2010-11-25 18:00
2011-01-30 16:00

HUW DAVIES GALLERY 25 November 2010–30 January 2011
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Images and stories of modern warfare are lavished on us daily by filmmakers, photographers and journalists—some embedded with the troops—who capture first hand the atrocious reality of combat and occupation. We rarely see images or hear stories that stay with us beyond the news cycle, that give us pause to reflect on the brutality and deep physical and psychological harm of war.

Things were different for Timor-Leste in the decades leading up to the August 1999 self-government referendum. The awful retributions following the referendum were witnessed by the world but, despite the best efforts of many, the earlier events visited on Timor-Leste haven’t always been well documented. Sometimes, as at Balibo on 16 October 1975, people attempting to do so have been cruelly silenced.

Chris Whitelaw achieves a number of purposes in The Shades of November. By making work at significant places he adds to the collective images and stories that help us understand the recent history of this young nation. Image titles and an Annotated List of Works tell the story of the sites. He pays tribute to the people who lost their lives in the struggle for democracy and their persistent spiritual presence. But in his memorable images Whitelaw also points to the future by capturing the ethereal beauty of places once associated with tragedy.

In his Artist Statement Whitelaw says:

The images in this exhibition were captured using digital infrared technology that gives subjects an eerie, spectral appearance, in reference to the spirit world of the ancestors which is central to traditional Tetum culture—invisible but ever-present and all-pervading.

Chris Whitelaw was selected for a PhotoAccess Emerging Artists Support Scheme (EASS) residency from the ANU School of Art 2009 graduating year. PhotoAccess is a very keen participant in EASS and acknowledges the Visual Arts and Craft Strategy support that allows us to assist emerging artists. Whitelaw received a 2010 ACT Arts Fund grant to assist with his visit to Timor-Leste.

A book, also titled The Shades of November, has been produced by Chris Whitelaw to accompany the exhibition.

We thank Cordell Jigsaw Productions, in particular Toni Malone, Head of Production, for permission to screen the fine documentary Anatomy of a Massacre in the course of the showing of The Shades of November.

PhotoAccess is delighted to present Chris Whitelaw’s The Shades of November in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-11-04 18:00
2010-11-21 16:00

HUW DAVIES GALLERY 4–21 November 2010
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Travel distortions – Fog is Valentina Schulte’s second exhibition in the HUW DAVIES GALLERY. Her first, Residue, was a joint exhibition with Holly Schulte in 2008. Since that time Valentina Schulte has graduated from the College of Fine Arts at the University of New South Wales, continued her travels and image making, presented a solo exhibition at galleryeight in Sydney and shown in several group exhibitions.

In my introduction to Schulte’s Residue work I commented that she ‘ … reconnoiters places with her camera, a flâneur with a keen eye to understanding and conveying the ineffable. While her aesthetic suggests a detached observer, Valentina’s images are carefully made to nudge us towards a deeper contemplation of the places she has visited’. Travel distortions – Fog is another example of Schulte’s beautiful and thoughtful image making. She shows us landscapes that provide fertile ground for imagining: storybook mountain villages or dark, mysterious places where unspeakable things occur? Schulte has shown how the elements can subvert expecations of beauty and romance in a landscape. In Travel distortions – Fog she has succeeded in creating a deeply satisfying and evocative group of works.

Schulte’s work is represented in private collections in Australia, Hong Kong and Denmark.

PhotoAccess is pleased to present Valentina Schulte’s Travel distortions – Fog to visitors to the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-11-04 18:00
2010-11-21 16:00

HUW DAVIES GALLERY 4–21 November 2010
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La brume de l’hiver, the mist of winter, is Tim Anger’s first HUW DAVIES GALLERY exhibition, and his first solo exhibition in a public gallery.

Is Paris the most photographed city in the world? Probably. Have its creative possibilities been exhausted? Obviously not. Tim Anger has come away from a 2008 visit to France with a collection of memorable images, some of which have been seen individually at PhotoAccess and elsewhere in the past couple of years, but never before brought together as they have in this exhibition.

Amongst the most feted Paris images are those of the early twentieth century French photographer Eugène Atget. His beautiful and evocative images have considerable status as artworks but, unlike Tim Anger, history tells us Atget had no artistic interest in the images he made. He rejected the title of artist:

He had no time for Man Ray [a neighbour in Montparnasse in the 1920s] or the Surrealists and responded to their interest in his images by saying, ‘These are simple documents I make.’ And yet today these documents are sought after for their clear and unique vision, for their mysterious beauty, for their evidence of a personal passion …’ (Maria Connolly, Eugène Atget and Haunted Paris: Trees, Parks and Architecture @ www.iphotocentral.com)

Tim Anger’s images are not simple documents of a walk through the streets and gardens of Paris and Lyon. Anger had a vision for the images he would make when he returned home to Bungendore. Their picturesque possibilities, their potential to recreate the cold, misty atmosphere of a European winter struck him early in his visit and led him to develop this strong body of work, gentle, peaceful and meditative. Evidencing their visual appeal, a smaller version of Reflective Canal won the People's Choice Award in Access All Areas 2009: The PhotoAccess Members Show.

PhotoAccess is pleased to show Tim Anger’s beautiful La brume de l’hiver in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-10-14 18:00
2010-10-31 16:00

HUW DAVIES GALLERY 14–31 October 2010

Brindabella is Ian Copland’s fourth HUW DAVIES GALLERY exhibition in as many years. Like three of those exhibitions, Brindabella examines themes close to home. People, shown in early 2008, dealt with universal themes but had no specific Canberra connection.

