PHOTODUST is an independent art and photography organisation based in Melbourne, Australia.
We are a not-for-profit Asia-Pacific curation project. Our aim is to engage and encourage collaboration between artists, for the production and publication of photographic and lens-based art.
PHOTODUST aims to establish a unique perspective toward visual culture. For this purpose, we are constantly searching for artworks that involve the use of photography and related processes.
The rules are simple: all photographic and lens-based works will be considered. Our only requirement is that the work should be produced by artists born or based in the Asia-Pacific region.
CURATORS:
In alphabetical order.
Andrew McLaughlin
Ariel Cameron
Bella Li
Christine McFetridge
Chris Parkinson
Dan Sibley
Lisa Bow
Mauricio Rivera
Mike Read
Sudeep Lingamneni
CONTRIBUTORS:
(Featured)
Andrew Brown (F)
Andrew McLaughlin (F)
Bella Li (F)
Charlie Kinross (F)
Chris Parkinson (F)
Christine McFetridge (F)
Claire Capel-Stanley (F)
Dan Sibley (F)
Dianne Reid (F)
Dwi Asrul Fajar (F)
Erin Baker (F)
Georgina Campbell (F)
Ilona Nelson (F)
Jacqueline Felstead (F)
Jessye Wdowin-Mcgregor (F)
Jimmy Langer (F)
Jody Haines (F)
Jordan Madge (F)
Justyn Koh (F)
Karolina Nowosielska Solevag (F)
Leanora Olmi (F)
Lisa Bow (F)
Madeline Bishop (F)
Marcelle Bradbeer (F)
Mary Macpherson (F)
Mauricio Rivera (F)
Melinda Smith (F)
Mike Read (F)
Natasha Cantwell (F)
Nikki Lam (F)
Paige Townsend (F)
Pia Johnson (F)
Renee Stamatova (F)
Richard Butler-Bowdon (F)
Robert Musgrave (F)
Shen Wei (F)
Simone Darcy (F)
Sonya Louise (F)
Sudeep Lingamneni (F)
Tiffaney Bishop (F)
Travis Fryer (F)
EDITORS:
Bella Li
Chris Parkinson
Christine McFetridge
Mauricio Rivera
PARTNERSHIPS:
Photodust has a collaborative series with Peril (http://peril.com.au), an online magazine focused on issues of Asian-Australian arts and culture. Peril’s mission is to be a platform for Asian-Australian voices that empowers the creativity, agency and representation of Asian-Australian people in arts, society and culture.
CONTACT:
For further information, contact us: photodust.organisation@gmail.com
Ownership of intellectual property rights (i.e. copyright and any other intellectual property rights) of the material published in this website, unless otherwise noted, belongs to PHOTODUST. All rights reserved.
By submitting work to PHOTODUST, you are confirming that you own the copyright to this work or have permission from the copyright holder to submit it. You are granting PHOTODUST a non-exclusive licence to use the work in its submitted form, for publication on the PHOTODUST website for as long as the website exists and to include in any publication (both digital or in print) that PHOTODUST may produce in the future.
CREATIVE COMMONS LICENCE:
This website is licenced under a Creative Commons Attribution 3.0 Australia Licence.
A licence is a standard form licence agreement that allows you to copy, distribute, transmit and adapt this publication provided that you attribute the work.
Their preference is that you attribute this publication (and any material sourced from it) using the following wording:
Source: Licenced from PHOTODUST under a Creative Commons Attribution 3.0 Australia Licence.
Sometimes, as adults, we fail to grow out of childish habits. The stories we share are laden with false exaggeration and hypocrisy. Yet sometimes, despite the seemingly unbelievable content, our stories are real.
We confide in each other our deepest secrets, our darkest desires, our truths and our faults to try to make sense - to better understand each other and ourselves - and to accept that which presents itself to us.
The consuming nature of love is still persistent even when the love has gone. It shows itself in tired eyes and a heavy heart. It fills the mind with an emptiness that seems beyond unbearably full. It stays with us even after time should have healed its lingering presence.
Love behaves like a bitter lesson, though one seldom learnt. And so we find ourselves stepping in the same potholes along the same path, strangely never readjusting our emotional compass to detour that which we’ve already traversed.
This body of work has evolved from three parts, bearing the titles of songs about love gone wrong: “Old Flames Are Like Dead Matches”, “Game For Fools” and “A Change Is Gonna Come”. Literally, this series is a labour of love; it concerns itself with dying love and its impossible weight.
I make this work so that you can get lost in it, or perhaps even find yourself in it, and of course, I make this work for me.
As women we share stories to liberate ourselves from them and the circumstances around them; a way of connecting our past to our present to furnish the transformation of our future.
These conversations prove delicate and fierce, graceful and raw. They are confessional therapies cradling powerful voices.
Shattered hearts and spilled tears over conversations and text messages, Loaded memories of time spent treading voices of estranged lovers- Composing the demise of love, through the sensitivity of photography.
As a way of describing the countries in which these photographs were taken, I have used the contemporary acronym W.E.I.R.D. (Western, Educated, Industrialised, Rich and Democratic) and negated it.
