Childhood
This APS Contemporary Division group exhibition was held in
association with Apscon 2004.
It was set up on tables in a classroom at the Pulteney Grammar
School, the school holiday venue for the convention.
Other APS exhibitions were displayed in the same room on print
stands.
John Mack made a photographic record of the exhibition in situ.
The sign and catalogues.
Bert Hoveling’s exhibit.
Phil Schofield’s book.
Phillipa Frederiksen’s exhibit.
Audrey Shoobridge’s book.
Barbara Bryan’s book.
Linda Schirmer’s exhibit.
Kay Mack’s exhibit.
&
Two versions of Maggie Smith’s lenticular image
photographed later by Maggie herself.
The lighting in the venue made it difficult to photograph in situ.
The following pages are reproduced from the A5 catalogue.
CHILDHOOD
a group exhibition
by the Contemporary photographers
of the Australian Photographic Society
presented in association with Apscon 2004
Pulteney Grammar School
Adelaide
2 - 8 October 2004
CHILDHOOD
a group exhibition by the Contemporary photographers of APS
Our previous exhibitions: Decadence (1995); Transformations and Balances
(1997); Mirage and Metaphor (2000); and Pictorialism: A Contemporary
Reinvestigation (2001) have had members reaching for their dictionaries
before commencing.
We simplified the issue this time. The theme is Childhood and we all know
what childhood means, don’t we ? Or do we ? No matter how familiar the
concept, each of us looks at it in his or her own particular way. The members
of the group have come up with some truly individual interpretations of the
theme. The variety and contemporary nature of the exhibition is further
enhanced as our original brief was to present the work in such a way that it
could be placed on a table, rather than as a framed print to hang on a wall.
In this exhibition you will see the images on an umbrella, on the mobiles
hanging over a child’s cradle, in artists’ books of various types, a box of
memories, and a presentation using lenticular 3-dimensional imaging. Some of
the images include children, others refer to aspects of childhood.
The members of the Contemporary Division of the Australian Photographic
Society are photographers who have come together to encourage and support
each other in their endeavours to pursue their own individual photographic
development. Many of us begin with the concept and aim to develop a body of
work to support that concept. Some of us are comfortable with blurring the
boundaries between photography and other art forms. We seek to exhibit our
images in a meaningful way either in group exhibitions such as this one or
individually.
Kay Mack
Chairman, APS CDiv.
CHILDHOOD THROUGH FOUR GENERATIONS -- FROM 1888 TO 1988
I have made a small booklet showing photos from four generations of
my family, using handmade paper obtained from the Primrose Park
Papermakers group (who share the same premises as the photography group
of which I am a member). I am very pleased with the ‘old world’ result obtained
from printing photos onto this paper.
Each child photo was selected to reflect several aspects of childhood,
such as: photography style of the period, childhood dress style of the period,
childhood expressions captured. The change in trends is obvious but the links
remain in blood lines as well as childhood moods captured in time, for all to
see. These images remain very precious in every family. As time passes, I
value these records more and more and will treasure them as well as
reproducing them with the benefits of modern technology.
Included in this book: Edgar Vincent (and sister Ada) – Edgar is
the father of:
Dorothy Vincent (married Ivor Davies) is
the mother of:
Barbara Davies (married Ralph Bryan) is
the mother of:
Daniel Bryan
Wendy Davies is the sister of Barbara
“Plus ça change, c’est plus la même chose” (The more things change,
the more they remain the same)
Barbara BRYAN
Since joining as an early member of the APS Contemporary Group, I have
been surprised how my 'creative' side of photography has developed and
given me great pleasure. Nurturing the right side of the brain needs work but
can be done if one 'tunes in'. As photography is now my major passion and
occupier of my time, I am continually trying to develop new ways of
approaching image making as well as enjoying the traditional methods even
more keenly. I encourage other APS members to consider becoming involved
with the refreshing approaches of the contemporary group.
Phillipa FREDERIKSEN
Married, 2 daughters, 2 grand daughters, 1 step grandson.
We live on the Gold Coast, Queensland.
