Mirror Image (framed aluminotype, 2020) (Mirror Image is a response to Vid Ingelevics’ essay ‘The Mirror Stage of the Public Museum’, in which the record-making process and the deliberate effacement of the photographer (the “deliberate refusal of self-reflexivity”) via blocking and or falls, tilts, shifts and swings when photographing mirrors is discussed It is an acknowledgement of the self in this photograph and every photograph, and as a continuance of the feminist self-portraiture of Ilse Bing, Francesca Woodman and others) Finalist in Blue Mountains Portraits, Blue Mountains City Art Gallery (Blue Mountains, Australia, 2021)

Mirror Image (framed aluminotype, 2020)

(Mirror Image is a response to Vid Ingelevics’ essay ‘The Mirror Stage of the Public Museum’, in which the record-making process and the deliberate effacement of the photographer (the “deliberate refusal of self-reflexivity”) via blocking and or falls, tilts, shifts and swings when photographing mirrors is discussed

It is an acknowledgement of the self in this photograph and every photograph, and as a continuance of the feminist self-portraiture of Ilse Bing, Francesca Woodman and others)

Finalist in Blue Mountains Portraits, Blue Mountains City Art Gallery (Blue Mountains, Australia, 2021)

Caducity’s Daughters II (framed aluminotype, 2020) (On the ethics and toxicity of nineteenth through twenty-first century clothing and textile production) Commissioned by Modern Art Projects Blue Mountains for Sewn Up, Lyttleton Stores Cooperative (Blue Mountains, Australia, 2020) With thanks to Gala Grahovac (for modelling), and to Enrico Scotece and Michaela Gamble of The Negative (for assisting)

Caducity’s Daughters II (framed aluminotype, 2020)

(On the ethics and toxicity of nineteenth through twenty-first century clothing and textile production)

Commissioned by Modern Art Projects Blue Mountains for Sewn Up, Lyttleton Stores Cooperative (Blue Mountains, Australia, 2020)

With thanks to Gala Grahovac (for modelling), and to Enrico Scotece and Michaela Gamble of The Negative (for assisting)

Caducity’s Daughters II (framed aluminotype, 2020)

Caducity’s Daughters II (framed aluminotype, 2020)

Mirror Image (framed aluminotype, 2020) (Mirror Image is a response to Vid Ingelevics’ essay ‘The Mirror Stage of the Public Museum’, in which the record-making process and the deliberate effacement of the photographer (the “deliberate refusal of self-reflexivity”) via blocking and or falls, tilts, shifts and swings when photographing mirrors is discussed It is an acknowledgement of the self in this photograph and every photograph, and as a continuance of the feminist self-portraiture of Ilse Bing, Francesca Woodman and others) Finalist in Blue Mountains Portraits, Blue Mountains City Art Gallery (Blue Mountains, Australia, 2021)
Caducity’s Daughters II (framed aluminotype, 2020) (On the ethics and toxicity of nineteenth through twenty-first century clothing and textile production) Commissioned by Modern Art Projects Blue Mountains for Sewn Up, Lyttleton Stores Cooperative (Blue Mountains, Australia, 2020) With thanks to Gala Grahovac (for modelling), and to Enrico Scotece and Michaela Gamble of The Negative (for assisting)
Caducity’s Daughters II (framed aluminotype, 2020)

Mirror Image (framed aluminotype, 2020)

(Mirror Image is a response to Vid Ingelevics’ essay ‘The Mirror Stage of the Public Museum’, in which the record-making process and the deliberate effacement of the photographer (the “deliberate refusal of self-reflexivity”) via blocking and or falls, tilts, shifts and swings when photographing mirrors is discussed

It is an acknowledgement of the self in this photograph and every photograph, and as a continuance of the feminist self-portraiture of Ilse Bing, Francesca Woodman and others)

Finalist in Blue Mountains Portraits, Blue Mountains City Art Gallery (Blue Mountains, Australia, 2021)

Caducity’s Daughters II (framed aluminotype, 2020)

(On the ethics and toxicity of nineteenth through twenty-first century clothing and textile production)

Commissioned by Modern Art Projects Blue Mountains for Sewn Up, Lyttleton Stores Cooperative (Blue Mountains, Australia, 2020)

With thanks to Gala Grahovac (for modelling), and to Enrico Scotece and Michaela Gamble of The Negative (for assisting)

Caducity’s Daughters II (framed aluminotype, 2020)

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