Part of an exhibition series titled ‘Terra Incognita’ or ‘unknown land’, a quiet reflection on the interplay between the familiar and unfamiliar.
With dramatic composition and finely rendered details, outback landscapes are presented devoid of the usual references to land, sky and sea. The colours, perspective and uncertain scale create a surreal sense of mystery and strangeness, while the familiar cues of the Australian outback terrain or manmade structures firmly anchor them back into the real.
The cognitive dissonance created by this juxtaposition of the know and the unknown invites the viewer to explore their own internal landscape, seemingly familiar, yet on closer inspection often mysterious, surprising and unexplored.
Aerial images of the fringes of Hutt Lagoon near Kalbarri in Western Australia. The red and pink colouring of Hutt Lagoon is due to the presence of carotenoid-producing algae Dunaliella salina, a source of ß-carotene, a food colouring agent and source of Vitamin A.
I stumbled onto these dunes just outside Geraldton in Western Australia. The combination of their windswept forms, their untouched nature and the late afternoon light gave rise to an ethereal set of images.
All are named after winds. Mistral from the northwest mediterranean, Sirocco from the Sahara, Zonda from the Andes, Buran from Siberia, Samoon a whirling wind from the Sahara and Shamal from Iraq.
Abstract aerial photograph of Western Australian salt flats. Part of a series of images finding beauty in the random patterns in the Western Australian outback.
Images are named after varieties of salt. Alaska from the seawater around Sitka, Antarctic from waters carried up the West African coast by the Benguela current, Grassmere from the deep ocean off New Zealand and dried in the ponds at Lake Grassmere, Kona from 2,200 feet down off the Hawaiian coastline, Gusano a mixture of dried worm larvae, rock salt and chilli pepper from Mexico and Kala Namak, aged Nepalese black salt.
All shot from from a helicopter around Kalgoorlie in Western Australia.
A series of abstract aerial images of Lake Eyre. Taken in 2012 when the Lake was in flood. Flying over the lake in the early morning was an ethereal experience that has stayed with me. The absolute calm together with the blending of lake surface and sky felt like we were floating in another world.
Lake Eyre is Australia’s largest Salt Lake, 144km long and 77km wide as well as being the lowest point below sea level on the Australian Mainland (-15.2m).
These images are named after the rivers flowing into the Lake, Finke, Neales, Georgina, Diamantina and Macumba.
This series stems from a fascination with where man-made structures meet the ocean. The order, regularity and solidity of the rock wall or pier meeting the fluidity, depths and ever changing-ness of the sea.
Analogous to the meeting of the masculine and feminine within our relationships and within ourselves. The straight lines and jagged edges being enveloped and smoothed over time, by the action of waves.
The structures engaged in purposeful action amidst the waves, to protect and shelter, in the case of breakwaters and tidal pools. To have a specific function such as sand removal in the case of Southport sand pumping pier or as a physical memory of a past event such as the wreck of SS Wollongbar at Byron Bay.
The industrial shed, the iconic building of out of town industrial areas. Utilitarian in its construction, containing unknown products and processes. Perfect fodder for abstract photography, finding the beauty in the minimalistic design and spaces.
Aerial images of Fimiston Open Pit (aka the Super Pit) in Kalgoorlie, Western Australia. Australia’s largest open cut gold mine until 2016. The pit is over 3.5km long, 1.5km wide and 600m deep.
Around 15 million tonnes of rock is removed from the Super Pit each year, producing 6-700,000 ounces of gold (value of around $900million). The pit is the second biggest gold producer in the world, Second only to China.