A picture from the archives: it is from an early morning poodlewalk in 2022 with Kayla.
The photo below was made on a poodlewalk with Kayla along the Esplanade at Victor Harbor in 2022 with a medium format film camera.
This was one of our regular early morning poodlewalks. We would walk along the beach from the mouth of the Inman River to the Granite Island causeway, then return along the footpath to the car. It took about an hour.
Judging from the negatives that I have scanned so far it looks as if I didn't make many Fleurieuscape architectural photos in 2022. There's not that much of architectural interest along the Esplanade.
If the Fleurieuscapes book is to be centred around a poetics of homecoming---with its associated words of dwelling, place, region, abiding and building, then the various words need to be unpacked.
Firstly, we need to unpack what is is meant by poetics. It is broader than poetry in that it implies a creative act that points to something beyond itself. This refers to poiesis or a bringing into being: an unending creative struggle to express that which conditions and informs our worlds of meaning and yet resists being exhaustively articulated in the terms of these worlds.
How does this conception of poetics relate to visual art including photography?
The starting point would have to be Kant, since it was he who first systematically outlined the logical grammar or conceptual machinery of aesthetics though his categorical separation of knowledge /truth as in the natural sciences, morality and aesthetic in modernity into separate domains. In the Critique of Judgement Kant acknowledges that scientific cognition excludes aspects of ourselves from its view of nature and that this must be accounted in other than cognitive terms.
He does this in terms of an aesthetics that is based on the imagination, autonomous art, intuition, aesthetic ideas, taste and the lack of concept. Kant, in other words, in inscribing art with the autonomous domain of the aesthetic relegates art and aesthetics to what is outside truth and goodness. Autonomous art is autonomous from truth and morality.
I have tentatively started to develop the idea of photographing the fleeting moments in the ordinary into a poetics of homecoming. What I have in mind is that my photographing humble things--an example is this body of work by Yamamoto Masao ----- emerges into a concern with homecoming in response to the state of homelessness in our contemporary world.
Homecoming can be considered along the lines of an overcoming of the state of homelessness. The philosophic conception of the homeless condition has its roots in Nietzsche's discourse on nihilism in modernity, which he understood in terms of the emptying out of the highest values hitherto.
Nietzsche's account is that the erosion of the highest values hitherto means that these values are losing influence and meaning for us, and that we have fallen out of the traditional stories or grand narratives. We are uprooted, and live a nomadic existence in a world without certainty, value, or purpose. We have dispensed with all the prevailing ideals, values and myths that traditionally provide solace. We are no longer at home anywhere, and there is a longing for a place in which they can be at home. Hence the state of homesickness with its nostalgic aching for a home where we belong.
The picture below is from a 2015 autumn photoshoot at Sellicks Beach, a southern coastal beach in Adelaide:
Photographing the coast is an example of how photography has appropriated the language of painting---in this case the landscape, in which nature is seen for its own sake. The pictorial representation of the landscape in painting emerges in the 17th century in Europe and reaches its peak in nineteenth century with Romanticism. The genre 'landscape' is a way of seeing and there are different views of the land--eg., those of the aboriginal people, white settlers, tourists etc.
I've been thinking about doing a DIY book about my local seaside neighbourhood at Victor Harbor, South Australia for some time now. We've been coming down to the weekender from Adelaide regularly---it's been 15 years I think. I've been taking photos here and around the Fleurieu Peninsula for a number of years.
Up to now I've been content to publish some of the photos on my Flickr stream, on my photoblog, Rhizomes1, and on poodlewalks, my visual diary. Now I fell the need to begin to select the Victor Harbor photographs into some kind of project.
I'm going to begin by using the Posterous micro publishing platform to publish the images and text that would then form the raw material for the book. I would then have something on the desktop to work with, as opposed to it just being an idea in my head. The result would be a first draft, as it were.
I've been wanting to make the shift to DIY publishing for some time, but I've never found a way to cull the visual material for the book from what I am taking. So Posterous is being used to help me address the culling problem.
I understand that Independent publishing is flourishing thanks to on-demand printing. The trend to make, edit, design and produce your own photobook appears to have become an underground phenomenon in our digital world.
One advantage of the DIY book is that it enable the art photographer to sidestep the exhibition space of the art gallery system, which has become increasingly closed as the digital revolution transforms our visual culture. Its a reworking of the old idea of Salon de Refusés.
