Archive for the ‘Place-Projects’ Category
CYANOTYPE: Working the ‘blues’ in Greece
A cyanotype print on rice paper hung out to dry on Skopelos
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The azure blue of the Aegean Sea perfectly matches the prussian blue of the historic process cyanotype. The ancient stories of Ulysses and Jason’s Argonauts lend themselves to the contemporary narratives that can be made through photography and the photobook. In May we sought to explore these creative possibilities through a collaborative workshop coordinated by artist Steph Bolt and Skopelos Works on Paper on the island of Skopelos located in the Sporades north-east of Athens.
Six participants worked with us over a two-week program of structured lectures, practical sessions and photo forays to explore the possibilities for image taking and art making on the island. Staying in the main town on the island we worked out of the purpose-built printmaking studio with a view out over rocky headlands, distant islands, blue waters and skies. The studio sits atop of the town next to the remains of a castle with steps and paved pathways leading to the harbour and the Paralia. Tourism is a significant industry for the island however its impact does not destroy a feeling of being within an authentic experience of Greece.
The workshops started with breakfast daily at 8.30am with a studio start at 9.00am. By 2.30pm the formal program finished enabling personal exploration of the diverse subject matter available. Everyday participant’s day concluded in the restaurants of the Paralia partaking in the culinary delights of rustic Greek food supported by ouzo, retsina and aspro krasi (white wine). We ate fantastic squid, octopus, anchovies, little fishes, rabbit, goat, traditional foraged foods like the succulent kritima, local cheeses, Skopelos pies and gyros. Some members of the group formed relationships with the restaurateurs and towards the end of each meal extra wine and special desserts were presented as gifts by the host.
At regular intervals in the program Steph and her husband Robin took us on photo adventures: to the ancient graves at Sendoukia for sunrise, the Roman bathhouse ruins of Loutraki, the hillside town of Glossa and the classic white rocky cliffs and beaches of the island. The island is also famous for providing the setting for the Bronson and Streep film, Mama Mia so we visited the famous church on the rock Agios Ioannis. As part of most of these forays we had more opportunities to dine in tavernas, coffee shops and seaside restaurants.
Agios Ioannis
Key to the program was the concept of ‘place-making’, that is making photographs and forming them into themes and photo-essays that told of the personal experience of place by the photographer. The process of the cyanotype was explored employing traditional ‘shadow’ imprint of objects collected from the island to some very experimental work with multiple materials and exposures and double-sided printing. We worked not only with art papers but also with rice paper, various cloth materials event kitchen paper towelling. We had also gathered some special objects like a range Greek laces and linens, local rocks and a diverse range of plant material. Connecting direct photography with the cyanotype process was achieved on-site by the making of enlarged inkjet negatives.
Photobooks were developed at first as mini-book projects that could lead to online projects with MomentoPro software. MomentoPro supported the project by accrediting our program as part of the ‘Club’ services giving the participants 40% discount on their first book and 10% on each of their future books.
A local cat keeps Gail amused while she exposes a cyanotype
The participants were accommodated near the studio at the top of the town – one group had extensive views of the Aegean Sea sunrise with the other group overlooking the town. As mentioned earlier the distance to the shops and restaurants in the harbour required the negotiation of several hundred bespoke steps of local stone and concrete all with their leading edge painted white. The steps meandered past mainly two storied whitewashed houses with ornate doors and grilles. Ancient churches some built with reclaimed stones from other building provided an experience of place that was quite memorable. Coming home from shopping or dinner meant a steep climb up through the paths, sometime dodging motorcycles although many steps are so narrow that even they are footpaths alone. On one early evening return we encountered a church group with candles being led in a song procession with a Greek Orthodox priest leading the way – a memorable moment indeed.
The weather was very changeable requiring some program shuffles, as cyanotypes are direct sun exposures for many minutes. Ah! Today is sunny – we’ll make cyanotypes then… Once participants grasped the technique each took the process in their own directions. Many sophisticated books were made based on other workshop classes in book binding and finishing. Some went BIG making full sheet (55x76cm) cyanotypes.