Copland’s Structures was an outstanding first exhibition based on the architecture of three of Canberra’s national institutions. He focused on the people and streetscape of Garema Place, more than just a physical location for generations of Canberra people, in last year’s Garema. Copland’s exceptional compositional skills and strong feeling for colour were demonstrated in all of the earlier exhibitions.

This fourth exhibition is very different to Copland’s earlier work. It could be seen as experimental because, departing from his earlier instinctive picture making, this exhibition works through new ideas to arrive at an evocation of landscape as playground, predator and protector. In his exhibition proposal, Copland wrote this about the Brindabellas:

'The Brindabella Mountains west of Canberra do not immediately conjure images of an iconic landscape. They are not the tallest, starkest most beautiful mountains.

To many Canberrans however they have very special meanings. Brindabella sunsets are rich in colour and meaning. The 2003 fires came from the Brindabellas to wreak havoc on the outskirts of the city. Day trips into the Brindys have long been a particular pleasure. To us they are iconic. Despite the 2003 experience we feel the mountains give us a sense of protection'.

Copland has chosen to render the Brindabella landscape in black and white, to explore the use of chiaroscuro—a tonality alien in most of nature but used to perfection by the painters Caravaggio and Rembrandt in the sixteenth and seventeenth century, in the film noir masterpieces of the mid twentieth century and the work of many photographers, including Diane Arbus and Annie Leibovitz and, closer to home, Harold Cazneaux. In his Artist Statement Copland explains in considerable detail the process he has worked through to produce Brindabella.

PhotoAccess is pleased to show Ian Copland’s meditation on our iconic Brindabellas in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-10-10 15:00
2010-11-21 16:00

HUW DAVIES GALLERY Multimedia Room 10 October –21 November 2010
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This collection of short films and portraits is the result of collaborations involving Mental Illness Education ACT, PhotoAccess and Tuggeranong Arts Centre.

PhotoAccess is proud of its record in community projects and we were very pleased to work with MIEACT early in 2010 on the short film project Moving Minds assisted by generous funding from ACT Health Promotion Grants. Jenni Savigny provided artistic direction and coordinated the project for MIEACT. Ed Whalan and Katie Ryan gave creative and technical support for PhotoAccess and Barbie Robinson made the portraits shown as Mindfulness. Ultimate credit for the success of the project goes to Matt, Annie, Greg, Jenni, Charmaine, Michael, Rosie, John, Lisa, Isabel, Laurie, Jo and Jacqui whose moving and honest stories make up Moving Minds. Moving Minds is published at www.mieact.org.au

We are pleased to be able to show Moving Minds and Mindfulness in the HUW DAVIES GALLERY at the Manuka Arts Centre for Mental Health Week 2010.

David Chalker


2010-09-23 18:00
2010-10-10 16:00

HUW DAVIES GALLERY 23 September –10 October 2010
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Julie Garran is a member of PhotoAccess and the Canberra Photographic Society. She has shown thoughtful and often adventurous work in group exhibitions with both organisations and in international competitions. eleanor jeshua penthesilea peter is her first solo exhibition.

Garran has been a professional photographer and arts worker for many years. Local arts organisations she has worked with as photographer or in diverse other roles include Canberra Repertory Society, Theatre ACT, Muse Magazine, Canberra Community Arts Front, Fools Gallery Theatre Company, Jigsaw Theatre Company and the Arts Council of the ACT. Outside Canberra she has worked with the Australian Elizabethan Theatre Trust, the Australian Ballet and the Australian Opera. She has made portraits of families, children and babies for Peter Pan Studios, and was photographer of the year in 1990. She has travelled and photographed extensively in Africa, Europe, Bali, Indonesia, Vietnam, Laos, the United Kingdom, Portugal, the United Arab Emirates and in Australia

eleanor jeshua penthesilea peter is the result of apparently obsessive but obviously meaningful and rewarding picture making based on family. For most of the subjects we have only a brief glimpse into their recent lives. The images of Eleanor, however, tell a longer story and suggest the transition from angsty teen to thespian to coffee loving and (seemingly) composed, serene mother. Although Garran has stripped back the visual elements we can read something of the personalities of her subjects from their bearing, eyes and facial expressions—most consciously constructed for the camera. Clearly Jeshua is the clown of the piece. Eleanor’s clown make up can’t disguise her obvious seriousness. Garran’s mise-en-scène posits Eleanor as a critic of her distinguished forebear, Sir Robert, or is she providing an amusing counterpoint to the earnest, illustrious public servant who has given his name to a suburb and public buildings in Canberra?

It was through discussions with her sister Zanna Strong that Garran proposed to show eleanor jeshua penthesilea peter. Strong’s Discrepancies exhibition hangs in the adjacent space; we are very pleased to share both exhibitions with visitors to the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-09-23 20:00
2010-10-10 16:00

HUW DAVIES GALLERY 23 September –10 October 2010
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Zanna Strong’s concern for the way humanity—just one of the many species inhabiting our fragile planet—is headed is illustrated with gentle irony in Discrepancies, her first solo exhibition and the first showing of her work in the HUW DAVIES GALLERY at PhotoAccess. Her story is not the usual dystopian view of the future but ‘… a whimsical look at disturbing issues that I believe we can change together.’

