In Black and White explores themes of Black and White, not limited to absence of
colour, but as an array of interpretations.
Featuring a selection of local and national contemporary artists whom are listed below.
For sales inquiries contact artists directly or contact us via the contact page.
Body Scapes 1,2, 3, 2017
Digital print (copy of acrylic on butchers paper)
$200 each, $500 series
Focusing on concepts of appearance, the idea of the body as a three-dimensional object has been flattened, abstracting the surface and changing the way in which we see our skin and our form. With influences from kinetic artist Tim Hawkinson and body artist Ana Mendieta, I have created self portrait prints of my body. Using my skin as an application tool, I have painted myself and printed it on butcher’s paper. The print that is left captures unusual details, which are then photographed and enlarged to emphasise the pores, hairs, folds and imperfections, leaving a strange, asymmetric resemblance to Rorschach ‘ink blot’ tests. Familiar impressions one might see are abstracted landscapes rather than details of a body.
Airing out the dirty laundry, 2017
House paint on plasterboard (Mural)
She had thought as he drove away that he would never see him again (diptych), 2017
Aerosol paint on canvas
Spectral Reflection, ongoing
Paint stick and graphite on paper
NFS (prints available)
Untitled self portrait, 2013
Silver gelatin photograph
‘Perfection’ is a conceptual study of body image and our never ending pursuit to achieve something that is unrealistic. This is ‘Perfection’ in its most imperfect sense. We can take all the features of people’s bodies that they’re happy with and stick them together but at no point will anyone ever think that ‘she’ is perfect. It doesn’t exist. Perfection and beauty are subjective and the use of Polaroid to illustrate the cloddish arrangement of each person’s idea of perfection shows just how unrealistic the concept is. The reason I have chosen this concept with this medium of Polaroid is that you can’t hide from what is captured in each frame. A Polaroid image is geometric and has a very stringent output in its cropping. The white frame signifies an end to that image. It can’t be subtly merged with another. The use of Polaroid reflects the stringent and geometric ideals we have on how we should look but no amount of manipulation will make that happen. This Polaroid collage, with its cut and paste construction, is put together as if to illustrate the complete inability to achieve such perfection. Her head is discombobulated so as not to give her one identity. Beauty is subjective and one person’s ideal of beauty will not match with another, there is no recipe.
Battlescars And Inhibitions, 2013
As all women are born as babies, almost all looking just like the other, something changes as time goes on. Life is what changes them. A woman’s breasts go through the most changes and in some instances they cop a battering: breastfeeding babies, weight fluctuations, sun exposure, genetics and gravity. I wanted to show a typology of breasts to illustrate their many subtle and not so subtle differences; where all these influences of life make the same thing so very different. The title of ‘Battlescars And Inhibitions’, came about as a result of the participating women’s tentative approach to the project. As many of them approached with care at the insecurities they felt all of them left with a new sense of power, confidence and ownership.
Abstruse In Light 01, 2016
‘Abstruse In Light 001’ comes from a series of abstract views of the body where I have produced the images in a way that the negative space is just as important as the subject. It is about shapes; the shapes of the body and the way the light helps to create those shapes, and the shape of the negative space. The negative space is black so that it is a very simple and uncluttered image. The shape and line of the negative space is there to add to the ambiguity of what the image is. It is a strong part of the image in its own right. I have called it “Abstruse In Light’ as it is the presence and absence of light that dictates its obscure and enigmatic appearance.
The photograph explores female hardship in relation to the ambiguous roles of women in a suburban context. The liberated female body sits unabashed, but the reminder of our domestic roles are imprinted on her skin by the suburban lace curtains. The dissatisfaction and uncertainty which women struggle between personify these obstacles. Women as autonomous and independent beings are constantly challenged by being viewed as simply domestic bodies.
Above: Alleyway of Happiness, 2017
Below: Vodka Blues, 2017
Digital Photo Print
Happy Toast is my fun alter ego. Every press of the shutter is another image, another creation, another moment toasted to perfection. Happy Toast gives you an insight into what makes me tick. Whether it be watching a musician pour their heart and soul into their music, traveling with friends enjoying the hustle and bustle of Melbourne or watching the sunrises and sunsets over the beautiful countryside of where i call home. These images are of two of my favorite people. These are not just images but an insight into not only my life but the life of the people in these images. These images give you clues on their personalities, hobbies and interests.
Left: Anyway, 2017
Right: Navigator, 2017
From the series, 'Navigating Uncertainty'. We were talking about the illusion of control, about breaking out of the myths that frame our reality, and what we might find on the other side. We decided that we didn't know, but that the only thing to do was to keep going.
String Series 1 & 2, 2017
Silver gelatin photo
This work string series is a carefully considered construction, liberated from the formal aspects of the grid I playfully began to explore and seek balance between the function and relationship of line to colour and light.
