Sintra Blues

Posted on February 10, 2017 by Angela

CASTLE IN DARKNESS

DARK GARDEN

PASSAGE

TEMPLE

DOORWAYS

Norfolk Island Series

Posted on February 10, 2017 by Angela

MUTINY

BOAT WRECK’D

ABUNDANCE

FLOTSAM

TREASURES

Evoking the Macabre

Posted on February 10, 2017 by Angela

This series is my photographic interpretation of the Penitentiary Chapel Historic Site in Hobart. I have attempted to elicit the chilling experience of life in this place through composite images indicative of a progression from factual representational to emotive expression.

The Light. This composite consists of a tunnel entrance to a cramped inner cell known as ‘the dust hole’ and part of the chapel window. Through this window prisoners were reminded of life beyond the gaol, freedom gained by turning to God and away from wickedness.

Deadlock. The old chapel lock layered with detritus of a rusty old gate builds this image, evoking vivid memories of cruelty, hardship tolerated by religion.

Other pieces in the Series:

Last Glimpse. This gallows door may have been the last sight of the condemned prisoner before the hood was placed over his head. The peephole of the image encompasses a window from the Port Arthur Penal Settlement that existed contemporaneously with the Chapel Site for 47 years.

Trapped. The gallows trapdoor through which 207 people dropped has an ethereal badge of the convict’s trade upon it.

Sarah Island Traces. The Sarah Island Penal Settlement was closely associated with the Penitentiary. The window catches weak rays of sunlight at certain times in the afternoon backing on to the gallows building. Within this light one might capture a brief glance of the Sarah Island Bay where convicts, under very harsh conditions, constructed many ships for the mother country, England.

Notation. The symbolic representation of this image refers to the authenticity of a prison society in the mid 1800’s, while the shadowy presence of the bathtub reminds us of the strict adherence to ‘cleanliness’ and the Sunday morning bath one inmate following the next, sloshed down with a bucked of cold water from the same tub.

Resilience encapsulates the stoic nature of those who survived their sentence and gained their certificate of freedom. The vivid colour of shadow and the clarity of the crumbling walls dramatically bathed in sunlight portray the energy and determination of those who could not be broken. The web manifests the continuance of life.

THE LIGHT

DEADLOCK

LAST GLIMPSE

TRAPPED

SARAH ISLAND TRACES

NOTATION

RESILIENCE

1800s

Posted on September 26, 2014 by Angela

APRICOT SILK TAFFETA DRESS FRONT

APRICOT SILK TAFFETA DRESS BACK

CHENILLE DRESS FRONT

CHENILLE DRESS BACK

CREAM SILK BROCADE BODICE FRONT

CREAM SILK BROCADE BODICE BACK

LACE AND SILK WITH GROSGRAIN RIBBON FRONT

LACE AND SILK WITH GROSGRAIN RIBBON BACK

MAUVE SILK TAFFETA BODICE FRONT

MAUVE SILK TAFFETA BODICE BACK

PINAFORE FRONT

PINAFORE BACK

SAILOR TOP FRONT

SAILOR TOP BACK

SOFT COFFEE COTTON DRESS FRONT

SOFT COFFEE COTTON DRESS BACK

Meeting Apollo

Posted on March 3, 2014 by Angela

Meeting Apollo Series

I use photographic images from my travels and print them using the traditional C-type based process. I then select and transform their formal pictorial elements, such as shadows and architectural lines, into a symmetrical mosaic of abstracted patterns.

The ensuing digital composites retain their individual photographic character while generating a complex and puzzling effect of an abstract image, producing an optical illusion for the viewers.

Printed on a matt surface of Hahnemuehle Photo Rag Paper, the results are images which visually and aesthetically oscillate between a photographically based print, a drawing or a lithograph. The prints are mounted on aluminum and backed with a wooden frame.

As a matter of interest ‘Enscribed Tablet’ resides at the University Club of Western Australia and ‘Beguiled by the Curve’, ‘Marco Polo Blush’ and ‘Motif in Marble’ were purchased by the Curtin Student Guild, Curtin University, Western Australia.

The images in this post are alphabetically listed and are mostly composites of 118.9 x 84.1cms, with two smaller images (‘Windmills’ and ‘Marco Polo Blush’), which measure 59.4 x 42 cms.

‘Rhodes Byway’ 1 & 2, and ‘Street of the Knights’ are also printed on Hahnemuehle Photo Rag Paper, measure 50 x 50 cms and are classically framed without glass.