Category Archives: Tuckshop Aesthetic

Abodes about the Race Track

More houses I found on the way back from the airport. These were around the horse race track in Hendra, Brisbane. I can’t seem to stop shooting these houses, not sure why I’m doing it. Maybe a series coming up.

Always makes for a tricky conversation with the inhabitants though. Bursting out the door like they own the joint, demanding justification. Today I told them I thought their house was “sexy ugly”. I left shortly after.

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These last two shots haven’t any relevance to the post at all, but I’m fine with that.

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Tuckshop Simulacrum

All photographs lie, some just get away with it.

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Motel Molly Morgan

 

Welcome to the Motel Molly Morgan
Such a lovely place (Such a lovely place)

 

Plenty of room at the Motel Molly Morgan

 

How they dance in the courtyard, sweet summer sweat.

 

And still those voices are calling from far away,
Wake you up in the middle of the night
Just to hear them say…

Welcome to the Motel Molly Morgan

 

Running for the door
I had to find the passage back
To the place I was before

 

“Relax, ” said the night man,
“We are programmed to receive.
You can check-out any time you like,
But you can never leave! ”

 

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TUCK SHOP AESTHETIC – work in progress

When seeking to capture Australia’s identity it is tempting to turn one’s lens towards the optimistic scenes, multicultural citizens, modern, innovative design, images that tend to represent Australia as a country that is not weighed down by rigid convention, a country that moves with the times.

I am enticed by the evidence to the contrary. To me, much of Australia’s identity can be found in old colonial traditions that left the country scattered with sad, slightly dilapidated structures, rich in melancholia. From old milk bars, to barely functioning bowling clubs, some of these structures have been standing for longer than the Sydney Harbour Bridge. There is an element present in these structures that I refer to as the “tuck shop” aesthetic. I believe that, by concentrating on these structures as subjects, I can capture an honest, less vaunted side of the Australian ethos.

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