Posts Tagged ‘New North Gallery


Kallena Kucers @ New North Editions

Kallena Kucers - Flight

Thursday, 5 August 2010

Dear Diary,

New North Editions is about to unveil a new exhibition by photographic artist Kallena Kucers.

Kallena’s works have featured in a number of group and prize exhibitions throughout Australia and internationally. However, this is Kallena’s first solo exhibition at the New North Editions.

Kallena’s images are beautifully crafted and visually complex. However, they deal with the important subject of traumatic childhood experiences.

Kallena Kucers says of her photography: “All this work is very centrally grounded in the overall concept of child abuse – from personal experience, and from later academic study and professional practice.”

Kallena Kucers - Tension

“The work comes directly from my feelings, emotions, and experiences that I remember and draw on to attempt to convey a sense of what they may be like.”

Many photographs feature limbs and body parts, appearing, ghost-like, from the background of the pictures. “This is a reflection of an emotional state, a partial disassociation,” explains the photographer.

However, each image is imbued with a glimmer of hope: “A child, who has been abused, no matter how severely, always has hope for a better life. The most essential thing to achieve is to find an environment where they can be safe from further abuse,” says the artist.

Kallena concludes: “I very much hope that my work will help to educate many. These experiences are caused by the direct result of abuse; they are most definitely not alone, and there is, usually, a way out.”

Kallena Kucers - Substance

The exhibition opens  at the New North Editions, Fairfield, on Friday, 13 August, at 6pm, and will run until Saturday, 4 September 2010.

[© Eugene Barilo v. Reisberg 2010. This article is copyright, but the full or partial use is WELCOME with the full and proper acknowledgement.]


Sean O’Carroll @ New North Editions

Sean O'Carroll - Finn #1, 2010Thursday, 24 June 2010

Dear Diary,

I became aware of Sean O’Carroll, whose exhibition of photography has opened on Thursday night at the New North Editions in Fairfield, late last year. Together with the two other judges, we have unanimously selected Sean’s work Viktor #1 as the winner of the New North Portraiture Prize 2009.

O’Carroll was reticent then (as he is now) to talk about his photographs, preferring the works to speak for themselves. And speak they do. His earlier studies and ongoing interest in psychology provide an important key to the understanding of his works.

Sean O'Carroll - Viktor #1, 2009O’Carroll’s exhibition features two distinct bodies of work. Interspection series of 2009-2010, consists of six images, and includes the above-mentioned Viktor #1. Each photograph depicts people in a deeper stage of interspection, and visualise a confrontation between the outer and inner self. Sean fills the backgrounds of his photograph with enough detailed information to allow the construction of the narrative of each individual piece. His photographs are populated by protagonists that are seemingly at the end of their tether. Their imperfect, downtrodden, troubled outer self is confronted by their equally imperfect inner self; their troubled inner child; their pre-suicidal ghostly double. Finn #1 is perhaps among the strongest in this series. Not only does the work succeed in delivering a powerful, psychological, and deeply emotional message within the figure of the lone girl seated in the garden, it also successfully resolved as a composition, which is built along the strong diagonal axis of background details and the bold foreshortened limbs of the crouching figure.

Sean O'Carroll - Untitled#6, 2009Boys, Guns, Etc? series of 2009 feature images of children playing with toy weapons.  They perhaps continue O’Carroll’s theme of our own primeval inner child, the nascent masculinity within our pre-cognisant self. Images of children with weapons are frequently disturbing: not fully aware of the value of human existence yet wielding the power of other people’s lives, they haunt the photographs of the Hitlerjugend, Khmer Rouge, and African child warriors. In visual art, one can go as far back as the pre-pubescent David dwarfed by Goliath’s head in Old Master paintings or as recent as Steve Cox’s paintings of child murderers and thought-provoking mise-en-scènes by the Russian photography collective, AES+F. Untitled #7 is among the most disarming images, quite successful compositionally in its perfect balance between the negative and positive space, sheathed by a skein of an Old Master greenish hue. However, in subsequent photographs these innocent-looking cherubs, instead of acquiring bows and arrows, brandish toy weapons. The resulting imagery, such as Untitled #1, brings forth the multiple psychological dichotomies of boyhood versus masculinity, and the representation of weapons as symbols of violence and power versus them being the objects of play and innocence.