Morning review
At the beginning of each workday a review of the previous activities was undertaken. The specific needs of each participant could be covered and ideas shared.
On the final day each photographer presented their best work – what an amazing body of work that represented – although within hours each had said their goodbyes and had caught ferries off the island and were flying homeward. We were all jealous of Steph and Robin who have a house in the town and stay there for about half the year. Their knowledge of the island and networking with island people was invaluable for the success of the workshop. Works were shared and a folio set of eight small books were made in multiple so everyone ended up with a memento from each of other individual experiences …
All of us were touched by something special on the island – our photographs and books act as evidence of experience but also a touchstone to relive and share those experiences…
Here are some photos of the final presentations…
Copyright in the text and all photographs are the copyright of Doug Spowart+Victoria Cooper unless otherwise indicated. The copyright of the artworks is held by the artists.
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DIGGING FOR GOLD: Nocturne Castlemaine+Chewton
The memorial cairn celebrating the discovery of gold at this place in 1852
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For about a month now we have been house-sitting in Chewton in the midlands of Victoria – the locality includes Castlemaine and Bendigo with Daylesford and Ballarat just down the road.
The region is famous for gold that was discovered in 1851 – with three months 30,000 diggers were working the alluvial gold fields. While initially a tent city very quickly buildings for every purpose where built many of which still stand today – although, some could be considered barely standing… Just up the street is The Red Hill Hotel that was built in 1854, the Chewton Town Hall in 1858 and the local post office was first opened in 1857.
By the end of the 1800s underground mining and dredging became the preferred methods to extract the precious metal. Companies that could undertake the industrial, technical and financial backing required replaced the independent digger. Populations shrunk and the architectural legacy of the boom times remained.
We have been out doing some night photography work to extend our Nocturne project further. Our nocturne photographs follow our usual methodology although we have added in the Day/Night duo image concept explored in the recent Nocturne Armidale project.
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Castlemaine: Downes Road industrial scene
We have found that the Castlemaine and Chewton are thriving creative and cultural communities bolstered by artists, academics, writers and adventurers who have moved to this region. You can be surprised who lives around the corner…
Chewton Post Office
The Chewton Community & Senior Citizens Centre.
At the gate is an amazing life-sized sculpture of Alice Dennis by sculptor Richard Yates.
Pyrenees Highway and moon rise, Chewton
Elevation of the Old Castlemaine Jail…
The 9.35pm to Melbourne leaves the Castlemaine Station…
Castlemaine station detail… Poster says “When it’s hot – Trains slow down”. It was 41 degrees C max today – the train was running late. It was still 34 degrees when the train left the platform.
St Mary’s Church with shadows
TOTAL FIRE BAN TODAY – Chewton CFA, Mount Street.
You know when you hit the 50kph zone coming into Chewton when you pass the Shell servo …
Just down the side of Mo’s Antiques Chewton
Castlemaine Post Office – Telstra telephones… who uses them now…?
The Old Castlemaine Jail…
Castlemaine Town Hall – lights all out 9.30pm.
Phone Box DUO at the Chewton Post Office
You could almost write a novel about this Chewton scene…
Antique, antique shop Castlemaine
Castlemaine Midland Hotel just over the road from the station. The lights are out —- Is anybody home…?
The Chewton Town Hall…
Castlemaine Presbyterian Church
Opposite the Red Hill Hotel DUO
Under the veranda of the Red Hill Hotel
Cooper+Spowart – on the nocturne street, Chewton
FIELD STUDIES INTERNATIONAL 2016: Our contribution
Signing the Field Studies 2016 contribution
We have been busy the last few days completing our contribution to the 2016 Field Study International report project. Led by David Dellafiora in Geelong the Field Study project is now in it’s 22nd year. Field Study Report contributions are called emanations and can include all kinds of things including: ‘documentations of performances, actions and exhibitions, tracts, rants, instructions, manifestoes, reflections and experiments.’ They are a mashup of Fluxus, DaDa, Surrealist inspired, zine-ish paste-up, rubber stamps, torn up letter ransom notes and concrete poetry. The Field Study Report becomes a snapshot of artistic, social and/or political commentary at the time of its publication.
