In a dimly-lit, white gallery with a floor of polished wood, a slide projector is standing in the centre. Its slides cycle through automatically, casting rectangles of light through alternating panes of a frosted glass window that's suspended close to the far wall but not touching it. The window is framed in white, with four identical, rectangular panes, and the slides illuminate different panes in different combinations, recreating their shape in light on the wall beyond the window.
There are no images on the slides cycling through the projector, only oblongs of light corresponding to the quadrants of the window that the projector faces.
On the wall adjoining the slide display is a sequence of four rectangular, black-and-white photographs mounted on blocky frames that cast shadows on the white wall.
Moving from left to right, the first, third and fourth photographs are in landscape orientation, but the second is a rectangle hung vertically.
The first photograph is a composition of overlaid images, the base image being of people walking around the edge of a building with rows of adjoining arches in its facade. They're partially obscured by a filmy white block across the centre, which has a kind of cutout running diagonally across it, almost resembling the head and hunched shoulders of a spindly person facing left. The cutout reveals some of the building's arches behind it, one of which has a white cartoon eye superimposed between its pillars.
The second photograph is divided vertically into three segments. The topmost third is white with a partial sheet of something like paper placed diagonally across it and a handwritten label of some kind underneath. Most of the lower two-thirds of the photograph depict a woman's torso in a sheeny sleeveless dress, her bare arms crossed over her chest with her hands gripping her shoulders. Her face is out of frame at the top, and the bottom of the photo is overlaid with a white patch on which a cartoon antelope calf is nestled beneath its mother to suckle.
The third photograph is of a zebra herd in a patch of long, dry grass dotted with spiny, leafless trees. Cartoon figures have been superimposed on the left and right of the herd: the one on the left is a man in silhouette and the one on the right is a faceless white figure in a dark t-shirt, leaning forward slightly.
The fourth photograph is a slightly blurred image of four labelled pedestals displaying sculptures that resemble urns or pots. The urn on the left is pot-bellied with a small, domed lid like the other three, but it's resting on short, pointed feet almost like the fins of a rocket. The next urn across is squat and pointed at its tip like an onion. The third urn is the largest and stands taller than the others on long tripod legs. The fourth and last urn is about the size of the onion-shaped sculpture but shaped more like a gourd. Like the onion urn it's not on legs but is instead fused with its square base. Superimposed on the white wall above the sculptures is the cartoonish silhouette of a calf of some kind, with its thin tail curled over on itself and its right foreleg extended.
The four photographs dimly reflect the flickering light from the projector in the centre of the room as it cycles through its glowing slides.
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Sections 1-4 is considered from the position of a traveller who consumes their surroundings through the restrictions of a lens.
A camera assumes the right to invade, exploit and effectively dismiss reality. Taking photos enhances the travel experience by seizing moments in which the photographer stands divided from the distant environment; the real stories, which are embedded on the other side of the lens are merely reduced to cubes of reflected light. This position of division is further asserted through the application of paint, bringing fourth awareness to the falsity of the image.
Lucy Foster, Bachelor of Fine Art (Honours), 2018
Billy Hawkins, Bachelor of Fine Art (Honours), 2018