Whilst we--Suzanne, myself and our two standard poodles (Kayla and Maleko) --- were in Melbourne in late November for family reasons I was able to do a little bit of photographic scoping around the North Melbourne drosscapes before the cloud cover evaporated. This scoping was to find sites for a future large format photo session in the autumn of 2019 so as to continue the topographic photography of old industrial Melbourne that I am working in association with Stuart Murdoch.
As it was early summer, what was substantial early morning cloud cover on the Morning Peninsula, quickly disappeared over the city in the early afternoon. That meant the end of any photography scoping for the day. I was wanting to see this Industrial Melbourne Festival so Stuart and I decided to check out The Substation in Newport and the Trocadero Art Space in Footscray, but, unfortunately, we were too late. The Industrial Festival had been and gone. So we looked at these art spaces as possibilities for future exhibitions for our industrial Melbourne work in 2019/2020 as we wanted to build on our 2018 exhibition in Adelaide at Atkins Photo Lab by exhibiting in Melbourne.
Whilst we were at the Trocadero Art Space we came across the adjacent Five Walls Project and meet its founder and director Aaron Martin. He wasn't interested in exhibiting our contemporary topographical photography of industrial Melbourne, as his gallery solely exhibited abstract painting. This was a pity because it was a good, white cube art gallery with lots of small rooms.
However, Martin did inform us that he had co-curated a modern ruin exhibition at The Substation with Michael Brennan in 2013. Though this modern ruin exhibition is tangential to our contemporary collaborative photographic work, given the emphasis on sculpture, it is about a similar industrial subject matter. This provides some historical context for our drosscapes project that is different to Warren Kirk's Westography .
Then I remembered other bodies of work with an industrial focus or theme re Melbourne, namely the 2014 Wolfgang Sievers Project organised by the Centre of Contemporary Photography, and further back, Les Walkling's images of industrial Melbourne entitled The site of his last embrace that formed a part of his Nothing is as it appears series 1983-88.