Our submission for 2016 is a commentary on our present nomadic lifestyle. Since moving from Toowoomba 2½ years ago we have been house-sitting, doing artists in residence projects, staying with friends and renting – we have lived in approximately 15 places.
For our submission we made a diptych of original cyanotype images recently while staying on the beach at Wooli. One print represents a starry night above a line of houses. The other print is a selection of of different keys –referencing all the houses we have stayed in. The two cyanotype prints were copied, scaled and arranged on the one sheet with the captions: ‘Keys to the homes where we have lived …’ and, ‘A Field Study Emanation for 2016 by Victoria Cooper + Doug Spowart’.
Each A5 print is numbered and signed and the edition is 100. Each contributor gets a copy of the assembled works and some copies are sold to support the project and the group that helps make it happen.
Cooper+Spowart Field Study 2016 contribution
Submissions for 2016 are now closed however, get ready for 2017. For more information about Field Study and other projects see: https://daviddellafiora.blogspot.com.au/
About Field Study:
Field Study began in 1993 as a way of reclaiming the negative spaces between art and life. Activities stemming from Field Study are emanations and group emanations are manifestations. Field Study sees each work as a manifestation of a collective spirit. Everyone is welcome to become a member of Field Study, irrespective of their arts practice, and contribute to the Field Report. Field Study also produces the assembling publications WIPE and ReSite, and, in collaboration with Karingal, KART.
An earlier WOTWEDID Blog post has more detail… Check it out:
https://wotwedid.com/2013/01/05/field-study-international-our-contribution/
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NOCTURNE ARMIDALE: a community photo project
Sam Walkom’s Imperial Hotel rephotography DUO taken through the Post Office’s arches
NOCTURNE ARMIDALE: Capturing Armidale in a new light
In our latest Nocturne project we worked with a group of photographers from the Armidale region to document the change of light from day to night. The special theme we developed for the Nocturne: Armidale project was to capture the town in both the early evening’s nocturnal light with a second photograph of the subject during daylight. This ‘re-photography’ approach resulted in a comparative pairs of images revealing the evocative nature of nocturne light and how it transforms everyday places.
The project began in mid-September when we conducted a workshop at the New England Region Art Museum (NERAM) in re-photography and nocturne light capture. This included practical shoots around Armidale from which images were then optimized and uploaded to Nocturne: Armidale project Facebook page to share with the wider community. Another aspect of the project was the digital processing and optimising of nocturne photographs. This was accomplished in a mentored section of the workshop with the participant’s images.
Doug presenting his workshop on file optimisation
A group shot of some of the Nocturne Armidale participants PHOTO: Neil Burton
Les Davis from the National Trust Home Saumarez, provided project participants with a unique opportunity to photograph this magnificent historical homestead. Over two separate nights images were made to highlight the home’s colonial architecture.
It was suggested in our original proposal that the work produced could be at some later stage be exhibited. And during the workshop Greg from the New England Art Society Armidale Art Gallery came forward with the offer of an exhibition space in their gallery.
In the two months following the workshop we finalised the optimisation of 25 pieces from the workshop – most of them re-photography Duos, and printed them for the participants. Other print coordination took place with workshop participant Neil Burton who provided access to his wide-format printer for large images to be made. At the end of November we returned to Armidale with Neil and his partner Lindy Osbourne to hang the shows.
Hanging the Nocturne Armidale exhibition
Part of the Nocturne Armidale exhibition at the Armidale Art Gallery
The project’s main exhibition was shown at the Armidale Art Gallery in Beardy Street and we presented a floortalk on December 3rd that was attended by around 25 visitors as well as most of the project’s participants. The exhibition of images from the Saumarez shoot-outs was officially opened by photographer and publisher Terry Cooke on December 2 and will remain on display at Saumarez until January 29th, 2017. A third exhibition of photographs included our images and works by Neil Burton will be on show in the Armidale Council Chambers until March 5, 2017.
