wotwedid

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IPPY DROPS IN … AND RIPS!

The exhibition reprise after 30 years

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THE PHOTOGRAPHIC COMPONENT FROM DOUG SPOWART: Read more later in the post

Click on the photo to enlarge …

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The “Ippy Drops In and Rips” installation 1 Photo:John Elliott

The “Ippy Drops In and Rips” installation 2 Photo:John Elliott

The “Ippy Drops In and Rips” installation 3 Photo:John Elliott

Surfing over Ipswich … Photomontage by Doug Spowart – Ipswich Art Gallery Collection, 1993

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THE VIDEO COMPONENT FROM KATE ELLOVEE:

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The inspiration for the original exhibition was Kate Ellovee (Versace) who was working on a documentary project commenting on surfers who live at Ipswich and surf on the north and south coasts – much to the dislike of the locals. Entitled A Slagheap Safari the video takes centre stage in the reprise of the exhibition.

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Kate Ellovee at the opening – Photographed By Thomas Oliver @thomas__oliver (www.thomasoliver.photo)

Kate Ellovee’s ‘A Slagheap Safari’ video – Photographed By Thomas Oliver @thomas__oliver (www.thomasoliver.photo)

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Kate’s A Slagheap Safari video can be viewed HERE

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A mini booklet of the exhibition can be downloaded: Ippy Drops In and Rips Booklet

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The exhibition will be on show in the Ipswich Community Gallery, d’Arcy Doyle Place, Limestone Street, Ipswich until the 22nd of December 2023.

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IPPY-Australian Photography Cover

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Back in 1993 my work in the exhibition was featured in Australian Photography – the story inside added to the craziness of the whole project …

Click to enlarge text …

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Australian Photography story p1 of 3

Australian Photography story p2 of 3

Australian Photography story p3 of 3

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A reflection on the project by photographer Doug Spowart

Background to my work

I have a forty-year practice in conceptual photography. This approach to photography so profoundly directed my work that in the late 1980s my business card described my art practice as ‘Conceptual Photographer’. The methodologies of re-photography, photomontage sequential imaging and the use of a range of photo technologies and materials underpinned the conceptualisation, creation and presentation of the creative work. I look for the strange and the surreal or the sublime in everyday life addressed through irony and humour. I am always absorbed by how the mundane and ordinary can hold hidden moments of surprise if time is taken to see what is revealed.

The Ippy Drops in and Rips Project

In 1993 I received a phone call from Elizabeth Bates a curator at Ipswich Art Gallery. I had worked with Elizabeth at Araluen Art Gallery in Alice Springs a few years earlier on a documentary exhibition commenting on the tourist experience in Central Australia, so she was aware of the style of my photographic work.  Elizabeth introduced the project she was working on with Kate Ellovee (Versace) in which Kate was to create a documentary video commenting on Ipswich’s landlocked surfers. It was suggested that I could create photography works that would complement the video presentation in the gallery. In the initial project development meeting with Kate she discussed the concepts behind the ‘A Slagheap Safari’ documentary video. Her project was full of the curiosity, irony, and humour that had resonance with my approach to documentary work.

My partner and fellow artist Victoria Cooper and I were intrigued by the idea that there was such a strong surfing culture in Ipswich. It seemed surreal to us and we wondered: where could we find a concept of surf or surfing in this mining town at the western edge of Brisbane? Who were these surfers and how did they navigate the cross-over from Ipswich to beach?

After contemplating these questions I put forward a proposition consisting of three concepts: (1) Re-photography portraits – commenting on the dual identities that surfers have living and working in Ipswich and yet maintaining a surfing life on the weekend down the beach, (2) ‘Hold-ups’, where I would search Ipswich town settings and mining landscapes for evidence or connection with the beach or surf and (3) Photomontages – through improbable interventions I would metaphorically bring the surf and surfers to Ipswich. Clearances were provided by surfing photographers and the pictured surfers for their photographs to be photomontaged with Ipswich location scenes.

In making the photographs we sometimes collaborated with Kate and at other times we worked independently. Kate’s energy and coordination skills were important to the project as surfers usually have one specific thing in mind – surfing. With Kate we went to the beaches to seek out these Ippy surfers in their preferred natural environment. In this quest we too “searched for the best waves” to find the surfers.  Interestingly the Ippy project was pre the proliferation of mobile phones, so we needed to check the radio’s ‘best waves’ reports, we then went to the beaches and then looked out for the surfer’s cars, boards or the surfers themselves.

Working on the project’s themes Victoria and I would cruise around Ipswich looking for places that resonated with the concepts of beach and surfing. Gradually these were revealed to us: the top of a water tower with skateboarders, a tunnel leading into the mine, navigating a graffiti covered underpass, a mine cutting that looked like a wave. Each place we found was evocative and full of potential metaphors of surfing culture within this inland mining town.

A Concluding Comment

Documentary projects, either as video or photography, have the potential to tell stories and create a commentary on contemporary culture and social life. Thirty years on, the Ippy Drops in and Rips show returns to a new era, a new audience, and for those who participated in the original project, a possibility to recall memories of a different time.

In re-viewing Ippy Drops in and Rips Ipswich surfing culture story, perhaps not much has changed – or has it?  Is the credo of the Ipswich surfing culture – surf to live and live to surf, still as strong as ever … ?

And finally … Do north and south coast locals cuss the new generation of Ipswich surfers when they “DROP IN … AND RIP …?”

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Doug Spowart+ Victoria Cooper    November 12, 2023

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Thanks to Kate Ellovee for resurrecting the Ippy exhibition after 30 years and to Alison McKay and Ellia Shurte  from Ipswich Art Gallery for their support with the exhibition.  And also to Thomas Oliver and John Elliott for the photos.

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