Chris Byrnes
artist & photographer
artist & photographer
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Exhibitions & Statements
Master Fine Art (Photomedia) National Art School Darlinghurst Sydney 2017A selection of varying stages of my research
Circles of Light: An Investigation of the Photographic Medium and a Chance Encounter Abstract
.... I’m interested in foundations or
fundamentals or essence of photography, but those fundamentals of photography
shift with each project I work on.
James
Welling[1]
This practice-led
research project investigates the photographic medium within contemporary pinhole
landscape photography that is examined through the context of the chance
encounter. My research and artistic production focuses on a primal, handmade,
low-technology photographic experience. The works will be formed and informed from
the rupture between historical and contemporary photographic processes, and the
representational and abstract image. The
resulting images will be diverse and discrete reflecting the individual stages
of experimental research. The methodology includes working with new and expired
photographic alchemy to acknowledge and highlight how the accidental and chance
encounter informs the visual outcome and reading of my work. The historical
photographic techniques investigated are the vandyke, argyrotype, salt, cyanotype
prints and analogue photography. Supporting
a methodology that examines fusion between contemporary technology-driven
photographic practice and the low-technology experience of pinhole photography,
my investigations extend to hybrid analogue-digital photographic states. The
work of American photographers Alison Rossiter and Chris McCaw will be examined
for their connection to historical and experimental analogue photography. The photographic practice of Justine Varga and
Wolfgang Tillmans will be examined to provide a textual and conceptual
understanding of the language of contemporary photography. This research provides a framework and human
lens from which to measure, evaluate, and assign meaning and understanding to
that of my practice. This studio-based project and accompanying exegesis will
document a range of experimental photographic processes. These processes will drive visual and textual
discovery that aims to develop a personal ‘making’
methodology which is contextualised within the language of the medium. The
visual outcome will consist of between twelve - fifteen discrete photographic
images that illustrate a ‘think, make,
and reflect’ approach to studio practice.
[1] Attributed to James
Welling, Lyle Rexer and James Welling, “How to Skin a Live Cat: A Conversation
on Photography,” Lay Flat (2010), 19 (as referenced in Squires, Carol, curator
for publication from exhibition “What is
a Photograph”, International Center [sic] of Photography, New York, 2013).
19.
Master Fine Art (Photomedia) National Art School Darlinghurst Sydney 2017
A selection of varying stages of my research
Circles of Light: An Investigation of the Photographic Medium and a Chance Encounter
Abstract
.... I’m interested in foundations or fundamentals or essence of photography, but those fundamentals of photography shift with each project I work on.
James Welling[1]
This practice-led research project investigates the photographic medium within contemporary pinhole landscape photography that is examined through the context of the chance encounter. My research and artistic production focuses on a primal, handmade, low-technology photographic experience. The works will be formed and informed from the rupture between historical and contemporary photographic processes, and the representational and abstract image. The resulting images will be diverse and discrete reflecting the individual stages of experimental research. The methodology includes working with new and expired photographic alchemy to acknowledge and highlight how the accidental and chance encounter informs the visual outcome and reading of my work. The historical photographic techniques investigated are the vandyke, argyrotype, salt, cyanotype prints and analogue photography. Supporting a methodology that examines fusion between contemporary technology-driven photographic practice and the low-technology experience of pinhole photography, my investigations extend to hybrid analogue-digital photographic states. The work of American photographers Alison Rossiter and Chris McCaw will be examined for their connection to historical and experimental analogue photography. The photographic practice of Justine Varga and Wolfgang Tillmans will be examined to provide a textual and conceptual understanding of the language of contemporary photography. This research provides a framework and human lens from which to measure, evaluate, and assign meaning and understanding to that of my practice. This studio-based project and accompanying exegesis will document a range of experimental photographic processes. These processes will drive visual and textual discovery that aims to develop a personal ‘making’ methodology which is contextualised within the language of the medium. The visual outcome will consist of between twelve - fifteen discrete photographic images that illustrate a ‘think, make, and reflect’ approach to studio practice.
[1] Attributed to James Welling, Lyle Rexer and James Welling, “How to Skin a Live Cat: A Conversation on Photography,” Lay Flat (2010), 19 (as referenced in Squires, Carol, curator for publication from exhibition “What is a Photograph”, International Center [sic] of Photography, New York, 2013). 19.
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Quiet Light Silent Space
These works explore the quietness of morning or evening, the silent space before the day takes a breath, a solitary morning walk or moment of quiet contemplation.
While marking a temporary step away from lens-less and paper negative works of recent times, these somewhat disparate images about light, use the lens and film grain as a handmade medium.Although perhaps more fitting to previous works, the following quote still expresses some of my thoughts about photography in general. It speaks of the personal connection and commitment to art practice.
"But there is another kind of seeing that involves letting go. When I see this way I sway transfixed and emptied. The difference between the two ways of seeing is the difference between walking with and without a camera. When I walk with a camera I walk from shot to shot, reading the light on a calibrated meter.
