Interview by Ariel Cameron
Portrait of Australian artist Indigo O'Rourke, by Ilona Nelson for This Wild Song
Interview by Ariel Cameron
Portrait of Australian artist Indigo O'Rourke, by Ilona Nelson for This Wild Song
I try to convince myself: the spaces, the borders, mean something. I was never one to wait. Ten years—of sky, of sea. It is true that I like bright lights. The beginning, or the end: ‘the wind blows terribly here’. Rodin’s roses; never underestimate a woman who has had to rebuild herself.
Dear Photodusters,
WE ARE SEEKING ARTISTS & WRITERS WHO WISH TO CONTRIBUTE TO OUR WEBSITE, BLOG AND SOCIAL MEDIA.
Our invitation is open to all Asia-Pacific born and/or based artists who are passionate about lens-based media. We are looking for resourceful and imaginative creators who are willing to produce and exhibit original artwork.
If you are a looking for a space to share your work, and engage with a community of photographers and writers, then please contact us. We are open to all forms and subjects that involve the use of lens-based processes.
You can send a sample image or a full submission, including accompanying text (up to 2000 words), to: [email protected]. Please use the word ‘SUBMISSION’ in your subject line.
We look forward to hearing from you,
The PHOTODUST Collective
(http://PHOTODUST.org)
Photography by Sudeep Lingamneni
2017, Melbourne, Australia
Please consider following PHOTODUST on Twitter and Instagram.
On Map-Making
I looked through my poetry, and there was Singapore, like a seed, or a root, across a family of poems. We begin with a map, and we trace the borders over and over, drawing and redrawing from memory, from experience, from imaginings. Where does home begin, and end? Where do our journeys take us, within and without our bodies and our minds? Does language begin before knowing? Does the image exist without language? All these unanswerable questions, but questions are important. We tell our stories, as true as we know how. What is real for one is fiction for another. We braid our knowledge, old into new; friends grow into sisters, the cord one of our own forging. This is alchemy: of making something from nothing, of making new from what is old, of making sense where there is none to be had. Leaving is a form of arrival; a loss can also be a gain. For me, creating Map-Making was an act of faith, and of magic. Love is the strongest, most unbreakable spell.
Eileen Chong
When did the star dissolve, or was it captured
by the sequence of squares and squares and circles, circles?
‘Paris 7AM’
Elizabeth Bishop
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Josie Rae Turnbull, Moulage of a Meritorious Artist (excerpt), HD Video with sound, 7 mins 35. Sound by Zach Schreier.
Eye shadow is a cosmetic designed to accentuate the eye – I try to do something similar with the images I post on Instagram.
I find the banal in my ‘everyday’ as I walk the dog or drive to the supermarket and I am always looking for something special in the ordinary.
I always want to accentuate my eye.
I’ve always wanted to escape. Escape from myself, escape from my country, escape from reality. But I cannot as so many things are holding me back. Frustrated with the situation, I found another way to calm and heal myself, through movies, music and meeting up with new faces via Tinder.
Interview and Photography by Sudeep Lingamneni
What’s been happening since we first met here?
Liss Fenwick chats to Photodust curator Ariel Cameron about her photographic series ‘Wrought’. Exhibited at Testing Grounds (Melbourne) in 2017, this ongoing project explores the extractive industries and the tension between growth and destruction in humanity’s relationship to the land. Motivated by a deep ambivalence towards the idea of Progress, Liss spent months living on the road in central Queensland’s coalfields witnessing firsthand the quandaries of development (or the lack thereof) and the double-edged sword of Capitalism.
Liss Fenwick, Rural woman with ore, 2017
MELODRAMA / RANDOM / MELBOURNE! is an experimental feature film, part two of a Fil-Aus (Filipino-Australian) trilogy. All three films use the sentimentality of cinema to explore Filipino identity in Australia. Part one, I am JUPITER I am the BIGGEST PLANET, is a silent film; part three, MAGANDA! Pinoy Boy vs Milk Man, is a Filipino exploitation film. MELODRAMA / RANDOM / MELBOURNE! is a documentary, drama and ‘glorious cinema-o-ke’, that explores the intersection of gender and race through fragmented images set to pop-punk tunes.