Kathmandu Ghosts 1,2,3, 2003-2005
Silver gelatin print
Top: Spiral beach, 2016
Bottom: The pain you love, 2017
Inkjet print on archival paper
These works revolve around the idea of pain and the frustration of
coping with a chronic illness. In using medium format film I capture and can then destroy the film in stages, replicating the way my disease creeps and attacks my body in different degrees and
After finding myself in hospital with an incurable and potentially fatal disease I was forced to look at my future and my work with new eyes. My mainstay of weddings and portraiture were given up in favor of self-expression and an attempt to connect with people and share experiences. The beauty and fragility of everyday life has become something I see in everything around me now, and my work is an attempt to portray the combination of these as well as the darker sides of life, though hopefully always with a sense of humor.
Interment series 1 & 2, 2017
While living in the UK I found myself spending a significant amount of time exploring and photographing cemeteries. Unlike the formal, somewhat sterile, contemporary cemeteries of Australia; the graveyards I was finding in the neighbourhoods of London were different. Some were tiny pockets of remaining churchyard along a busy high street, while others were rambling woodlands inhabited by monumental tombs. Cemeteries were used here, and not just in the obvious way. Space in London was tight, so the larger cemeteries were often use as parks, with people walking their dogs, exercising and sometimes picnicking.
And despite how frequented some of these spaces are, there is still a resounding quiet to them.
After some research I learnt of the Magnificent Seven Cemeteries, a series of garden cemeteries created during Victorian times to address problems in London caused by unhygienic conditions caused by overcrowding in churchyards. I decided to dedicated myself to visiting all seven of the original garden
cemeteries to photograph them.
It took the better part of two years to see all seven but I made it, with many other stops along the way. These are the images I collected in my journeys throughout these and other burial grounds. I hope in them, you are able to experience quiet and calm of these spaces.
Death of hope series, 2016
Giclée print (scanography)
Beauty in purity, through any form of expression, is a notion that we encounter on every day bases, being through art, music, literature, news and politics, social connections, nature and self-perception, we are influenced to its importance, on the way of seeing and interpreting the world around us. Aesthetics of beauty in the photographic medium, where beauty in all forms is captured by light, the sensation of grasping the moment, takes the concept in a very personal expression and exposes the creator in a bare form to the rigorous world and its surroundings. The creative practice furthermore explores the notion of mortality and time in a methodological experimentation of camera-less photography, connecting the somatic form with conceptual idea.
The processes involved in creation of the work is scenography, cameraless approach to the two-dimensional flat plain, with the movement of the subject the images are distorted and captured in that state creating the effect of the Glitch art. The post process work is minimal through Lightroom and Photoshop.
Never Alone, 2017
Acrylic on canvas
Acrylic on canvas
The Traveller, 2017
Gouache on paper
The wide open road leads to lands unknown beckoning with awe and anticipation for all that is to be discovered, big and small, old and new bringing vibrancy and renewed perspective on life. 'The Traveller' portrays that moment where the future is laid outstretched in front of you and without a moments hesitation you take your first step.
Blur the Lines, 2017
4 x Silver Pendants in Frame
All pieces are hand forged and carved in sterling silver, and hand
painted with liver of sulphide.
There's a certain way to produce in my trade: neat, even, perfect, polished and clean. There's an acceptable way to behave: neat, even, perfect, polished and clean.
Tell me it's that simple. Tell me it's black and white, and I will blur the lines.
Right: Faustina on the porch, 2017 SOLD
Bottom Left: Jordan at home, 2017
Top Left: Jason at Cundare, 2017
Digital Print, from medium format film
Sarah Walker is a professional arts and performance photographer working primarily in the Melbourne theatre scene. Her fine art work explores connection, nostalgia and loneliness through portraiture. In 2016, she was the winner of the CCP Salon Portrait Prize, and in 2015 she was a finalist for the National Photographic Portrait Prize and the Maggie Diaz Photographic Prize for Women, and a semi-finalist for the Moran Contemporary Photographic Prize. firstname.lastname@example.org
The Brig, 2010
Ink and pencil on paper
The pictures I create explore ideas about our sense of individuality. Specifically how identity is expressed via the body; physical appearance and the ways it can be altered; the skin and its potential to be the stem point for transformation.
Kerrie Wood Garner
The Count, 2017
Acrylic and marble dust on canvas
The vampire is a popular figure in our culture and there has been many iterations on the theme over the years. The most famous is Bram Stoker’s eponymous figure of Dracula.
This nostalgic portrait pays homage to that character and the black and white films of
yesteryear by depicting him as a debonair gentleman on his best behavior, and not the bloodthirsty creature that is often portrayed.
Ink on cotton rag
Religion is an Oxymoron, 2017
Religion is Black and White. You buy into it or you use it to make clever oxymorons when writing punk songs. Long live Leftover Crack.
All I Really Want Is Something Beautiful To Say, 2017
Ink, graphite and thread on paper
Absence, Abstinence and Absinthe, 2017
Pen on archival paper
Ruby often implements black markers to illustrate these familiar realities in which we dwell. In 'Absence, Abstinence and Absinthe' the three titled women are circling the drain of the lounge room, occupying a shared space but within their own personal vortex.
If only, 2017