Strong’s is an optimistic view. Plenty of people might take issue with her, but her travels have seen her in places that could allow her to argue with some authority that there is reason to hope for the best. As long as we read the signs and heed the warnings that should be obvious to everyone. Zanna Strong helps unbelievers by illustrating the incongruities we might experience if denial brings about a new order in the man versus nature paradigm. A lion contemplating its next meal in a city square—will its attention turn to the blonde child or will it be satisfied with water? Does it exist at all (how could it exist in this context)? A hyper real vulture looks for food in a rubbish rich service lane. Does the man really think a newspaper will protect him? And from what?

Strong’s sense of justice is affronted by the excesses of the West and the life and death needs of our fellow humans. Please leave, Gilded stairway and Playground point tellingly to the contrast. What place does Gucci have in the sparseness of an African village? The need for concordance between people with little and people with plenty is another of the issues to be addressed to resolve discrepancies in a world ‘…that builds the West on the backs of developing nations’.

Zanna Strong’s work in the film industry brings to her images a sense of action and suspense. She uses the techniques of digital manipulation to introduce dislocating elements seamlessly in some images, and discomfortingly in others. In Better outside a cut out hyena throws an obviously opposing shadow, emphasising its threatening strangeness; the sun adds lustre to the taut figure of a black man in the bleak city setting of On the backs of others.

Zanna Strong was born in Melbourne and now lives in Vancouver, Canada. It was through discussions with her sister Julie Garran that Strong proposed to show Discrepancies here. Garran’s exhibition hangs in the adjacent space; we are very pleased to share both exhibitions with visitors to the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-09-05 12:00
2010-10-01 16:00

HUW DAVIES GALLERY 5 September – 1 October 2010
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We saw Jonathan McManus’ 6734 feet: 59 frames, 2009 in the 2009 Graduating Exhibition in the ANU School of Art’s Photospace. As he had intended, the rediscovered images and use of a slide projector brought a real sense of time past to the work, beautifully evoking aspects of life in the 1950s.

Jonathan accepted our invitation to show 6734 feet: 59 frames, 2009 in the HUW DAVIES GALLERY Multimedia Room and we were delighted to be able to show it to coincide with this year’s Hang it yourself 2010.

Jonathan’s Artist Statement explains the rationale for and meticulous approach he has taken to create this work. He says he ‘… was enthralled by this notion of works of art, developing and evolving in desk drawers and garages, just waiting to be discovered’.

PhotoAccess is very pleased to share Jonathan McManus’ 6734 feet: 59 frames, 2009 with a wider Canberra audience through this showing in the HUW DAVIES GALLERY.

David Chalker


See information about Jonathan McManus and his work at www.find-it.net

2010-09-05 12:00
2010-09-19 16:00

HUW DAVIES GALLERY 5 –19 September
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Hang it yourself (HIY) was conceived as a photographic interpretation of street art, accessible to everyone (well almost everyone), a little bit anarchic (can anything be a little bit anarchic?), an easy ask for first time and experienced artists alike. On reflection I suppose the concept was fatally flawed so it’s no surprise that, from the beginning with HIY 2008, HIY-time has become a worrying time for our members. Their worries include the challenge of doing something noticeable, something different and something of quality. Those worries are visited on the friendly staff of PhotoAccess and we willingly shoulder the responsibility of advising on selection, printing, placement (with considerable emphasis on neatness) and the myriad other concerns our members bring to us at HIY-time.

The good thing is that HIY 2010 is again a great success, a pic-fest demonstrating an astonishing variety of subjects, media and participants. With 193 images from 55 artists, including young members Adriana Bianchini, Nicholas Radoll, Tabitha Mann and Sophie Shepherd Best, HIY 2010 is the largest showing of HIY works in the HUW DAVIES GALLERY.

Bob Burne continues to surprise with The Cyclist, an anaglyph print complete with two-colour glasses for 3D viewing; Ed Whalan has sent us an extraordinary, beautiful vertical panorama from Berlin where he is enjoying the creative challenges of a residency; Marion Milliken, showing with us for the first time, has presented three semi-abstract views of a well known inselberg in the heart of Australia. Among many other striking images are Christine Rufflet’s Rêve de Paix, Tony Stewart’s intriguing panorama, Lake Mungo Brooding, Holly Treadaway’s Winter Sun, Barbie Robinson’s Taipei dancer series, Stephen Best’s Braidwood 3, Sonia Turner’s She, Ginette Snow’s strong black and white works and Rebecca on the rocks by Dan O’Day, fresh from accepting his Highly Commended award in the Moran Contemporary Photographic Prize 2010. Richard Scherer’s The Dog is an amusing and very real study of Lolly (that’s another story).

It’s unfair not to mention more of the images but visitors, including participants, will make their own assessments and take away from HIY 2010 ideas that, we hope, will help them with their work. It has been a real pleasure to see artists in the HUW DAVIES GALLERY pondering wall spaces and the presentation of their work, sometimes deliberately subverting the carefully thought out plans of other participants (watch out next year Alan Charlton!).

Congratulations to everyone who has participated in HIY 2010, making it another outstanding and memorable show by PhotoAccess members. Start thinking about 2011 soon.

Thanks to Barbie Robinson for the catalogue images.

David Chalker


2010-08-12 17:14
2010-08-29 17:14

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Coastal Comfort is Suzie Edwards’ second solo exhibition in the HUW DAVIES GALLERY. Like the first, Please don’t send me home in 2007, Suzie has drawn on aspects of her life to tell an apparently familiar story. But it is told in a way that represents the complexity of coastal life. Here we see ‘the coast’ through the eyes of an imaginative and enquiring artist.