When I walk without a camera, my own shutter opens, and the moment’s light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.[1] "
When I walk out into the world with my handmade cameras, I measure the experience in breaths, pulses and heartbeats and wonder what is unfolding inside the camera at that point in time and space.[1] Martin Barnes, Illumine, (London: Merrell, 2005), 22 [referenced by Barnes as being from Annie Dillard, Pilgrim at Tinker Creek, (London: Picador, 1974) 40]
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Painting with Light - Pinhole to Pixel
An exhibition for the Award of Bachelor Fine Art Honours
An exhibition for the Award of Bachelor Fine Art Honours
My research explores experimental, historical or elemental photography [referred to in this research as first photography]. This requires pushing the boundaries of old photographic technology as they collide head-on with contemporary digital imaging practice. Pivotal to my analysis, and lying beneath the surface, is a personal struggle that is easily textualised as ‘the need to be known as an artist and the desire to remain unknown as a private, somewhat introverted individual being’. At the very beginning it must be said, that while I recognise that I am consciously and subconsciously discovering and exploring the bigger questions in life, and in particular, the search for my place and understanding of the world around me; I have chosen to select a segment of the natural and scientific world, and to look at the relationship between science, light and art. My aim is to experience or release the fundamental, essential, true, original, and primal elements, as they are revealed, across all stages of the performance ritual of making or discovering photography.
The narrative will often reflect daily life and in particular, physical spaces I exist within. The decision to work within my set methodology comes out of both an aesthetic principle [one linked to the atmospheric style of painter Clarice Beckett (1887-1935) and the tonal experience of photo-impressionists such as Harold Cazneaux (1878 -1953)], and a desire to further expand upon this by mixing the scientific principles from early and first photography, and the directness and honesty of the physical sciences with ideas realised through human imagination.
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On Land
An exhibition from Broken Hill and surrounding areas.
An exhibition from Broken Hill and surrounding areas.
My work explores images of outback New South Wales. I have taken a naïve, sentimental and emotional response in an attempt to describe the beauty, strength, weather (heat), physicality and uniqueness of the outback and the people who live within her.
Education
Volunteer Worker Newcastle Community Arts Centre (Past)
Master of Fine Art National Art School 2017
Bachelor Fine Art (Honours) University of Newcastle 2010
TAFE Certificate IV in Library, Information and Cultural Services
Museums and Galleries 2014Project Space attendant Australian Centre Photography
Member Newcastle Art Space Committee (Past)
writer - newcastleartspace.blogspot (Past)Volunteer Worker Newcastle Community Arts Centre (Past)
Exhibitions & Events
Julia Margaret Cameron Awards 2018 Nature Series - Honorary Mention - Exhibition April 2019 Barcelona
Published work in The Hand Magazine 2018
Published work Fine art Black and White Photography Magazine 2018
Open Show Shutter Hub The Old Brewery London Oct 2018
Photography Show Shutter Hub France 2018
2016 Centenary Institute Fundraiser Exhibition Dominik Mersch Gallery Rushcutters Bay Nov 2016
Retrospective 15 years of Printmaking Newcastle Art Space June 2016
Head On Photography - Contact Sheet Gallery May 2016
Finalist The Alice Prize April 2016
Selected Works Cstudio Gallery Feb 2016
Bounds of Photography Gallery 139 Feb 2016
Positive Negative, Art Cooperative Gosford Feb 2016
NOHO M33 Gallery New York January 2016
Photography tour Iceland and Greenland, New York Centre for Photographic Art Aug-Sep 2015
Past & Present - Group Exhibition NAS Aug 2015
The Art of Paper - Group Exhibition Gallery 139 June 2015
TEXT Me - Group Exhibition Gallery 139 March 2015
BEGinnings - Group Exhibition Gallery 139 Feb 2015
NAS Fundraising Exhibition Jan 2015
Hunter Arts Network Coastal Journeys Nobbys Lighthouse Oct 2014
Newcastle Emerging Artist Prize Selection Sept 2014
International Postcard Print Exchange – Brooklyn New York July 2014
Transit Town Nobbys Light House Pop-Up Gallery July 2014
Selection for exhibition of pinhole images of Newcastle –
Queensland Centre for Photography May 2014
Quiet Light – Silent Space – Newcastle Art Space March 2014
Hawkesbury Art Prize – Freemans Reach Finalist October 2013
Emerging Artist Prize - Photography - Newcastle Art Space September 2013
Wind – Exhibition with Newcastle Printmakers Group August 2013
The Print Exposed Gold Street Studios Victoria March 2013
Muswellbrook Photography Prize - Finalist February 2012
Photography 12A – Brunswick Street Gallery, Melbourne January 2012
Bronze Award – International Panoramic
Photography Competition 2011
No Alternative – Curator’s Choice Selection, Hand + Eye
Alternative Photography competition and exhibition USA 2011
Photography Show Brunswick Street Gallery 2011
Photography and art tour Italy Briagalong School of Art Victoria
Painting with Light – pinhole to pixel, Watt Space 2011
Photography ’09 - Brunswick Street Gallery, Melbourne 2009
Japanese Pinhole Photography Symposium/Exhibitions – Kyoto 2005 & 2007 & 2009
Outback Art Prize Selection – Broken Hill Art Gallery 2005
On Land Solo Exhibition – Watt Space Newcastle 2005
Student Art Exhibitions – Watt Space Gallery 2002-2008
Newcastle Printmakers Workshop Exhibitions (Annual) 1996-2006 & 2013
PRIZES /AWARDS /COMMISSIONS:
Hunter Arts Network Coastal Journeys - Highly Commended Award Oct 2014
Selection – Newcastle Emerging Artist Prize – 2014
Finalist Hawkesbury Art Prize 2013
Photo-media Prize – Emerging Artist Prize – Newcastle Art Space 2013
Selected for international exhibition “The Print Exposed’ 2013
Finalist Muswellbrook Photography Prize 2012
Selected for International Exhibition ‘No Alternative’ 2011
Finalist Jennie Thomas Travelling Scholarship 2010
Best Print Award, Exchange Partners in Print, 2003
Hunter Urban Division of General Practice Print Commission
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