Whilst I was going through my archives looking for some better images to include in my portfolio for the Adelaide Photography 1970-2000 book— submissions have just been called— I came across a few images of River Red gums (Eucalyptus camaldulensis) along the River Murray in Victoria. I had more or less over forgotten about these mid-1980s images, as they were mixed up with some of the sand dune images of Adelaide’s coastal beaches in the archive.
The picture above was made on a late 1980s road trip in the VW Kombi along the southern coast of Australia then back along the River Murray. Other images from this road trip— e.g., the La Trobe Valley and the Riverland trunk images —can be found in this earlier post about the Adelaide Photography book. Continue reading →
The Bowden Archives and other Marginalia is the current working title of the book of my archival photographs from the 1980s that I have recently started to work on.
What unfolds in the book is a collage of images and writings. The collage-like writings and accompanying images stand at the margins of being systematically and/or instinctively ordered. Academic convention demands the former but in this case the memories of the past are vague, diffuse or unspecific, slippery, emotional, ephemeral, elusive or indistinct. The remembered changes are like a kaleidoscope in that the memories don’t really have a pattern at all.
The narrative in the book is reinvented, combined in weird assemblages in that the pieces of the past are being superimposed in some new sense.
The reason for this approach is that I don’t have a clear memory of my photographic past, cannot recall my thinking about my photography of that period, ands have no awareness of how I was assessing the material on photography that I was reading. So I have to reconstruct or reassemble my experiences from various materials. The result is that different pieces of things that are gathered into a single context.
The past survives however much one tries to drive it down and away from one’s consciousness. It rears up provoked by something overheard or a scene, a place, an object, a tune, a scent even. It is inescapable. Place and landscape are always centred on the person(al) and articulated differently in each case in a series of connections through remembered/forgotten place-times.