Pia Johnson: Whether it’s landscapes, portraits, objects or self-portraits all of your photographs reveal an intimacy and sense of loneliness about them. For me, they speak about notions of identity and place, and a shifting sense of belonging/not belonging. Why do you think this is the case, and I wonder if it stems from living in a country that you didn’t grow up in?
Over two days UNLESS YOU WILL gathers local and international photographers, book makers, thinkers, curators, publishers, and enthusiasts together for a unique event at RMIT University in Melbourne. Part conference and part symposium, the weekend will be a relaxed, interactive and inclusive place for re-imagining our way of making and sharing photography.
WE ARE SEEKING ARTISTS & WRITERS WHO WISH TO CONTRIBUTE TO OUR WEBSITE, BLOG AND SOCIAL MEDIA.
Our invitation is open to all Asia-Pacific born and/or based artists who are passionate about lens-based media. We are looking for resourceful and imaginative creators who are willing to produce and exhibit original artwork.
If you are a looking for a space to share your work, and engage with a community of photographers and writers, then please contact us. We are open to all forms and subjects that involve the use of lens-based processes.
You can send a sample image or a full submission, including accompanying text (up to 2000 words), to: photodust.organisation@gmail.com. Please use the word ‘SUBMISSION’ in your subject line.
On March 27, 1975 AC/DC took to the stage for two shows at Broadmeadows Town Hall.
Imbedded, dormant in the walls, lay the remnants of life and the stains of activity. So many touched these walls, walked these floors. Sounds bounce. Voices sang. Bodies moved. The traces lay finely dusted in memory.
It was here I began my search for Bon Scott - in the detritus and discarded.
Cove is an experimental short film that uses a minimalist narrative to explore the connections, or lack of, between neighbours in a small cul-de-sac. I am interested in the intersections between cinema and photography, where narrative drifts into imagery. The structure of the piece reflects the characters’ self-absorption: they make gestures towards friendliness, but manage to avoid real interaction.
Bukit Brown cemetery, also called Coffee Hill or Kopi Sua, was the largest Chinese cemetery outside China. While the estate was officially established in the early 20th century, the oldest graves date back to the mid-19th century. The cemetery was named after a British trader, George Henry Brown, who arrived in Singapore in the 1840s. He acquired an area of land in the centre of the island, which he named Mount Pleasant.
This article presents visual and audiovisual artworks created at the Gatwick Private Hotel by Jacqueline Felstead and myself (Mauricio Rivera). It also includes passages from the story Vanitas by Paige Townsend, inspired by Jacqueline’s photographic work at the Gatwick. The videos in this post were recorded as part of a series of short documentaries titled Sonnets from the Gatwick, which I produced, directed and edited between June and December 2009. They are complemented by an extract of the story Six Nights by the Sea, about a week I spent at the Gatwick in 2008.
‘Family resemblances are said to show us “a complicated network of similarities overlapping and criss-crossing: sometimes overall similarities, sometimes similarities of detail.”’ - Hans Sluga quoting Ludwig Wittgenstein’s Philosophical Investigations Aphorism 66.
Family Resemblance, after Wittgenstein is an evolving collection of photographs focused on notions of kinship, of descent, of resemblance, of similarity and the links between them. They present a non-linear photographic narrative of ideas that resonate and connect to the exploration of my mixed Chinese-Italian-Australian cultural heritage.
The quote is taken from Sluga, H (2006), Family Resemblance, in Deepening Our Understanding of Wittgenstein, Grazer philosophische Studien, p14.
This is a visual journey of a road trip I did through Scotland at the start of this year.
Following the death of my grandmother at the start of 2016, I set out to Scotland to capture the Scottish landscape and uncover an unseen history: my personal family history.
Coming from a family of terrific storytellers, I grew up with a plethora of memories recreated for me from an early age.
Memories of my Grandmother’s heartache and trauma associated with leaving behind her home country, never to be seen again, for a future with a man she barely knew lingered in the narrative of her journey to, and in, Australia.
I always recognised the pain those early memories of abandonment inflicted; the sadness induced when my Grandmother was asked for more information about her past.
My past.
I ascertained I would have to experience this foreign side to my heritage that I had failed to truly acknowledge in the past.
Trekking across the Highlands and Isle of Skye, the scope of stillness and silence enveloped the landscape.
Besides an occasional cottage upon a hill or an abandoned petrol station, there was hardly any civilisation in sight.
I envisioned my family living upon this serene land and, in allowing myself the possibility of being lost, indeed found myself in the nostalgia of a past left behind for an unknown beginning.
WE ARE SEEKING ARTISTS & WRITERS WHO WISH TO CONTRIBUTE TO OUR WEBSITE, BLOG AND SOCIAL MEDIA.
Our invitation is open to all Asia-Pacific born and/or based artists who are passionate about lens-based media. We are looking for resourceful and imaginative creators who are willing to produce and exhibit original artwork.
If you are a looking for a space to share your work, and engage with a community of photographers and writers, then please contact us. We are open to all forms and subjects that involve the use of lens-based processes.
You can send a sample image or a full submission, including accompanying text (up to 2000 words), to: photodust.organisation@gmail.com. Please use the word ‘SUBMISSION’ in your subject line.