I became interested in Photography when I retired, about 8 years ago.
I tend to regard Photography as a means to an end.....the end being creating
art works from combining my images to make another.
In this exhibition, however, my photography is very conventional.
I have viewed this subject, "My Childhood" (as it was before it became the
more abstract topic of "Childhood") from a very personal point of view.
I had not really remembered much of my childhood or earlier life as I tend to
look forward rather than backwards.
However this exercise has made me look retrospectively at my self and now I
can see more clearly how my upbringing and earlier experiences have
influenced my attitudes and accomplishments today.
LIFE IS A CIRCLE
This piece is meant to be revolved, pieces of paper lifted and
memorabilia examined.
The round base represents the continuum of life. The Black Watch
tartan ribbon represents the influence of my school life on my life today. (Our
school uniform was Black Watch and I spent 12 years at the same School in
Sydney).
The pink footsteps around this base represent my steps
through life as a girl emerging into womanhood.
The single words on the translucent paper represent some of the
rocky aspects of growing up!
The folded paper surrounding the box contains extra comments of
what growing up was all about for me and the box itself represents home
and security.
The contents...books, lace etc relate to various aspects of my early
life.
CHILDHOOD PHOTOGRAPHIC DEVELOPMENT
The installation consists of a baby’s carry basket, with a “doll” to represent the
baby. Attached to the carry basket is a number of “photographic mobiles” to
give the child “early exposure” to a number of photographic materials and
concepts including:
• A “mixed media photographic mobile”, which contains a film canister,
to represent the basics of photographic materials, together with a
disposable camera, a floppy disk and compact disk to represent
modern data capture media
• A monochrome gallery (mobile) and a colour gallery of photographic
images
Bert HOVELING
I started producing photographs at the age of 13 years in 1953, with a Box
Brownie Camera, hand developing the film in trays, and obtaining contact
prints. At 16 years of age I graduated to a Voigtlander Vito B 35 mm camera
and in 1961 received a Canon SLR 35 mm. In 1976 I moved to a Pentax K ,
and processed my first Cibachrome prints.
In 1991 I joined the Camberwell Camera Club in Melbourne, and subsequently
volunteered for the VAPS Committee, where I have since been Newsbrief
Editor, Secretary, and President. I am also a member of the VIGEX Committee
and have volunteered for the APS Print Division Council this year.
PLAYGROUND COLOURS
blue
The playgrounds of my childhood were solid constructions
of unpainted timber and steel
swings, monkey bars & slide
with solid earth beneath.
There were only a few.
I remember more clearly & with greater pleasure
the rope swing that Dad strung from a tree in the backyard
the tree houses my brothers hammered together
& the cubby houses I made with the girls beneath the trees.
Elaborate affairs
intricate plans marked out with ankle-high walls of pine needles.
Children’s playgrounds today
are bright and colourful.
You find them everywhere.
The local primary school has four playground areas
different sizes for different ages.
Every little park & public space
contains its brightly coloured invitation to play.
Kay MACK
This is the third APS Contemporary group exhibition to which I have
contributed. My abstract images are presented in several leporellos
(concertina-folded artist’s books) and in free standing acrylic frames.
The term “leporello” comes from the list of Don Juan’s lovers in
Mozart’s opera Don Giovanni. Leporello was the name of his servant who
made the list.
ALICE'S POSTCARDS
This work is centred on Charles Dodgson (1832-1898) better known
as Lewis Carroll, the author of 'Alice in Wonderland'. Dodgson was an
academic don, a bachelor whose whole life was spent at Christ Church
College, Oxford, as a mathematics tutor and logician.
He was also an ardent photographer and much respected in his time
for portraits of famous Victorians. But the subject which most occupied him his
entire life was photographing pre-pubescent young girls, clothed or preferably
naked. Our contemporary society would view such behaviour with a great deal
of suspicion, but there is no evidence at all that Dodgson's/Carroll's conduct
was of a prurient sexual nature. Odd, certainly, but pathologically threatening,
no.
