We used to think of landscape photographs as timeless depictions of an every lasting bush and in the early days as wilderness. However we should always remember that landscape photography is never separate from people and their activity.(New Topographies, Photographs of a Man-Altered Landscape, George Eastman House, Rochester 1975, exhibition organized by William Jenkins).
For me it is important to establish the values associated with nature through a “historical” view. I therefore adapt the romantic concept of solitude in my images with a composed frame that makes the photographer the only witness to the landscape. I want to indulge in nature’s generative forces, powers, beliefs and emotions to reflect on and interpret the outside world and let us see the dependencies between the human race and the natural environment. An environment that was once feared and worshiped, then exploited and that now urgently needs to be protected and restored for as nature is something that money can’t buy.
Straight on landscape photographs have become a measure for ‘disappearing worlds,’ showing an aesthetic, perhaps romantic beauty that is at its point of departure.
In the shadow of change; Monash Gallery of Art, 2014, photographs each 3 x 3m
Ritual, death and incantation; here: Holy Tree 2011, 150 x 320 cm; collection Museum DKM, Duisburg/Germany