Watson - Kerry Baylor
HUW DAVIES GALLERY 13 –30 March 2008
'Watson' is Kerry Baylor’s first solo exhibition in the HUW DAVIES GALLERY, although she can be found in or near the gallery most of the time talking about photography or PhotoAccess and its programs.
Since she joined PhotoAccess in 2005 Kerry has shown in all of the Members’ Shows and in the 2007 group show 'Plastic? Fantastic!' Her quirky, retro images of swimmers at Merewether Beach (Newcastle), Kenmore (the former psychiatric institution) and other Goulburn sites, bus travellers in Canberra and people and other subjects close to her are always different and intriguing.
With Robert Burne, Kathleen Fisher, Miguel Gallagher, Lorna Sim, Susan Stayer and Ed Whalan, Kerry is a member of the ‘old spool Betties’, a group of photographers who aim to encourage each other by creating and commenting on images based on a weekly theme. Examples of their work and musings can be found at www.oldspoolbetties.blogspot.c
'Kerry Baylor has a collection of over-loved and under-used vintage cameras. Her photos look like they were taken in the same eras as her cameras were made'.
Kerry Baylor shares a strong interest in narrative photography with many contemporary artists. Like Robyn Stacey, who travelled with her camera to interpret rural life in her 'Queensland—out west' series (1982), Baylor provides a diverse visual sampling of her subject—in this case a Canberra suburb and its people. Her attitude to Watson and its newly developed areas is reflected in the images and in her Artist’s Statement:
'All the houses look the same. I didn’t see anyone enjoying their newness, no one on the street. I felt like I was on the set of a Stephen King movie. Is this the future of suburbs? Creepy!! Sad!!
My images tell the story of my walk. I have come to love Watson, after just liking it for years. And I seem to have it all to myself!!'
Ian North’s 'Canberra Suite' (1980–81) was a product of a wander around the deserted streets of new Canberra suburbs. Unlike North and other narrative artists, Kerry Baylor has boldly asserted her story in strong images endowed with attitude. She can’t be accused of sitting on the fence here, of leaving viewers to read their own meaning into the story. The ‘Majura Rise’ images are starkly pejorative. By contrast, the ‘Some houses’, ‘Green belt’ and ‘The shops’ images are warmer and fonder, but hint at some disappointment Baylor feels with her neighbours’ lack of appreciation for what they have in Watson.
Kerry Baylor’s 'Watson' is a celebration, but not unqualified, of a suburb, its people and their future. This is a story with parallels for other suburbs and other places. PhotoAccess is delighted to present 'Watson' in the HUW DAVIES GALLERY at the Manuka Arts Centre.
David Chalker
