2007

The Photographic Society of Queensland Fine Monochrome Print Group's members Nick Caris, Kim Forrester, Ian Hanger, Fred Hunt, Peter Marendy, Julian Pearce, Marion Rodgers, Murray Thompson and Warren Veivers presents more than fifty stunning works in the exhibition Overlooked.

Through their membership in the Fine Monochrome Print Group the exhibitors express their love of and participation in the art and craft of creating finely detailed analogue (darkroom-produced) monochrome prints.

Of diverse backgrounds and intersts, they share a desire to communicate with the viewer through contemporary photographic images crafted by traditional techniques. The techniques employed include traditional silver gelatin printing, lith printing, liquid emulsion and platinum/palladium printing.

The members’ diversity is reflected in the broad scope of subject matter displayed in the exhibition. In many cases subjects are uncontrived, and on cursory viewing the artist has no overt presence. A more leisurely examination often reveals the subtle, and sometimes quite powerful, evidence of the photographer’s individualistic technique and vision.

Often the subjects of these photographs are what we regard as commonplace. In the complexity and distraction of daily living, they are of objects that are unconsidered, mundane, overlooked.

In these works, technical artistry and subtraction of colour are employed to introduce an element of abstraction, which tends to distance the subject matter from the reality of everyday experience. This effect is often nuanced, and at times subliminal. It may profoundly influence communication with the receptive viewer, revealing qualities that would otherwise be overlooked.

Some of these photographs make a purely aesthetic statement. They can be appreciated for the beauty of their subject matter, and also the beauty inherent in fine small monochrome prints as objects themselves. They may be likened to the abstract beauty of a sonata or an oratorio.

Many images present here reward close and considered examination (indeed a fine small photographic print is often best appreciated when examined unframed, held in the hands). Close examination of the framed or unframed small print permits an intimacy and a direct and subtle dialogue between viewer, image and photographer. This is often denied to larger artworks.

The contemplative viewer may also find in a number of these images a basis for ecological, socio-political, philosophical or spiritual insights or journeys. The nature and intensity of this experience is often highly individualistic, and may vary profoundly on revisitation.

The group gratefully acknowledges that this exhibition has been fully funded by the Photographic Society of Queensland