How to hold the Binoculars
In early twenty-first century Australia there exists a tension around identity and landscape that is born out of common claims on different histories. In my investigations I hope to outline the validity of aesthetic observations from disparate, and mobile viewpoints. I construct some synchronicity between photography and brush marks in my studio research and the most compelling thing about this arena is not the nature of the media employed, or the distance between them, but that it requires constant adjustment. A bi-nocular vision that, as in architecture, it is almost imperative to move around while viewing the works. The single point perspective is no longer valid in the digital age.
CamNam Bridge- HoiAn 2007 ink and pastel on rag paper 18x24cm
A family of six live in these two fishing platforms on the ThuBon River, HoiAn in central VietNam. The rising bamboo pilons contrast with the mass of the horizontal concrete span. This becomes a metaphor for the transient traditional river lifestyle being synchronised with the imperatives of the “new economy”.
Jack Randell is a multi media artist who lives and works near Dubbo in central New South Wales whose studio research focuses on the possible synchronicity of painted mark making, projected film and photography.