In the Please don’t send me home catalogue I wrote:

'As Gallery and Visual Arts Coordinator at the Tuggeranong Arts Centre, Suzie Edwards is accustomed to helping other artists present their work. She is also a teacher and curator, and has been a notable contributor to group exhibitions in Canberra for more than a decade. Considering the quality and consistency of her creative achievements it is surprising that Please don’t send me home is her first solo exhibition.

Please don’t send me home is a rich and powerful evocation of a nostalgic, but surprisingly optimistic, return home. Suzie Edwards’ quietly beautiful images of places that were full of people and industry in her childhood contrast with 1950s and 60s images made by her father at a time when the cement works were the heart of Portland life. Together they contradict the impression most of us would have of the awfulness of living and growing up in an industrial landscape.'

Please don’t send me home was also shown in Bathurst and Broken Hill following its HUW DAVIES GALLERY showing.

Since 2007 Suzie has continued her contribution to PhotoAccess and other group exhibitions, she continues to support artists through her work at Tuggeranong and she continues to draw inspiration from regular visits to the New South Wales South Coast town of Merimbula. Like the images in Please don’t send me home this new work brings to the wall and screen the pleasant and the unpleasant, the sunny and the dark dimensions of the coast—the squabbling, freewheeling aerobatics of seagulls, a kite flying high above a rock platform pounded by waves, a study of corpses: mutton birds dead from the exhaustion of battling storms in the course of their epic migration and discovered on a beach on Anzac Day 2008.

Edwards’ use of several capture techniques has allowed her to create a range of moods. The Holga based images are atmospheric and beautiful. The digital work is sharp and full of detail. Edwards says the screen based work is ‘… about rhythms—the constant comfort that comes from routine. I notice the ‘small things’ down the coast such as the way the gentlest of breezes catches the curtains.’

Suzie Edwards was a 2000 artist in residence when PhotoAccess was in its original premises in Kingsley Street. She was an artist in residence again in 2007 in our new home at the Manuka Arts Centre. This thoughtful exhibition is another major accomplishment for Suzie and we are very pleased to share it with visitors to the HUW DAVIES GALLERY.

David Chalker


2010-07-22 17:13
2010-08-08 17:13

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Each year we select graduates from the Canberra Institute of Technology and the ANU School of Art for PhotoAccess emerging artist residencies. The intention is to assist those artists, mostly young and with limited exhibition experience, to develop and present new work in HUW DAVIES GALLERY exhibitions. The residency projects can involve mentoring, courses, access to facilities and equipment and, towards the end of each residency, exhibition opportunities in solo or group shows. The exhibitions are assisted by funding under the ACT component of the Visual Arts and Craft Strategy.

From the 2009 CIT graduating year we offered Jamila Toderas and Holly Treadway residencies and, unusually, both accepted. Holly’s exhibition 'sticks and stones' is showing alongside Jamila’s in the first emerging artists exhibition by CIT graduates for some years. We hope others will follow their lead. Jamila and Holly are showing new work made specifically for these exhibitions.

Jamila Toderas has an unusual, dark vision. Her graduating show work was a series of dramatic self portraits suggesting fear and alienation. The 'In my nightmares' work takes those emotions further, moving into areas most feared by young people and their parents alike: the fear of harm from madness, societal pressures, familiar seen (killer clowns?) and unseen demons, and self abuse. Toderas and her characters sleep in fear, wake in fear, lose themselves in fearful, alienating rooms and landscapes, and they bleed. Toderas’ work, as she says in her Artist Statement, ‘… shows the depths of darkness hidden in my eccentric soul’.

These are carefully staged images, continuing Toderas’ early interest in creating the subjects for her work including, in particular, costumed family pets. Bonnie is an early example. A close examination of the images in this exhibition, Lost and Circus bloodshed, for example, shows how far she has travelled from the days of dressing Bonnie as a cheerful clown. Her imagination and command of craft mark Jamila Toderas as a young artist of great promise.

PhotoAccess is proud to have helped bring Jamila Toderas’ work to a wider Canberra audience through a 2010 emerging artist residency and her 'In my nightmares' exhibition in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-07-22 17:00
2010-08-08 17:00


Each year we select graduates from the Canberra Institute of Technology and the ANU School of Art for PhotoAccess emerging artist residencies. The intention is to assist those artists, mostly young and with limited exhibition experience, to develop and present new work in HUW DAVIES GALLERY exhibitions. The residency projects can involve mentoring, courses, access to facilities and equipment and, towards the end of each residency, exhibition opportunities in solo or group shows. The exhibitions are assisted by funding under the ACT component of the Visual Arts and Craft Strategy.

From the 2009 CIT graduating year we offered Holly Treadway and Jamila Toderas residencies and, unusually, both accepted. Jamila’s exhibition, 'In my nightmares', is showing alongside Holly’s in the first emerging artists exhibition by CIT graduates for some years. We hope others will follow their lead. Holly and Jamila are showing new work made specifically for these exhibitions.

Holly Treadaway works as a freelance photographer in the ACT and Southern Highlands. She spent three years at The Canberra Times as a photojournalist and had responsibility for photography in other publications, including The Canberra Chronicle, The Queanbeyan Age, The Canberra Centre Magazine, See Canberra Magazine, and Summer in the City Magazine.

Earlier this year Holly embarked on a personal photographic journey through Laos and Vietnam. Her first solo exhibition Watching You Watching Me is currently showing at Café Yala, Reid CIT campus.

Holly Treadaway’s 'sticks and stones' is autobiographical, with its roots in the memory of her early years. It is a physical and emotional revisiting of the places and feelings she experienced growing up on the land at Burra, out of Canberra.

