Photography and Videography
| Brian Rope
Watching Me, Watching You | Jemima Campey
Tuggeranong Arts Centre Foyer | 8 to 29 October 2022
Jemima Campey (Ngunnawal/Ngambri lands) graduated from the Australian National University in 2021 with degrees in English and Visual Arts. She is currently completing her Honours in Visual Arts.
photos, performances, installations and films. Through the use of appropriated
and reworked materials which are borrowed from a day-to-day context, she
touches various overlapping themes and strategies, including performance and
contemporary culture. Her text and photographic works are often deeply
personal, providing insight into her act of making art.
previously seen only a little of Campey’s artwork – videos in which she
examined the phenomenon of the ‘apology video’, exploring how the spread of
social media was impacting and re-shaping the nature of peoples’ emotions.
this exhibition, Watching Me, Watching You, she has worked with both
appropriated material and newly created photographs, and presents a selection
of her recent works, united by their focus on the intersections of contemporary
culture, online behaviours, and performance.
has drawn from her own experiences growing up during the rise of social media and
from the writings of Rayne Fisher-Quaan, a Canadian political commentator who,
aged seventeen, created the organisation March for Our Education to lead
student actions protesting the repeal of the sex education content of a Health
and Physical Education curriculum.
has used video and photography to make sense of some aspects of online life and
subcultures that may not be well known to those who do not engage with
particular trends or online platforms. A 500cm long inkjet print titled Doomscrolling
reveals the types of interactions that might be read on some platforms, such as
Pinterest. Here is just a tiny section of the text on the scroll:
SHE IS BEAUTIFUL. HER BODY IS BEAUTIFUL. With that said, she is
clearly tilting a lot and flexing to make herself look thinner and more toned.
she’s also using the clothing to her advantage to make her body look how she
wants, which is her right, just remember that everything on the internet can be
so tainted and altered from its natural state.
one response to that:
yesss, thank you also notice that she like purposely took her
shirt off for the pic
all know that social media can infiltrate almost every part of our lives. We
can present ourselves to others in whatever way we choose. Some opt to perform
for their audience, whom they may or may not know, to create the image they
wish to portray. Doing so raises such questions as “What are the impacts of
adopting a moral superiority within your online persona and brand?”
does not claim to answer these questions. Rather, she considers how
authenticity and perception come into play in various online spaces, such as
That’s All I Have to Say (a 9-channel digital video which runs for a
little over three minutes) is intriguing. It is important to put on the
headphones and listen to the words spoken by numerous people whilst viewing the
images scattered on the screen.
That’s All I Have To Say. 2021. Still from video 03_07
Lovers’ Hands, (a ten-minute long looped video screening within a lovely and very small handmade frame) is also well worth close inspection.
Lovers Hands (2021). Installation image supplied. Digital video and handmade frame. 10_02, looped
There is a performance video piece, Routine, showing the artist herself engaging in a somewhat drawn-out and surreal process performing wellness and wellness-related activities – skincare, vitamins, hair brushing and so on.
Routine (still) 27_45. 2022
And to complete this modest but thoughtful exhibition, there is
just one photograph. It is a self-portrait, Saint Belle, again focussing
on the wellness industry, which is booming as consumers spend on products to
improve their health, fitness, nutrition, appearance, sleep, and mindfulness.
Saint Belle. 2022. Inkjet print, 84.1x59.4 cm