It is this attraction to young girls that was the raison d'etre for 'Alice in
Wonderland'. 'Alice in Wonderland' was written down after Dodgson had
extemporised the story while on a boating excursion on 'a golden summer
afternoon' in 1862 with the three daughters of Dean Liddell, including Alice
who implored him to write down the story. 'Alice in Wonderland' became a
masterpiece of children's literature, but it is more than just a wonderful story
for children; it is also a window on the child's view of the world.
Dodgson/Carroll was photographing and writing in Victorian times at
the very time that postcards and studio photographic portraits of families came
into existence. Postcards and family photographs soon became a world-wide
phenomenon. It is within this context that my work is an exploration of the
universality of childhood, of postcards, of photographic portraiture and the
world of Alice. It is a fusion of these ubiquitous themes and a homage to
Alice/Dodgson/Carroll.
Philip SCHOFIELD Phil is a foundation member of the Contemporary
group of photographers within APS. He has been involved with various
exhibitions and activities of the group since its inception.
BAILEY
Storm clouds appeared overhead, and the rain drops began to fall. For
my little mate, there was a transformation of dust to mud. Puddles soon
formed in Macka’s front yard, and Bailey was dressed for a party, in his smart
white pants. He looked to his mum for approval, as he stood in this puddle of
mud.
He jumped up and down and rolled in the wet slushy mess, until the
cold shivers set in. While his mother undressed him, he spoke, “I haven’t
finished playing yet !” He played on and on, in this muddy slippery slop, and,
as you can see by the grin on his face, the occasion was one of delight and
pleasure.
It stands to reason most of us would have a childhood memory of
antics in the mud. Mine was making mud cakes with my younger sister Val.
“I wonder if Bailey will remember this day.”
Linda SCHIRMER Creative Photographer
I have enjoyed photography for some years now, and my
achievements are small. I have exhibited at the local shows, with some
success. At present I enjoy the company and expertise from Shepparton,
Cobram and Finley Camera Club members. The Northern Eastern Interclub,
VAPS, and Wimmera National, are other outlets where I present my work. This
year is the first time I’ve had a photo accepted for the APS from print folio B5.
Last year, my efforts were rewarded by winning best print 2003, Shepparton
Camera Club and a certificate of merit at interclub.
This is my first exhibit in this section. These photos of Bailey were taken on my
holidays up north. It was a great opportunity to use them for this theme. I have
thoroughly enjoyed creating this presentation.
YASMIN’S CHILDHOOD MEMORIES
Audrey SHOOBRIDGE
For the Childhood exhibition I have decided to make a book using images of
my youngest daughter.
Yasmin has always said that she had a lovely childhood and in many ways I
think that she is still a child at heart. I hope these images show her vivacity
and love of life. I have always photographed my children, choosing
unconventional moments and processing and printing the monochrome
images myself.
They all loved reading Dr Zeuss and in the accompanying rhymes of this small
offering I have tried to keep the spirit of his books and at the same time
express the innocence and joy of being a child.
The words and images are overprinted on another watermark photograph and
the covers front and back are combination images of the child on a surreal
background.
An April Day
“Be still, sad heart, and cease repining;
Behind the clouds the sun is shining;
Thy fate is the common fate of all,
Into each life some rain must fall.”
Author: Henry Wadsworth Longfellow
Maggie SMITH
I like this poem by Henry Wadsworth Longfellow, because it brings back
memories of a period of my life when going to school was not always a happy
experience. To illustrate it I had three photographs, of a child laughing, a child
smiling, and a rainbow combined by a process known as lenticular imaging.
Possibly you have not heard the term before, but the chances are strong that
you've seen a lenticular image or two. In fact, it's almost impossible not to go
past one without stopping cocking your head and swaying back and forth to
get a better look. They've been stuck on cereal boxes, advertising awnings,
department store displays, postcards and buttons – and even, in a very crude
form on CD covers. And in every case they contain some kind of eye-catching
animation or 3-D perspective.
Lenticular images are much thicker because they have a ribbed plastic
surface, and they are generally clearer and brighter than hologram.
Lenticular process by
Ozillusions
34 Sydney Road, Hornsby Heights, NSW 2077, Australia