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Figure 3 – uploaded by Christopher Heathcote

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uncertain about his attempt to make a fertility symbol of the carcass in a leafy sapling: life regenerating from death is a bit obvious. But then there is that metaphoric desert landscape, the deliberately picturesque close-up of a sandy hide against stony dirt. Your eye does a double-take when you realise you are taking pleasure in a rotting calf, not serene rocky hills.

Figure 3 uncertain about his attempt to make a fertility symbol of the carcass in a leafy sapling: life regenerating from death is a bit obvious. But then there is that metaphoric desert landscape, the deliberately picturesque close-up of a sandy hide against stony dirt. Your eye does a double-take when you realise you are taking pleasure in a rotting calf, not serene rocky hills.

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pick up stones or bark and examine them through a pocket microscope; sit down on the ground, shut one eye, screw up the other, and just stare for minutes on end. His favourite procedure was what he called the ‘quick blink’, where he would turn with his back to a view and close both eyes, then spin on his heel, open his eyes and look intently at the landscape for a couple of seconds, then shut them again and spin back. These were all means to filter out the unnecessary, to pare down to visual essentials.
pick up stones or bark and examine them through a pocket microscope; sit down on the ground, shut one eye, screw up the other, and just stare for minutes on end. His favourite procedure was what he called the ‘quick blink’, where he would turn with his back to a view and close both eyes, then spin on his heel, open his eyes and look intently at the landscape for a couple of seconds, then shut them again and spin back. These were all means to filter out the unnecessary, to pare down to visual essentials.
Related topics:
Australian HistoryAustralian artExistentialismEnvironmental PhotographyAustralian cultural historyHistory of Australian PhotographyAustralian modernismPOST WAR ART
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