Sandra was born as John but started living as Sandra 6 years ago. When she became Sandra she left behind a career that spanned 37 years in the Air force. In this photo Sandra is getting ready for Anzac Day. She chooses not to march but prefers to stand on the sidelines and quietly observe. She is scared that a day so meaningful to her may be ruined by someone verbally or physically attacking her. While exploring transgender I have been most astounded by my subjects resilience and strength. Sandra recently found out that the female hormones she has been taking may be the cause of numerous blood clots that have recently appeared in her brain. She has been advised to stop taking them immediately. This may mean that the breasts she has developed may decrease in size, her body hair may grow back and her physical transformation may start reversing. This is not an option for Sandra. She refuses to become a man again.
This 'straight' photograph was taken in Centennial Park in mid 2014 during the construction of a movie set. A builder's scrim printed with photographic imagery of trees was erected around the site to keep the public out.
Jack comes to his hidden place in the forest to explore the world through his own unique movement style. Taking inspiration from contemporary dance and gymnastic he performs without concern for correct form or technique. The music mimics this approach, providing a wonky cyclical framework for his performance to occur in.
After a day of heavy street fighting in Kobani and only a few air strikes from the U.S.-led coalition, cheers erupted from Kurds gathered in fields, hills and on rooftops along the Turkish border. Two explosions-perhaps ten times the size of those dropped intermittently over the past few days-targeting ISIS militants, landed on the eastern side of the city, ten minutes apart.
This is a time lapse photography that I attempt to explore how objects and forms modify the environment to re-create new visual representation when I put the still images together. Of course when the objects (containers) are photographed and put into motion, the symbiotic relationship between objects and environment generate a new entities of possibility. This relationship may lead to the construction of a visual metaphor, where a subject could be composed. When such subject is repeated, superimposed and mirrored together, it would resulted a new form of organic kaleidoscope in motion.
Sawat from the series Sang Tong, translates as 'the golden shell' and comes from a beautiful old Thai folk tale about a boy who emerges triumphant and 'golden' from disquieting circumstances beyond his control. The series features portraits of young children who are all adoptees from Thailand and now living in Melbourne. It is appropriate this series should be titled Sang Tong‚' the Boy with the Golden Shell'. Derived from an old Thai folk tale, Sang Tong was born into royalty but abandoned and later adopted by a giantess, who disguised herself so that the boy would not feel like an outsider. The ploy worked until he was 10 years old, when he found out that he was adopted and set out to explore the world. Wondering through the giantess' palace, Sang Tong discovered a range of magical objects, includes a pair of shoes that enabled him to fly. Sang Tong found a well of silver and gold. After lowering himself into it, he emerged with a beautiful golden body, however he also found a magical mask which disguised him as an ugly person. He later encountered a princess, who saw past the mask to fall in love with the beautiful man within. 'Suspension' is the dominant word that comes to mind when I think of my working method for this series. The magical world was in the centre where each child lay on a high, glass structure. Above them floating objects were suspended, and below painted canvases and props.
We stopped head-phoned strangers in the street and asked them what they were listening to, shot video portraits of them and cut it together with their music. We expected to observe a link between music, fashion and culture, and it's an interesting game to play as you watch this film - can you predict a person by their music? What was equally interesting was the connection between music and mood. Headphones can offer a world of comfort and control within the disconnected and chaotic environment of a busy city. Far from tuning-out of the world, we found our subjects were wanting to tune in and be tuned-in to. Music not only provides a soundtrack to city life, it also provides a soul.
Jakarta is a heavily populated metropolis full of contrasts with few green spaces. Shepherds from neighbouring villages bring their sheep to graze at Karet Bivat cemetery one of the largest in Jakarta. In the background stands Wisma 46, which at 250 metres tall, is the tallest building in Indonesia.
Jack Charles' is a portrait drawn from the series 'National Treasures', celebrating age in the LGBTI community as a salute to those who have experienced vast social change through their lifetimes. The sitters are older members of our community who are proud, enthusiastic, encouraging and inspiring examples of Sydney's LGBTI people. Through positive imagery of these people who are often overlooked, this body of work documents their strength, happiness, purpose and legitimacy in where they stand and how they live in an ever-changing society. Regardless of sexual preference and or gender related issues, the nature of growing older in our world brings with it a whole range of complex issues and confronting realities. 'National Treasures' works to break down expected associations with the elderly and instead celebrates a selection of inspirational role models from the community who are aging with grace, dignity, vitality and personality. This resonates on a number of levels and strives to assure all ageing members of the LGBTI family that, far from being alone, each of them is a valued part of a large, nurturing and inclusive community.
Throughout the last year leading up to his teenage years, Riley had been mercilessly bullied at school. He had been knocked out inside the classroom. Kicked, punched and verbally abused in the schoolyard and followed and harassed on his way home. After endless meetings with school principal to no avail, Riley's parents decided to sell the family home and move away from the area. Taken in his backyard, this image was made on the evening prior to their departure for New Zealand.
The image shows Dr Gill Hicks in her kitchen with her prosthetic legs at the chair next to her. Gill was the last survivor to be pulled from the train in the 2005 London Bombings. She lost both her legs below the knee. Despite this and other serious, permanent injuries, she has gone on to become a great campaigner for peace and is South Australia's Australian of the Year 2015.
"We Are Here* is series of portraits of Adolek and Marysia Korman, Holocaust survivors, and their descendants. Having endured the brutality of Auschwitz, their magnificent approach to life is a testament to the strength of the human spirit to survive and forgive. They are tenacious, joyous and loving. It has been both educative and a privilege to photograph their family.
*The Partisan Song by Herschel Glick, 1938 "