I recently dug out some photos in the b+w archives from some photo trips that I made between the eastern Mt Lofty Ranges and the Murray Plains in the 1980s. I started remembering these old road trips in this part of the mid-north of South Australia –eg., Sedan, Cambrai and the Marne River— when I briefly revisited the area in 2019 and then when I explored it more throughly in 2020 whilst I was at the Lavender Trail Kapunda camp.
These photos appear to be related to, or an extension of, this roadtrip. They were possibly made around the same time or more than likely, just after that roadtrip to the Mt Lofty Ranges. I cannot quite remember. From what I can recall these are photos made on a day trip from Adelaide, as I don’t remember sleeping in the Kombi overnight on the roadtrips in the eastern Mt Lofty Ranges.
On the 1980s road trip I travelled along the Eudunda Rd, which runs parallel to the Mt Lofty Ranges between Truro and Eudunda through agricultural land. This area has a number of farm ruins which caught my eye. Ruins, including the old railway line to Cambrai and Sedan, are what initially stands out when travelling though this region for the first time.
This image was made whilst I was working on the 1980s Bowden series.
The image highlights the industrial nature of this inner suburb, before its urban renewal and gentrification in the Ist decade of the 21st century. Bowden has been greened up, and infilled with higher density housing, and is now Bowden Village.
The earthy and gritty character of the older industrial Bowden of the 20th century has gone.
Like the two other images from the Mantung photoshoot in the South Australian Mallee in the early 1990s this image was also made with a Cambo 5×7 monorail and Kodak black and white Tri-X film.
This image was made about the time that photography, whether as historical object or professional practice, was becoming fully institutionalised; that is in the process of finding a secure niche in universities, art schools, art museums, and the marketplace, as well as in the culture at large.
This photograph provides a scene as opposed to a narrative; a scene that is always from the past and that has to be read like a tableau or a panorama, with the gaze moving across the plane of view in different directions, back and forward. This kind of viewing incorporates the past into the present. It suggests that photography simultaneously conjures past, present, and future in a single image form.