expressing transitions as confined within the ‘home’ versus ‘away’ dichotomy that lingers from elite western travel narratives. In order to undertake the many movements required, this paper draws on the theoretical approaches of sustainable nomadism as described by Rosi Braidotti to highlight the linkages of environmental and bodily experiences.

Through multidisciplinary literature, interviews and personal reflections, this paper proposes that certain destinations amplify processes of alignment with the environment, developing affective, embodied and situated experiences that overcome the human/non-human divide.

Photosharing on Flickr: intangible heritage and emergent publics

This paper argues that Flickr, a popular ‘photosharing’ website, is facilitating new public engagements with world heritage sites like the Sydney Opera House. Australian heritage institutions (namely libraries and museums) have recently begun to employ Flickr as a site through which to engage communities with their photographic archives and collections. Yet Flickr is more than an ‘online photo album’: it is a social and cultural network generated around personal photographic practices. Members can form ‘groups’: self‐organised communities defined by shared interests in places, photographic genres, or the appraisal of photographs. These groups are public spaces for both visual and textual conversations – complex social negotiations involving personal expression and collective identity. For one group, the common interest is the Sydney Opera House, and their shared visual and textual expressions – representations of this building. This paper argues that such socio‐visual practices themselves constitute an intangible heritage. By drawing on the work of scholars Jose Van Dijck and Nancy Van House, Dawson Munjeri and Michael Warner, the paper proposes that this enactment of intangible heritage is implicated in the broader cultural value of the Sydney Opera House

Small axe

‘18C’ was a response to the impending amendments by the Coalition Government which will remove sections 18B – E of the Racial Discrimination Act (RDA). The Coalition has left a brief window to gauge community responses – so artists, writers and academics were requested to respond with a work on paper (photographic or pulp) to this change of the RDA. Incorporating many new and existing works ‘18C’ sends notice with visual, verbal and written work to ensure that this does not go unchallenged.

An open mic will part of the opening night for performances and responses throughout the evening. Documentation collated from the exhibition and opening night will be submitted to the office of the Australian Attorney General.

Artists include: Ange Bailey, Bumpy Favell, David Blumenstein, Dominic Golding, Heather Horricks, Jef Tan, Kirsten Lyttle, Lulu Quintanilla, Megan Evans, Peter Waples Crowe, Susan Forrester, Tama TK Favell, Torika Bolatagici, Angela Tiatia, Chiara Scafidi, Deborah Kelly, Frances Tapueluelu, Jason Heller, Jenny Fraser, Lian Low, Martin Nixon, Megan Cope, Robyne Latham, Taloi Havini, Texta Queen, Weniki Hensch.

“For them, it seems to be an abstract philosophical or legal argument. For them it’s a game, it’s a debate about words and abstract principles… For people who have experienced racism, it is a deeply personal debate, and it’s actually a debate about real people and real hurt.” - Penny Wong

iSeru : Meleponi Pasifika Exhibition

Mixed-media, Fijian barkcloth (masi), screenprint, digital photographic prints, Fijian wooden comb all exhibited in the exhibition Meleponi Pasifika.