I’ve been taking pictures since I was 14, when my brother gave me my first camera. My training was in photo-processing labs and then portraits and weddings. In 2008, I embarked on creating two fashion-based projects to build my portfolio with the hope of getting representation within the commercial industry. This was a great learning process: I taught myself how to create an image that tells a story. I soon realised however that I wanted to control the image, from start to finish, which you don’t often have in commercial photography. Art allows me to freely explore my interests and discover more about my Indigenous identity. These projects not only help me understand who I am, but may also shift other people’s perspectives. For these reasons, I work to create depth and a powerful narrative within my projects. Shining light on a subject can impact by changing the point of view of others.
I wouldn’t say I am an Indigenous artist. I am an artist. My heritage is Aboriginal and European. I was adopted at birth and raised in a non-Indigenous family. I have never been to my ancestral country. I was raised by a mother who fought for Indigenous rights and much of what you see within my work comes from the stories my mother taught me when I was growing up. I feel the combination of my heritage and upbringing gives my work a unique perspective. With each project, I learn a little more about Australian history, and connect to that part of my identity.
My projects ask questions and I often create historical role-reversals. The majority of people only see things from their own perspective. Using role-reversal I try to show multiple colours in between, in a world where most just see the black and the white.
I think if an image is beautiful to look at, people will spend time with that image to experience the story. My images don’t prescribe: they ask questions.
This allows the viewer to take their own journey in their own time. They may get the story I am telling, or they may see something different, that comes from their own experiences. My works are not just about my experience–they offer an opportunity for the viewer to ask their own questions too.
When I develop a new body of work, my rule is, if I won’t hang it on my own wall, then I don’t expect others will want to either.
It can be difficult to attract international interest as an Australian artist, especially when your work is politically focused. In my last two projects—Object and Mother—I have addressed themes that may be seen from an Australian perspective, but I am hoping people from the rest of the world can also relate to their own culture.
In the past my work was largely about colonisation. Now I am focused more on identity and events that not only occurred in Australia, but also throughout the world. For instance, with Mother I wanted to create works that related to Australia’s Stolen Generation and, although the end result is a project that may be seen in that context, it may also be seen relating to adoption or even the loss of child. In Object, the universal theme of slavery underpins the series. This can be seen from an Indigenous perspective, but applies to any country with a history of slavery. The series asks global questions about objectification, class gaps, racism, and equality for women.
Mostly I work in series. It helps me create a complete story. I tend to think of a concept and a way to relate a story. In this way it is a bit like a movie script. In Object, I set the images up against one another like a filmstrip. Working in this way is demanding, not only do I need to achieve strength within a complete series, each image needs to be able to stand alone.
I say I am like a painter, but instead of paint and canvas I use a camera and photographic layers to achieve a ‘painterly’ depth in the image.
Unlike documentary or photojournalism, where you would capture a moment as it happens, I start with an idea (a blank canvas), and then create a process to achieve an end result.
The camera is usually picked up late in the process. Formulating and finessing the idea may take months, then the camera is the tool I use to capture that vision. There is a discovery and education process that happens. I usually draw up images, either on the computer or by hand. I then scout for possible locations and may test a location to see if the concept will work before organising the model/s, the props and costumes, etc. required to bring the project together.
I change direction during the process if it’s not going well, and have even discarded projects more than once! I have also learnt the tough way that just because something is technically difficult, doesn’t mean it’s going to be a strong idea, and vice-versa; something simple can be very powerful.
I’m a self taught photographer who had my first exhibition in 2010 so to be showing at Art Basel Hong Kong is very exciting. I set goals about where I want to be and what I’d like to do each five years, and showing internationally at a fair of this calibre is a significant part of that journey. Having successfully shown in London, and Hong Kong previously, I’m looking forward to seeing how this new body of work is received by international collectors.
I am attending Revealed at Fremantle Arts Centre in April to run a two-day master class for Western Australian Indigenous artists. A lot of younger artists are interested in learning more about contemporary photography, but don’t have the opportunity when they may be based in remote communities. I am hoping to share my experience with them, and for more opportunities to connect with artists living outside the cities.
I am currently developing new projects to show in 2017 focusing on identity, and will be visiting Musée Océanographique de Monaco to see the Australie/Australia: Defending the Oceans at the Heart of Aboriginal and Torres Strait Island Art. It includes four images from Civilised (2012-15), and will be showing until 30 September 2016. —[O]