Using a model to suggest a reflective, idyllic adolescence, Holly recreates the atmosphere and quiet joy of a life which was at times resented but now, reconsidered, approaches perfection. The calm of this young Holly Treadaway does seem in conflict with the rambunctious life she recounts in her Artist Statement, but it is the big memories that ultimately matter and the taunts and isolation she sometimes experienced now take a lowly position in her evaluation of her early life.

PhotoAccess is proud to have helped bring this story by Holly Treadaway, an exciting young artist, to a wider Canberra audience through the 2010 emerging artist residency and her 'sticks and stones' exhibition in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-04-29 14:36
2010-05-16 14:36

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We saw Katie Ryan’s Mi Amistad in the 2009 Graduating Exhibition in the ANU School of Art’s Photospace. The work had immediate appeal because of its beautifully drawn characters and places and engaging storyline. The music, composed and recorded by Sam Smith, complemented the images and a cleverly constructed ambient sound track.

‘Mi Amistad’ (‘My Friendship’) explores the simple friendship between children that can reach beyond cultures but can also be lost as hard reality breaks apart playful fantasies.

Katie accepted our invitation to show Mi Amistad in the HUW DAVIES GALLERY Multimedia Room and we were delighted to be able to show it to coincide with this year’s members show, Access all areas 2010.

We were also been pleased Katie agreed to assist us this year with an important digital storytelling project for Mental Illness Education ACT.

Katie Ryan’s Mi Amistad is a sensitive, beautiful work, and PhotoAccess is very pleased to share it with a wider Canberra audience through this showing in the HUW DAVIES GALLERY.

David Chalker


2010-07-01 17:24
2010-07-18 17:24

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In 2009 PhotoAccess partnered with Billabong Aboriginal Corporation to provide skills and creative development opportunities for local Indigenous photographers. The project was supported by the ACT Government’s Strategic Indigenous Arts Development Initiative. Jennifer Martiniello was the coordinator for Billabong Aboriginal Corporation and Ed Whalan was the teacher and coordinator for PhotoAccess.

'4 Emerging Indigenous Photographers' is an exhibition by participants in that project and our third NAIDOC Week exhibition by emerging Indigenous photographers. It continues the longer program of NAIDOC Week exhibitions, including projects leading to exhibitions of digital stories, begun in 2006 and assisted under the ACT component of the Visual Arts and Craft Strategy.

The most striking feature of this exhibition is the diversity of subject interests shown by the artists, perhaps unsurprising considering their ages and backgrounds. Nic Radoll and Tyrell Kamira Sams are 15 year old school boys. Lyndy Delian and Jo Kamira are mothers with successful careers in the arts, law enforcement and business. The unifying thread is the contemporary, fresh and adventurous approach they bring to making photographs and their obvious love of colour. Some images reflect subjects and colours generally associated with Indigenous places and issues, and many do not. The artists share thoughts on photography and their motivation in the brief statements that follow. I hope we will hear and see more work from them in future PhotoAccess members and other exhibitions.

PhotoAccess is proud to present '4 Emerging Indigenous Photographers' for NAIDOC Week 2010 and acknowledges the support of the ACT Government, Billabong Aboriginal Corporation and Stephen Best from Macquarie Editions in presenting this exhibition in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-06-11 18:10
2010-06-27 16:10



In a widely reported story released on 10 May 2010, AAP seemed to sum up the media’s main interest in the protest:

'The captain of a Greenpeace ship has been fined about $8,000 over a protest that shut down a Queensland coal terminal, costing BHP millions of dollars. But Esperanza captain Vladimir Votiacov escaped a conviction for his role in last year's blockade, which forced the closure of the Hay Point coal terminal south of Mackay for 36 hours … At the time of the protest in August last year, the Queensland Resources Council said the protest had cost taxpayers about $1 million a day in royalties, and BHP about $13 million a day. The ship blockade coincided with protests by individuals at Hay Point, and another coal terminal at Abbot Point. Fifteen activists have already faced court over their actions. They pleaded guilty and were fined'.

Because Belinda Pratten was there to document it we have another view entirely of what the Esperanza (Spanish for ‘hope’) was doing in the waters off Mackay on 5 August 2009, and the actions, motivation and personalities of the people on board. This exhibition, and other exhibitions of the images in Sydney, Brisbane and Melbourne, helps bridge the gap between the media’s preoccupation with business interests and the punishment of dissenters, and the message of people who have a need to voice their concerns through protest.

Belinda Pratten’s work as a photographer and filmmaker has taken her to many places, physically and emotionally—managing the pictures bureau for the Australian Financial Review, documenting the release of rehabilitated orangutans in Borneo’s Meratus forests, assignments for Greenpeace, teaching in Brewarrina and at the Canberra Institute of Technology. The face we most often see is through the multitude of always intriguing and beautifully made entries in PhotoAccess group exhibitions and Belinda’s memorable 1994 The Surfer in the PhotoAccess 25th Anniversary Print Portfolio.

So at last we have a solo HUW DAVIES GALLERY exhibition from Belinda Pratten. It’s a compelling look at the Abbot and Hay Point protests, dramatic and full of action but also revealing of the personalities of the protestors and the ship that allowed them to get so close. Esperanza is a very fine example of documentary photography and an exhibition we are proud to present in the HUW DAVIES GALLERY.

Stephen Best from Macquarie Editions printed the works and sponsored the exhibition, profits from which will be donated by Belinda to Greenpeace.

