Canberra Re-Seen

Photography | Brian Rope

Canberra Re-Seen | Various Artists: Peter Bailey, Andrea Bryant, Abby Ching, Annette Fisher, Susan Henderson, Tessa Ivison, Peter Lamour, Caroline Lemerle, Louise Maurer, Greg McAnulty, Aditi Sargeant, Eva Schroeder, Sari Sutton, Beata Tworek, Brian Rope and Grant Winkler

Photo Access | 10 June – 10 July

Disclaimer: the author of this review has two works in the exhibition but received no payment for the review.

Earlier this year Photo Access conducted three workshops, each spread over several weekly sessions, in which participants explored the idea of Canberra as a community of people, a built environment, and a physical landscape. Sixteen artists created new works responding to three of Canberra’s landmark photographers – Marzena Wasikowska, Edward (Ted) Richards and Ian North – each featured in Canberra Museum And Gallery’s current exhibition, Seeing Canberra.

The result is this exhibition, Canberra Re-Seen. There is also an online gallery showing the same works plus others by the participating artists. And there are two solo exhibitions showing simultaneously, both of which explore aspects of portraiture: A Surrounded Beauty by Sarah Rhodes, and Portrait by Melita Dahl.

Inspired by Wasikowska’s interest in capturing the human qualities of Canberra, one group explored the idea that a city is best understood through its people. They had the added benefit of Wasikowska herself leading their workshop.

A second collective, led by Wouter Van de Voorde and with Richards’ involvement too, investigated Richards’ interest in documenting the character of Canberra’s little-known places. They shot on 35mm film and created darkroom prints in response to Richards’ dramatic black and white style.

Working with documentary photographer David Hempenstall, a third group explored the ideas of Ian North’s early 1980s images of Canberra suburbs – vistas both bleak and beautiful.

It is difficult to individually comment on all the works in Canberra Re-Seen, so I will just look at particular works that attracted my attention for various reasons.

The highlight for me is Eva Schroeder’s Metamorphis. Born and bred in Canberra, Schroeder has, like me, seen enormous changes in our city over the years. Researching, she learned that 2-4% of Canberra’s community identify as Trans and decided to portray a Canberran transitioning from one gender to another. Her triptych shows Norgaria, who has chosen to use prosthetics, wigs, makeup, and costumes to reveal her real self by entering the world of Cosplay.

Metamorphosis © Eva Schroeder

Then there is Louise Maurer’s beautifully constructed Weetangera II, 2021. That suburb is, like most, in a state of rapid change due to infill. Maurer’s constructed composite image speaks to the importance of the green spaces and native ecosystems, and also speaks for those who tirelessly seek to maintain them as our garden city becomes a thing of the past.

 

Weetangera II © Louise Maurer

Andrea Bryant’s Maria is another fine standout. It is a portrait of a long-term neighbour, “a strong and feisty woman”. An internationally recognised scientist, she is portrayed heartily laughing. Several other gallery visitors pointed to this work as one they loved.

 

Maria © Andrea Bryant

Another very strong contribution is Beata Tworek’s series of collages, which respond to North’s innovative and optimistic colour treatment of deserted streetscapes with austere monochromes reflecting disdain for their lack of individuality.

Ambivalent collage 2 © Beata Tworek

Grant Winkler’s Denman Prospect is very much about the bush landscape disappearing as new suburbs creep over it, replaced by homes and other buildings with what remains of nature being “moulded and manicured”.

Grant Winkler © Untitled (Denman Prospect DSCF6388)

Peter Larmour took 3D images of landscapes. His Southern Anaglyph (dye sublimation on aluminium) is worthy of close examination.

Southern Anaglyph © Peter Lamour

Sari Sutton’s Fyshwick is also interesting. She ventured to Fyshwick and photographed “the abstract, asymmetrical sculptural qualities” that she found,  “unjudged and un-romanticised”.

Untitled (Fyshwick) © Sari Sutton

And, inspired by the playful use of lines and geometry in Richards’s Dancing in the Mall, 1964, Sutton also sought images incorporating strong stripes - exploring the same general area near where the Monaro Mall once stood.

 

Untitled (Civic Stripes 2) © Sari Sutton 

Other standouts for me were Annette Fisher’s Abstracts, and Tessa Ivison’s interestingly titled Pastorals.

4 Abstracts, 2021 © Annette Fisher

Pastoral #1 © Tessa Ivison

This review is also on the author's own blog here.