POLAND / AUSTRALIA: Blending the chemistries of photography and vegetative decay to create hauntingly beautiful images exploring themes around memory, time, habitat, health, and inner contemplation.
Memory
CANADA: Casting a critical but amiable eye over the medium in acts of ‘becoming photography’.
AUSTRALIA: subtly disquieting images that evoke the artist’s youthful memories, unravelling the myth of childhood innocence.
SOUTH AFRICA: a remarkable synthesis of structure, texture, and authenticity exploring the triangular relationship between history, memory, and community storytelling.
USA: Exploring the interplay of context and desire, and the evolving ways in which desire might be reconciled with an initially hostile environment.
CANADA: Personal and historical trauma inspire a creative practice unafraid of the twilight world of the unconscious that lies beneath the veneer of rational civilisation.
TAIWAN / USA: Haunting images inspired by the migrant’s ongoing negotiation of memory, perception, and identity.
MEXICO: Named one of the top twenty talents worldwide by FOAM magazine, Diego Moreno’s monsters have much to show us about familial love and about domestic abuse.
CANADA: With well over 100,000 images and millions of possible interconnections, Luminous-Lint offers a near-infinite range of ways to pursue the study of photographic history.
REPUBLIC OF KOREA: Satirical imagery that critiques the impact of colonialism in Korea and its enduring legacy of historical trauma.
UNITED KINGDOM: Conjuring the familial past and a satirical future through the evocative power of photographic masks.
BOSNIA / AUSTRALIA: Darkly beautiful images that use alternative photographic processes to convey the ultimate ambiguity of life as experience.
NEW ZEALAND / AUSTRALIA: A visual storyteller exploring the interior world of the mind through the shared imagination of the community.
BELGIUM: Contemporary images that evoke the past while looking to the future.
USA: Emerging from person crisis, these images unfold a domestic conversation around the paradox of family ties and the quest for redemption.
COLOMBIA: In addressing the trauma resulting from the ongoing multilateral armed conflict in her country, Erika Diettes focuses not on violence but on bearing witness to the grief of survivors.
NETHERLANDS: Knighted by the Dutch Government, Erwin Olaf has earned a world-wide reputation for his immaculately choreographed tableaux that subtly suggest the ultimate uncertainty of being.
ARGENTINA: A nocturnal explorer who seeks to communicate the richness of everyday lives and the profound histories of ordinary people.
CHINA: Reflections on the meanings and value of family photo archives in traditional homes in Shanxi Province.
AUSTRALIA: Pat Brassington exploits the legacies of Surrealism while subtly subverting those (primarily masculine) traditions with a clearly feminine and feminist inflection.
PORTUGAL: The long-running annual festival of photography in Braga takes a lively approach to integrating imagery and architecture, concept and conviviality that has sustained the engaging freshness that is the hallmark of the event.
GUATEMALA: Luis González Palma grew up during thirty years of civil war, but while his images evoke sadness, they neither sentimentalise nor do they counsel despair. Rather they affirm the transcendent nature of the human spirit.
AUSTRALIA: Photography, digital montage and embroidery combine in images that draw the viewer into the often-disquieting aesthetic of dreams.
ARGENTINA: Memories of the Dirty War starkly visualised by one of the survivors of the regime’s Clandestine Centres of Detention and Torture.
GERMANY: Experiential space and resonant fragments of childhood memory brought to life in precise yet elusive detail.