Review: VIEW2022 at PhotoAccess has surprising photographic works | Canberra time

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VIEW2022: Annette Fisher, Catherine Feint, Fiona Bowring, Greg Stoodley, Isaac Kairouz, Izaak Bink, Jemima Camper, Tom Campbell, Wendy Dawes, Xueqin Yi. Photo Access. Until March 5. photoaccess.org.au. This exhibition presents emerging or re-emerging contemporary photographers. Technically, an emerging artist – no matter how old they are or how long they have been in their chosen medium – has yet to be recognized by major critics, galleries and museums. More generally, the term tends to be used when artists have been in practice for less than 10 years, have not been acquired by a gallery and have little visibility in the art market. A re-emerging artist is one whose career has been interrupted by circumstances and is now resuming. I understand that one of these exhibitors is 80 years old. Yes, artists can emerge at any age. Ten photographers each produce works in their own distinctive style, using various materials and exploring many subjects. You might appreciate different artists and works than those that stand out for me. However, I am convinced that each visitor to the gallery will find his pleasure here and will take pleasure in contemplating all the exhibitions. Accompanied by a video showing the demolition, Annette Fisher’s powerful Demolition print captures the light coming from the rubble, revealing the site’s stunning beauty. Greg Stoodley’s two Small Worlds prints delightfully reflect how animals, in this case a cat, can be real support for long periods spent at home. Hek by Isaac Kairouz! The BIDEO installation includes video, collage and painting. Each element should be explored individually, while the whole marvelous installation should also be contemplated in the context of how a person’s different social identities come together. Catherine Feint’s Childhood Home is a set of monochrome shots of the house she grew up in. The twist is that these are actually photographs of his cardboard models created from home. The quality of the shots is such that I only realized it when reading the catalog. Suspension, by Wendy Dawes, also surprised me. The catalog refers to the rotoscope technique and drawing on hanging files. I’m familiar with rotoscoping, but it didn’t occur to me that the reference to hanging folders meant exactly that – two works of art were created on those ugly racks we hang in filing cabinets to hold documents. Much more creative use! Jemima Campey’s two related video works explore the increasing use of scripted and performed apologies designed to minimize damage to a person’s ‘brand’. We can all quickly think of certain politicians. Tom Campbell’s split-screen video work tells two simultaneous stories, investigating the impact of border closures on our connections to place and family. I had to see it several times to catch all the words on each screen, but it reinforced the message. Spoonville by Fiona Bowring is another quality print of a whimsical feature. Having already seen this work on social media (as well as other people’s images of other Spoonville installations) lessened its impact for me. Xueqin Yi’s Plants Chant images are the result of using her camera to escape boredom and, thus, become intensely interested and comforted in observing plants. There is much more to the images than just plants, however, as she included their sometimes eerie surroundings. The catalog says that Izaak Bink’s I want you, because I can’t have you uses found imagery to call attention to the exaggerated masculinity that gay men can be forced to imitate – and forces us to ask ourselves: “Whose is it up to decode this work? “Without feeling the need to ask such a question, I nevertheless greatly appreciated the graphic style of these two works.

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Michael E. Marquez