David Chalker


2010-05-20 16:48
2010-06-06 16:48

Margaret Kalms has used her education in photography and applied sciences in a number of areas, including as a Geographic Information Systems Officer making computer based maps; she has photographed public art for the ACT Government’s arts data base, and people enjoying ACT parks for its Get Out There brochure. She has also worked as a baby photographer in hospitals around Canberra and Queanbeyan.

Kalms has shown in many group exhibitions over the past few years. Most of her work is informed by issues confronting women, including body image and health issues. She has a website where she shares her work and thoughts, providing information and commentary aiming to give women a positive image of their bodies. Special concerns are menstruation and helping women to know more about their bodies and sexuality. 'Period Piece' is her first solo exhibition.

Blood is used by artists to shock and disturb. Performance artists use blood in work centred on violent ritual, including self-mutilation. Visual artists use the force and colour of blood to draw the eye to tragic or murderous events. A group of American women make art from their own blood and share the results and their thoughts on the web.

There is no plan to shock or disturb in Margaret Kalms’ work. The images in 'Period Piece' are a quietly reflective, somewhat wry and considered essay on the many aspects of menstruation, in particular the pain and indignity experienced by women. The motivating force for Kalms’ work is her humanist and religious principles. As she says on her website:

'Because I am a Christian, I am motivated by the conviction that we are “Fearfully and wonderfully made” (Psalm 139:14) created by God in a beautiful and intricate way. When God made each part of creation he said “It was good” (Genesis chapters 1 & 2).'

Kalms refers to her models as naked, but because they are clothed with meaning they are far removed from our usual understanding of nudity. As she says:

'The subtle eroticism and sexuality are used to express what being a woman means and feels like, with a focus on what menstruation means and feels like in emotional and philosophically symbolic terms.'

PhotoAccess is very pleased to show Margaret Kalms’ 'Period Piece' in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-05-20 16:44
2010-06-06 16:44

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After last year’s very successful visit to Bundanon and the enthusiastic urging of members we decided to take to the high country this year for a second group excursion. While some who had expressed interest in the excursion absented themselves overseas, an unnecessarily extreme measure to avoid the trip, a group of intrepid long time and new members headed for Thredbo on 26 March.

Led by the inestimable Barbie Robinson and the well organised Ed Whalan, the group walked the mountains around Thredbo for a couple of days, collapsing nightly into the comfort of the River Inn, making photographs and, if Ed’s remarkable 'Group portrait panorama' tells us anything about it, having a lot of fun. The weekend included Ed’s two lighting workshops, one using the Bowen’s Lighting Kit and another with off camera flash.

Hence this exhibition, a small sample of the many images people made over the weekend. Perhaps its most pleasing aspect is the number of new members who are showing work with us for the first time. Most members have been brave enough to give us some words about themselves and their interests for this catalogue; those who haven’t have been unnecessarily modest.

Unsurprisingly, the focus for much of the work has been the spectacular landscape of the region—the beautiful river images by Lisa Holmes and Geoffrey May are good examples. Peter Bryan’s 'Smoko' is a strong work showing two young workers taking a break from serving others. And there is humour: Helen Murphy’s 'Goggles' (who are those people in the lens?), Angela Rymer’s 'Skybike' and Monique Butselaar’s 'Diva Duck' among them. Only Barbie Robinson and Tara McCamley suggest there may be a dark side to Thredbo. The picturesque Ed Whalan himself has attracted the interest of Susan Henderson, Tony Stewart and Andrée Lawrey (in her omnibus reminder of the weekend).

Karen Dace seems to echo the feelings people have expressed about the Thredbo trip:

'I have always enjoyed taking photographs and decided to become more involved in photography last year … I have found my passion in photography. Going to Thredbo with PhotoAccess and a group of like minded people has been a huge highlight for me. It was a fabulous trip and I look forward to more.'

Barbie Robinson coordinated the visit and this HUW DAVIES GALLERY exhibition—the second coming out of a regular program of weekends away. Details of next year’s weekend away will be announced towards the end of 2010.

David Chalker


2010-04-08 15:31
2010-04-23 15:31

HUW DAVIES GALLERY 8 April–23 April 2010
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Marie Lund has a long history of involvement in the arts—as a photographer, painter and mixed media artist, and as an art educator. Her resume only hints at her work in solo and group exhibitions, publications and teaching. She has been a member of many professional and community associations in Canberra and elsewhere, including PhotoAccess, Canberra Photographic Society and the MultiFocus group of photomedia artists.

Marie recently left Canberra for the (presumably) calmer environs of the New South Wales South Coast, but continues to show work in PhotoAccess group exhibitions and, now, in this solo exhibition in the HUW DAVIES GALLERY. Her first PhotoAccess solo exhibition was Chocolate Box Pictures in 1997 in our Kingsley Street premises.

An inveterate traveller, Marie has shared images from her annual visits to central Europe with Canberra audiences for many years. Simple Alchemy is something of a departure from the beautiful landscapes and streetscapes we are used to seeing in her name. As she says in her Artist Statement

Simple Alchemy is a group of photograms, created without a camera, generated by either sunlight or tungsten light illumination. It is the process of experimentation that interests me, where the joy of creation tales over the desire for perfection.

This is a very productive departure for Marie. It brings together her interest in photographic processes and her wider fascination with creative media. Obviously control of the technical means of creation is happily subsumed to the prospect of a chance effect, the sometimes more interesting than expected outcome that can come from making images direct to paper and, even more chancy, taking them out of the darkroom. The making of photograms seems to fit very cleanly with Marie’s instinctive approach to making art in nature.