With Terry Cooke, Les Davis and Neil Burton at the opening of the Saumarez show PHOTO: Lindy Osbourne
Vicky presenting a floortalk about the Nocturne show
The Nocturne: Armidale exhibitions include photographs by Paul Bayne, Sue Burgess, Neil Burton, Victoria Cooper, Les Davis, Ross Jenkins, Jeni Mackenzie, Doug Spowart, Sam Walkom and Jim Walmsley.
Here is a selection of the Nocturne Armidale project images…
Click on image to open a gallery viewer for author and subject details.
Robert Heather, the Director of NERAM described us as a ‘nomadic photographic duo’ and acknowledged that we had, with our group of local photographers, had ‘braved cold, wet and windy conditions to create some beautiful and dramatic images of places which we all know well such as the old Courthouse, Saumarez Homestead, the cathedrals, hotels and railway station.”
The New England FOCUS Magazine published a story on our work and background to the Nocturne Armidale project – Download a PDF focus-nocturnearmidale-red (20Mb)
The Nocturne: Armidale project was coordinated by the New England Regional Art Museum in partnership with the New England Art Society and supported by Saumarez Homestead and Armidale Regional Council.
Regatta Hotel, Brisbane – Rephotography DUO
ABOUT NOCTURNE PHOTOGRAPHY
Nocturne photography captures a time of day where the afterglow of sunset and the glow of streetlights can transform the everyday experience of place. In these photographs, street scenes and buildings that may be familiar in normal daylight take on the dramatic appearance of movie sets. Some photographs created at this time can require long camera exposures and therefore produce images that can capture blurred movement of people and car headlight trails. These images offer to the community a different perspective to their daily experience of place.
Nocturne Armidale Logo
MORE ABOUT COOPER and SPOWART NOCTURNE PROJECTS
NOCTURNE: ARMIDALE, the project is part of continuing series, conducted by Victoria Cooper and Doug Spowart, across Eastern Australia including past events in Muswellbrook, Grafton, Bundaberg and Miles.
Through our Nocturne documentary photography and Facebook social media projects, we have explored connections with Place in urban and regional communities throughout Queensland, New South Wales and Victoria. For us the phenomenon of nocturnal light transforms these everyday spaces. Buildings, busy street corners, quiet alleyways all become filled with the dramatic light of a movie scene. In 2013 and 2014 we were given the opportunity, through funded Artists-in-Residence (AIR) programmes, to undertake Nocturne projects in the regional communities of Muswellbrook, Grafton and Bundaberg.
The photographs in themselves have no intrinsic meaning – it is the viewer, with their experience and memory that brings life to the image. In this moment of connection they may recount a personal narrative or connect with the historical significance of the place. This collaboration between photograph and viewer is exciting and vibrant – expanding the potential for the documentary image to go beyond the vision of the photographer.
Examples of other Nocturne Projects and Facebook responses can be found at: <www.nocturnelink.com>
Cooper+Spowart shooting Nocturne
ABOUT COOPER+SPOWART
Our arts practice is informed by our ongoing and evolving connection with Place. Our Place-Projects are influenced by the context and the consequences of living within a constantly changing landscape. We work with a range of photographic concepts, from the camera obscura, through analogue processes to the digital forms of the medium. Our work is presented as visual narratives in artists’ books, photobooks, exhibition images and and on blogs and social media.
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Copyright in all Nocturne Armidale project images is retained by the author – any use of these photographs must be approved by the copyright owner.
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OUR LATEST BOOK IS IN THE CCP SALON
CCP Header
Australia’s largest open-entry exhibition and competition, CCP Salon, is now in its 24th year and our photobook “YOU ARE HERE…” is in the show.
