This abstraction of the bark of a eucalyptus tree was made whilst we were on the way to the beach at Encounter Bay in Victor Harbor:
The bark is in the reserve opposite Encounter Studio. We have planted most of the trees in the reserve over the years.
This picture was made whilst on an early morning poodlewalk with Kayla:
It is amongst series of rocks that mark the end of Dep's Beach.
More experimentation re sea abstractions:
Made on an afternoon poodlewalk with Maleko.
I scoped this just before the stormy weather from the south west swept in:
I tried to get back to the site for most of the week, but the high tide, and the large wave surges prevented access. It was too dangerous. I finally managed to reshoot it with a medium format camera this morning.
Maybe a 5x4 reshoot in black and white next?
A quartz abstraction made whilst on a poodlewalk along the coastal rocks west of Rosetta Head:
The location is a set of on the western edge of Dep's Beach.
a collection of bark in the reserve across the road from Encounter Studio
This was the start of a number of studies that lead to an exhibition of abstractions at the Light Gallery in Adelaide during the 2015 SALA Festival
As a concept, abstract photography is often seen as a contradiction in terms. Photographs, after all, always represent some trace of physical reality, even if it is not immediately recognizable. The medium's inherent knack for representation paradoxically makes it an ideal instrument for probing and challenging the language of abstraction.
Consequently, abstraction has never been anything like orthodoxy in photography. It’s always been peripheral to the medium and dropped in and out of vogue and critical prominence.
Is there a movement of contemporary abstraction in todays art photography? Art photography has been dominated by a factual, relatively unemotional work: water towers, suburban developments, and austere portraits ruled within the prevalent movements of New Topographics and the Dusseldorf School of photography.
Is there a movement of non representational photography that makes make visible the tension between abstraction and camera representation, and which has it roots in post-modernism? What is over, after postmodernism, is the narrow view of photography — the idea that the camera is a recording device, not a creative tool, and that its product is strictly representational — not manipulated, not fabricated, not abstract.