Simple Alchemy was first shown last year at the Shoalhaven Arts Centre Gallery in Nowra. Unfortunately for us some of the images were sold and, therefore, not available for this exhibition. We have chosen to reproduce a few of those images in the catalogue to give visitors a wider context for the body of work Marie has called Simple Alchemy.

PhotoAccess is very pleased to show Marie Lund’s Simple Alchemy in the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-04-29 18:00
2010-05-16 10:41

Image: Reflective Canal, by Tim Anger, winner 2009 Peoples Choice Award


With 139 works by 69 members, Access all areas 2010 has again eclipsed all previous members show participation records. Access all areas 2010 represents PhotoAccess in all its diversity.

We are very encouraged by the number of members who are showing for the first time this year, including Ash Peak, Jack Roach, Jillian Batri, Karen O’Connor, Holly Treadaway, Chris Taylor, Jane Greagg, Aart Groothuis, Monique Butselaar, James Roberts, Ann-Maree Hanratty, Jack Paterson, Daniel Nugent, Paul Lau, July Williams, Mihir Mahajan, Ann Robb, Tricia Woodhouse and Jo Wright.

We have an expanded group of young members (under 20s) in this year’s show. Jack Roach gives us a glimpse into abandoned places he has explored; Jack Paterson has placed himself, friends and family in images commenting on the unfair stereotyping of teenagers; Eric Mandl’s beautiful images show the dance of fire; Mihir Mahajan raises questions (fairly or unfairly?) about his mother’s eyesight.

The continuing involvement of artists who have had solo HUW DAVIES GALLERY exhibitions is particularly pleasing. They include Kerry Baylor, Stephen Best, Ian Copland, Suzie Edwards, Bronwyn Jewell, Marie Lund, Payal Sehgal Mahajan, Dan O’Day, Barbie Robinson, Lorna Sim, Tony Stewart and Ed Whalan. Several members showing in Access all areas 2010 have exhibitions coming up in the next few months, including Tim Anger, Ian Copland, Suzie Edwards, Julie Garran, Margaret Kalms, Holly Treadaway (Holly is a 2010 emerging artist in residence) and Belinda Pratten.

Also included in the show are board members and advisers (Bob Burne, Lisa Holmes, Kate Luke, Dan O’Day, Belinda Pratten, Tony Stewart); staff members; tutors—Richard Scherer in particular; and volunteers (including Ann-Maree Hanratty and Andrée Lawrey).

The quality of prints this year is arguably the highest we have seen since digital images overtook dark room prints.

Christine Rufflet, Stephen Best, Ed Whalan, Lorna Sim, Alex Moffatt, Jillian Batri, Kate Luke, Dan O’Day, Steve Lovegrove, Julie Garran and Jo Wright are amongst the members who have given us particularly interesting images for this year’s show.

Engaging and challenging work has become the standard for PhotoAccess members shows, and Access all areas 2010 continues the tradition.

David Chalker




2010-03-18 18:00
2010-04-04 18:00

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Lorna Sim’s images are always strikingly beautiful and meticulously composed; her creative skills are reflected in the many awards she has received in recent years. Lorna’s work has been seen in PhotoAccess and other group exhibitions and small solo shows, but this is her first solo exhibition in the HUW DAVIES GALLERY.

When we discussed the idea of an exhibition with Lorna we had in mind the work we were familiar with—dancers, portraits, atmospheric street scenes, interiors and landscapes. We were unprepared for the images she showed us. The Trucking images had immediate dramatic impact and showed a coherent, unusual vision. Clearly they came out of a deep fascination for the subject. As an artist in residence Lorna was able to consult with us to develop the series and the exhibition came together quickly in collaboration with Stephen Best of Macquarie Editions, who optimised the impact of the images in beautiful inkjet prints.

Lorna’s career has been dominated by her interest in image making and storytelling. She worked in film and television for some years, and is now a restaurateur and very busy photographer.

Trucking is a powerful statement about the industry and, although we don’t see them, the men and women it involves. Sim experiences obvious trepidation when she gets up close to the massive machines but she is intrigued by the people inside them and the lives they live. The placement of trucks on the road and the landscape setting point to emotional responses: threatened; the excitement of the journey; admiration for a long distance driver heading off into a long night; the truckie as a modern day working hero. There are wet days (which she particularly likes as subject matter), the portent and imminent challenge of heavy skies, long stretches of road and helpful signposts to give physical context to the journey.

Considering Lorna Sim’s interest in the people involved in or affected by the trucking industry it was fitting that the exhibition should be dedicated to the late Bob Knight, whose accidental death last year shocked everyone.

We are delighted to present Lorna Sim’s Trucking in the HUW DAVIES GALLERY at the Manuka Arts Centre.



2010-02-25 18:00
2010-03-14 16:00

HUW DAVIES GALLERY 25 February –14 March

Lannon Harley is an experienced photojournalist, but he has limited exhibition experience. He has not had a solo exhibition until now. Without the Huw Davies Gallery exhibition program it is unlikely he would have had a solo exhibition in Canberra, and we would have missed the very fine images he shares with us in Capital—Volume 1.

While he characterises himself as a photojournalist, in Capital—Volume 1 Harley has moved well away from the tradition of reportage that is the main meal of his profession. In his artist statement Harley suggests that this work documents the times in which his images were made. It is tempting to ignore the suggestion and simply consider the work against the formalist principles of colour, line, shape and texture. On that assessment Lannon Harley’s work is striking, beautifully composed and dramatic. Canberra is a dark place dominated by the strong linearity of modernist buildings, deep shadows and foreboding skies.