Presented by Leica and Ilford, with support from Affinity, this annual event celebrates the latest developments in photomedia practice around the country, and provides an exciting opportunity to exhibit work in a professional, high-profile context. Supported by 21 national leaders in the photographic industry, CCP Salon awards up to $20,000 worth of prizes over 26 categories, and visitors are invited to vote for their favourite image in the Michaels People’s Choice Award.
JUDGES: Janina Green – Artist, Dylan Rainforth – Writer, Michelle Mountain – CCP Program Manager, Naomi Cass, CCP Director – Non-voting Chair. Winners of the different categories will be announced at the opening on November 24th. The exhibition continues until December 17.
You are here…
‘You are here…” Cover and codex opening
“You are here” a collaborative artists’ book by Victoria Cooper and Doug Spowart
This book is inspired by many years of travelling through the Pilliga Scrub along the Newell Highway in central western NSW.
On this major highway there is another journey for the road traveller that can take them metaphorically into outer space. This tourist attraction is called the “Solar System Drive” and extends from Belatta to Dubbo. The planets placed on signs along the highway lead to the “sun” which is located in the centre of the array at Siding Springs Space Observatory in the Warrumbungle National Park.
You are here traverses the liminal space between these two journeys, playing with the philosophical questions of place, space and time.
Details of the book: Pigment inks on cotton rag inkjet paper, 14 x 20 x3cm – extends to 6.3metres.
‘You are here…” detail
“You are here…” back detail
‘You are here…” detail
Planning the narrative of “You are here…” earlier this year.
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MAUD GALLERY CAMERA OBSCURA – for one day only
The Maud Gallery window to become a Camera Obscura
As a final event for Maud’s Festival of the Darkroom on November 26 between 12.00 Noon and 4.00pm we worked with Louis Lim to convert the Maud Gallery front room into a public Camera Obscura. We invited members of the Brisbane photo community to join with us for a look back to the origins of photography.
What follows are photos from the event…
Set-up day with Louis Lim, Ana Paula Estrada and Gillian Jones
The Maud camera obscura team – Louis Lim, Doug+Vicky PHOTO: Louis Lim
The Maud camera obscura team – Louis Lim, Doug+Vicky with Maud Director Irena Prikryl. PHOTO: Louis Lim
Outside looking in ––– The Maud Gallery Camera Obscura
Camera obscura viewers sitting on the couch – note two holes… PHOTO: Louis Lim
Inside the Maud Gallery Camera Obscura
Inside the Maud Gallery Camera Obscura
The Maud Gallery toilet was also converted into a camera obscura
The camera obscura in the Maud toilet PHOTO: Louis Lim
Vicky standing before the two pinhole projection – someone came in and let the light in…
Photographer Neil while making a photograph becomes a camera obscura imaging surface…
Gallery Director Irena takes a tea break…
Cooper+Spowart: 16 years of Camera Obscura Collaborations
In our collaborative work, we are interested in both the physical construct and cultural conventions that inform and shape us. This includes the common rituals and structures that surround, support and transport us in our everyday lives. In this work we have extended the context of documentary photographic methodology to include the narrative potential of the camera obscura and architectural projections.
Bedroom Camera Obscura 2000 (Y2K)
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Avochie Bathroom Camera Obscura
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In the camera obscura work the viewer’s perception of the everyday is spatially challenged. The structures that can form camera obscura are everywhere, but some spaces present themselves as clearly suitable for the making. This could be a city office, a motel room, a country bathroom or even a car. Our work attempts to contextualize the experience of the camera obscura within a concept, space or site. Upon entering the darkened space, the viewer is initially displaced, as the familiar image of the everyday is dim and unrecognizable. Then after time spent in the camera obscura, the image becomes clearer and the familiar is re-established ultimately resulting in a relocation of the observer’s awareness of place.
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City of Dreams – Ibis Hotel sunrise over Sydney
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The Travelodge camera obscura 2008
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Some background on the set-up for the Travelodge camera obscura:
Simple black garbage bags and some black electrical tape from the local 711 store. An aperture cut from a ‘found’ piece of aluminium – size around 8mm … we don’t use sophisticated glass lenses – these are direct light projections. A digital camera bares witness to our experience by capturing the image of the camera obscura projection.
