Sacred sites … the book

sacred sites cover_smI have been wanting to try out photobooks for a while, but having looked at a few sites I didn’t like how clunky and inflexible the layout software seemed to be, and was concerned about the  production quality. Then I found Momento Pro, which is a service for professional photographers and artists. I can use professional layout software (Adobe InDesign); the prices are higher, but the quality is amazing.  So I have started to compile a set of portfolios of my photographic work produced over the last ten years. This one, Sacred sites: Royal National Park, has images composed from photos taken in the national park where I have lived for the last 23 years.

Check out a preview here where it can be purchased directly from Momento Shop 🙂

Wounded country: 2001-2009

Wounded country: Revelation, 2009

Wounded country: Revelation, 2009

Compiling another of my portfolios, I’ve been revisiting my series ‘Wounded Country‘, which combines texts relating to the early Christianisation of Australia, with representations of archetypal Australian flora and fauna. In particular it uses the anthropomorphic forms and wounded skin of native angophoras as representative of the violence done to indigenous environment and culture. The images combine: photographs from the Royal National Park and other Sydney locations; texts and artefacts of early settlement; vintage book pages. These works were completed between 2001 and 2009.

vivid and subversive

bel_mcaadele_vividyou are here 1you are here 2doors of perceptionyou are here 3

city visit, a set on Flickr.

We live on the outskirts of the city, though we regularly travel in for work, so it’s fun to sometimes spend a weekend in the thick of it. Right now Sydney has it’s winter Vivid Festival, with many light shows and musical happenings, so we stayed over last weekend. As well as visiting a few different watering holes, strolling around the light shows at Circular Quay, and seeing one of our favourite musical geniuses, C.W.Stoneking play at the Opera House, my partner Christopher Lawrie began his series of subversive ‘new suprematist‘ installations at the MCA and the AGNSW.