Is the global financial crisis really over? Lannon Harley thinks it is and tells us that the last images he made, in September 2009, contain the evidence. I’m not so sure the people in these images, minimal and enigmatic, shadowy characters emerging from even darker shadows, look any more light hearted than those in the others. Canberrans weighed down by their city and the burden of national government. Whatever interpretation you put on it there is a force at work in the images that speaks of Canberra as a serious place with big concerns on a large scale.

Intended or not, some of the places Harley photographed only a short while ago have changed radically—buildings going the way of mortals or perhaps, according to the precepts of contemporary commercial life, the way of buildings in investment driven, plot ratio obsessed urban Australia. What evidence will we have of the architecture of late 20th and 21st Century urban Australia 100 years from now?

Lannon Harley is a PhotoAccess artist in residence for the duration of his Capital project, and has joined our part time teaching staff this year. We are very pleased to present his first solo exhibition, Capital—Volume 1, in the Huw Davies Gallery at the Manuka Arts Centre and we look forward to seeing the work for the following two chapters in his photographic exploration of Canberra in 2011 and 2012.

David Chalker


2009-12-16 16:00
2009-12-30 17:28

HUW DAVIES GALLERY 18 December–31 January
Like Sydney born artist Tony Schwensen, an artist he refers to as influencing his work,
TJ Phillipson switches to find the best medium to express his ideas. In 'Semblance' we see TJ Phillipson’s photo media work, but also evidence of his interest in performance.

Phillipson puts himself in the frame in 'Semblance', less obviously than in some of his earlier work but unmistakably as a confused man (is it the drink?) with a lettuce head ('Wet Lettuce'), a man beset by pressure to achieve and make money ('Executive') or the conflicted man with too much on his mind ('Versus'). I’m sure there will be many other interpretations; Phillipson seems to take great pleasure in creating multiple layers of meaning.

TJ Phillipson was selected for an Emerging Artist Support Scheme (EASS) residency at PhotoAccess from last year’s ANU School of Art graduating year. EASS residents are selected on the quality and impact of their work in the end of year show. TJ’s work stood out because of its astonishing visual impact and his full on commitment to making provocative and challenging images. It is pleasing to see that this commitment has not diminished in his year away from art school.

A questioning nature can produce great art or give rise to confusing, incoherent and unengaging work. Phillipson’s musings on the nature and shape of masculinity have given rise to serious images, but also images like 'Calm Waters' and 'Fruity Arm' that engage and amuse us with references that are predictable but juxtaposed in unexpected and clearly ironic ways. Then he drags us back to grim reality with the obvious despair of 'Disparaged' and 'Caved In'. It’s a confusing world, but Phillipson gives us a coherent and engaging meditation on it in 'Semblance'.

A heavy workload producing images for several exhibitions, a short film and honouring commitments as an artist in residence at PhotoAccess and Canberra Contemporary Art Space might have resulted in a less interesting and challenging body of work. It says a lot about TJ Phillipson’s maturity as an artist that 'Semblance' is a strong and intriguing exhibition. PhotoAccess is very pleased to share his work with visitors to the HUW DAVIES GALLERY at the Manuka Arts Centre.

David Chalker


2010-02-11 18:00
2010-02-20 16:50

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This year we are offering members three opportunities to show work in group exhibitions, allowing them to see and think about their images alongside the work of experienced and not so experienced artists.

Holiday Snaps is the first of those opportunities. This is a postcard show aiming to evince (we had assumed) happy memories of holidays past. Looking at the range of work members have presented it’s clear we should not have assumed the images would be uniformly cheery and light hearted. Nevertheless, we are very happy members have taken up the idea of an informal and inexpensive exhibition opportunity with great enthusiasm. And that there is such a good spread of subject matter and technique.

Some members have holidayed far away, sharing a mix of exotic places and faces with us in Holiday Snaps. The serious purpose of Tony Stewart’s holidays, for example, is evident in his images arising from a long time interest in the social effects of major dam building projects in parts of rural India. Then there is Richard Scherer’s enigmatic reflections and advertising poster SEBASTIAN ® PROFESSIONAL; what are you telling us Richard? As usual, Andrée Lawrey offers us beautiful, thoughtful images, as have Scott Hannaford, Lorna Sim and Ed Whalan. Alan Charlton’s series speaks of an obviously happy holiday on the New South Wales North Coast. There is plenty to admire and ponder in Holiday Snaps.

Our solution to the always challenging curatorial problem of ordering and placing images was made easier by that remarkable invention of our forefathers, the alphabet. But to avoid the stigma of always coming last for the ‘w’, ‘x’ ,’y’ and ‘z’s we reversed the order for this hang, hoping not to add to the troubles of members with ‘alphabetical order’ phobia.

With around 500 images from 52 participants, Holiday Snaps has repeated the ‘bigger and better’ trend of members shows over the past few years. We are very pleased to welcome so many first time artists to the HUW DAVIES GALLERY—including Tricia Woodhouse, Gabriel Spira, Anna Saboisky, Anne Rosenzweig, Karen O’Connor, Isa Menzies, Judith McDougal, Leanne McCauley, Jane Greagg, Jane Dalton, Karen Dace, Tom Cliff, Phil Carter, Monique Butselaar, James Bond, Gail Barton and Catherine Bannister.

The two remaining group show opportunities for members are Access all areas (The PhotoAccess Members Show) from 20 May to 6 June and HIY (Hang it yourself) 2010 from 2 to 19 September. We look forward to seeing strong member representation in these shows as well.

We thank members for offering their images for sale and for donating a second copy of each to help with our fundraising.

David Chalker