Sean O'Carroll - Untitled#1, 2009Sean O’Carroll’s background in professional photography must be mentioned. It is evident in his adroitness behind the camera lens as well as in front of the computer screen. The figures are properly lit; the uniformity of a single light source is well observed; the colour balance is professionally maintained. There is sharpness to his images, and lucidity to his compositions. Sean’s works should provide a valuable reference point to those working in the photographic medium as they combine the aesthetic appeal and deep intellectual content with the technical proficiency.

The exhibition is on view at the New North Editions in Fairfield until Saturday, 17 July 2010.

[© Eugene Barilo v. Reisberg 2010. This article is copyright, but the full or partial use is WELCOME with the full and proper acknowledgment]


Julie Millowick @ New North Editions, Fairfield

Julie Millowick - Mist, Crocodile ReservoirMonday, 3 May 2010

Dear Diary,

Julie Millowick’s exhibition Close to Home at the New North Editions brings forth the incontestable evidence of the drought that has been affecting Central Victoria during the last decade.

The physical appearance and photographic processes of the works in this exhibition differ significantly from Millowick’s previous suites of photograms and cyanotypes. However, their narratives are linked semantically inasmuch as they reflect the artist’s continuous fascination, interest, and involvement with her region.

Julie Millowick - Abandoned MineThe changing local flora provides Millowick with the ongoing source of inspiration, as does the area’s history and folklore, which has been used so imaginatively by Julie in the suite of cyanotypes, Love Letters of a Chinese Lady, and brought to life in Close to Home through her documentation of mine shafts that pepper the landscape of the former gold-mining district of Central Victoria.

The effects of merciless weather conditions have been captured in this inspiring and thought-provoking body of work through the repetitive depiction of dry land, yellowing plants, and empty river beds. Millowick uses her camera as a divining rod to seek out water wherever she can, and in whichever state it may exist in nature – gas, liquid, or solid. It is abundantly present in such photographs as Crocodile Reservoir and Fryer’s Creek, but is only subtly conspicuous as the floating fog in Fryer’s Forest, droplets of dew in Bush Cut Mist, and the ice in Black Reeds.

Julie Millowick - Dog as WolfAn underlying personal narrative, reflective perhaps of the artist’s own intimate world, can also be detected within these photographs. The vulvic outlines of mine shafts and water holes surrounded by the pubis of grasses and dry reeds, the figure of the lurking dog as a metaphor for a predatory male as well as conjugal fidelity, and the gushing foam of a forest creek speak of physical, sexual longing, which is imaginatively expressed in this suite of works through the visual vehicle of nature photography.

The works are most meticulously executed. The low vantage point of the photograph puts the viewer within the picture plane; the realistic sensation is heightened by the crystal clarity of the foreground details which dissipate into the foggy nothingness towards the background of the pictures. The clarity and precision of the images belies their conceptual and physical complexity. Each work is composed of numerous individual photographs, which have been painstakingly collaged and overlayed.  This creates – and explains – an unusual visual panorama, which adds to the feeling of the mysterious in every shot.

Julie Millowick - Bush Cut MistClose to Home has been previously shown at the Ballarat International Photo Biennale and the Adelaide Festival. This body of work is a testament to Millowick’s dual talents as a respected documentary photographer and a renowned photographic artist, and a  showcase of her superior skills and technical abilities within the varying aspects of the complex medium of photography.

[© Eugene Barilo v. Reisberg 2010. This article is copyright, but the full or partial use is WELCOME with the full and proper acknowledgment]

Eugene Barilo v. Reisberg

August 2020


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