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Blacking out the room
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We were watching TV …
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OUR MOST RECENT CAMERA OBSCURA: ORPHEUS ISLAND BEACH TENT
(A collaborative event with John de Rooy, Spyder Displays and the Orpheus Is Photo Workshop)
Our Spyder Camera Obscura
A DUO View of the scene and the Camera Obscura image
TO VIEW OTHER CAMERA OBSCURA WORK BY COOPER AND SPOWART SEE THE LINKS
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Our Website:
http://www.cooperandspowart.com.au/4_PROJECTS/RoomCameraObscura-Project.html
Our car converted into a camera obscura and driven across Australia:
http://www.cooperandspowart.com.au/4_PROJECTS/CarCamera-Project.html
Two New Zealand Camera Obscuras in the the Queenstown Rydges Hotel:
https://wotwedid.wordpress.com/2012/05/07/two-new-zealand-camera-obscuras/
A public Camera Obscura performance and live video:
https://wotwedid.wordpress.com/2013/04/22/camera-obscura-pinhole-event-foto-frenzy-a-report/
YouTube videos:
http://www.youtube.com/watch?v=lyA5QP-mX-E
A camera obscura at the Queenstown Centre for Creative Photography:
https://wotwedid.wordpress.com/2012/05/07/camera-obscura-qccp/
A World Pinhole Day Camera Obscura at Mt Barney:
https://wotwedid.wordpress.com/2013/04/29/world-pinhole-photography-day-our-contribution/
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Closing off the hole in the Travelodge Hotel camera obscura
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© 2013 Victoria Cooper and Doug Spowart for 16 Years of Camera Obscuras Project
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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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STUDIO WEST END: REPRISE
Adele Outtridge photographed in the new Studio by Doug Spowart
Wim de Vos photographed in the new Studio by Doug Spowart
Adele Outteridge and Wim de Vos are like ‘family’ for many artists and creatives in Queensland, and I’m sure around Australia and beyond. Their Studio West End has provided a space for artists to access printing technologies, be supported by mentoring and teaching provided by Adele and Wim, and also connect through the social meeting place that the studio was.
Over the years both Vicky and I have connected with them in many different ways; as co-teachers in an art college, as collaborators on art projects, attending events that each other had organised, learning and sharing skills and, at times, just sitting around – as other do – talking about art and artists…
Helen Cole opens the Studio West End artists book show Photo: Doug Spowart
Adele and Wim have for many years operated their business Studio West End in the suburb of West End in Brisbane in an old soft drink and later and ice-cream factory. They made these places little palaces of art, inspiration and creativity. The workshop was often converted into an exhibition space and example of which would be the project launch of EX LIBRIS: WHO OWNS THIS BOOK
However the creeping menace of gentrification and the scourge of massive high rise development meant that earlier this year they had to pack up and leave their premises in the ABSOE building.
Vicky and I attended the last day party on the 23rd of April and I made some photographs of the state of the studio and its conversion into neat stacks of crates on pallets. What follows is a small selection of the ABSOE Studio West End wake…
Invitation to the Farewell Party
The farewell Absoe Building wake…
Moving out of West End
On October 30 Adele and Wim re-opened STUDIO WEST END at a new location –
241F Station Rd, Yeerongpilly 4105. Come to Gate 4, YCP (Yeerongpilly Corporate Park)
A large opening party was held on Friday evening with the new consecration of the new studio being performed by artist and raconteur Janet de Boer OAM. Acquaintances and friends were invited to visit the studio over the weekend and we went along for lunch the next day. We wish them all the best for the Studio’s continued operation.
What follows is a documentation of the new space and its migration into a new space for art making, teaching and mentoring artists…
The NEW Studio West End
In the new Studio West End
ALL photographs and text ©2016 Doug Spowart
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