Derek J. Kreckler, Untitled #2 01-05-2005 (WG Coda), in 'Mix Tape' - 15 Western Australian Artists, Art Gallery Of Western Australia, exhibition opened between 12 November 2005 - 19 March 2006. Download exhibition catalogue here.
This photographic portrait sought to capture a unique moment in time, and constructed taking into consideration the formal considerations of composition and light. It employed a process that allowed the subjects to ‘naturally’ inhabit the space of the photograph. Carrol Jerrems’ iconic ‘Vale St #2’ (1975) was a starting point for thinking about the work.
Research Contribution
Jerrems’ image is one of a series documenting Sharpie sub-culture in Melbourne. As Jerrems herself noted, I try to reveal something about people, because they are so separate, so isolated, maybe it’s a way of bringing people together I don’t want to exploit people. I care about them.’ (1977). In depicting three people from a contemporary subculture: Kelton Pell, a Noongar actor, and contemporary dance artists, Aimee Smith and Jessyka Watson, this photographic portrait is more inward looking and photographed in a backyard at night. In formal terms, the photographic shoot was undertaken from two angles, and a process was established that allowed the subjects to engage with each other over a period of time. This allowed for a certain type of chance akin to aleatory to occur, meaning that there was a fixed process that allowed for random moments to occur within the shoot.
Research Significance
This work was selected for exhibition in ‘Mixed Tape’ curated by Jenepher Duncan at the Art Gallery of Western Australia, Perth (November 2005 – March 2006); and as part of ‘Langue Froide’ curated by William Wright OAM at Connie Deitchold Gallery Dank St, Sydney (November – December 2009).
Publication Details
Derek J. Kreckler, Untitled #2 01-05-2005 (WG Coda), in 'Mix Tape' - 15 Western Australian Artists, Art Gallery Of Western Australia, exhibition opened between 12 November 2005 - 19 March 2006. Download exhibition catalogue here.
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RESEARCH IMPACT STATEMENT
Research Background
This photographic portrait sought to capture a unique moment in time, and constructed taking into consideration the formal considerations of composition and light. It employed a process that allowed the subjects to ‘naturally’ inhabit the space of the photograph. Carrol Jerrems’ iconic ‘Vale St #2’ (1975) was a starting point for thinking about the work.
Research Contribution
Jerrems’ image is one of a series documenting Sharpie sub-culture in Melbourne. As Jerrems herself noted, I try to reveal something about people, because they are so separate, so isolated, maybe it’s a way of bringing people together I don’t want to exploit people. I care about them.’ (1977). In depicting three people from a contemporary subculture: Kelton Pell, a Noongar actor, and contemporary dance artists, Aimee Smith and Jessyka Watson, this photographic portrait is more inward looking and photographed in a backyard at night. In formal terms, the photographic shoot was undertaken from two angles, and a process was established that allowed the subjects to engage with each other over a period of time. This allowed for a certain type of chance akin to aleatory to occur, meaning that there was a fixed process that allowed for random moments to occur within the shoot.
Research Significance
This work was selected for exhibition in ‘Mixed Tape’ curated by Jenepher Duncan at the Art Gallery of Western Australia, Perth (November 2005 – March 2006); and as part of ‘Langue Froide’ curated by William Wright OAM at Connie Deitchold Gallery Dank St, Sydney (November – December 2009).