I chose to examine the interaction of individual identity with photographic records, focusing on portrait photographs of the Victorian era.
I used original nineteenth century photographs as well as recreations of Victorian family portraits, using myself as a model.
I chose to reenact these highly stylised roles, in which the foremost trappings of identity are clothing and pose, to show how interchangeable figures are within the prescribed templates of Victorian photography.
They also show the way in which within the historical record, an individual is reduced to the most superficial aspects of their identity.
The work is also an appreciation of the Victorian aesthetic, and an exploration of early photographic processes and the ageing process of photographs.
Title: Family Album
Medium: Inkjet prints in a vintage nineteenth century album
Dimension: 21cm x 27cm x 5cm
Date: May 2009
Title: Photogram Series
Dimension: 20cm x 25.5cm (x5)
Date: May 2009
By the 1880s wool was Australia's most important export. Thousands of fleeces were shipped to Britain's mills to be scoured, carded, combed, spun, dyed and woven into cloth.
Some of the wool eventually returned to Australia — as bolts of fabric or ready-made clothing, drapery and furnishings.
The Faithfull family of Springfield station, near Goulburn, New South Wales, grew wealthy supplying wool to Britain.
In about 1885, one Faithfull daughter bought this dress from David Jones department store in Sydney.
This pink fine wool dress consists of a bodice and skirt, made in about 1885.
It represented the latest in British fashion, but its origins probably lay close to home.
It is made of fine wool of the type grown on Springfield.