Unless You Will

No 23
unless you will

“ To me, photography is an art
of observation. It’s about finding
something interesting in an
ordinary place... I’ve found it
has little to do with the things
you see and everything to do
with the way you see them.”
Elliott Erwit
Photography is about looking and
seeing, but how do you look at a
photograph? How do you engage
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Jacqueline Ball
and connect with the project?
A Collection of
Do you think about the moment organised Spaces
the shutter was released when it
happened and took place, do you
see a moment in history, or do you
perceive the stillness of the image
you now see?
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There are infinite ways of looking, Ron Jude
seeing and expanding our horizons. Lick Creek Line
Each project has its own special
process and an array of fantastic
details to explore.
Often to see those small details we
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need to focus on the photographer. Michela Heim
We need their words, their Anteroom
language, their passion to bring it
all together for us and take us back
to the moment when they perceived
the idea and took the image. 68
Seeing is a complex pleasure of Kate Robertson
discovery: an engagement with the Dust Landscapes
image and the impressions they
provoke. What we remember, what
we share and discuss with others.
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Takeshi Shikama
Silent Respiration
of Forests
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Jacqueline Ball
A Collection of
organised Spaces
www.jacquelineball.com
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8 Spatial relationships, form,
materiality, light and colour are
of central importance in my
practice. I build my images in
the studio on a range of different
scales and I work with a variety
of materials. Light is applied
carefully to expose and conceal
information, accentuate form,
generate reflection and transform
and manipulate the surfaces of
everyday materials. Paint and
liquid are utilised for similar
purposes. Notions of theatre and
filmic language are alluded to
though concave compositional
structures, lighting and the
suggestion of potential action.
Photography’s innate ability to
be both illusive and evidential is
utilised to create uncertainty. My
interest in tactile engagement,
sensory design and architecture
has greatly influenced my
methodologies.
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Jacqueline recently moved 21
to Melbourne from Perth to

complete her Masters degree at
RMIT University. She completed
her Honours degree at Curtin
University in 2009 and has had
6 solo exhibitions over the past
5 years, including an exhibition
at Edmund Pearce Gallery in
Melbourne and Gallery Central in
Perth. Jacqueline was the youngest
exhibiting artist in Remix last year, a
group exhibition at the Art Gallery
of Western Australia. AGWA
acquired six of her images to form
part of their permanent collection.
She has also partaken in numerous
group exhibitions, including a
show that was part of the Pingyao
International Photography Festival
in China, and her work has recently
been acquired by Artbank. In
October and November 2011 she
completed residencies in Reykjavik,
Iceland and Varistaipale, Finland.
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Ron Jude
Lick Creek Line
www.ronjude.com
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Ron Jude’s new book, Lick Creek Ron Jude was born in Los Angeles 29
Line, extends and amplifies in 1965, grew up in the Pacific

his ongoing fascination with Northwest, and currently lives and
the vagaries of photographic works in Upstate New York. His
empiricism, and the gray area photographs have been exhibited
between documentation and fiction. at venues such as Gallery Luisotti
In a sequential narrative punctuated (Santa Monica), the Photographers’
by contrasting moments of violence Gallery (London), the High Museum
and beauty, Jude follows the of Art (Atlanta), Proekt_Fabrika
rambling journey of a fur trapper, (Moscow) and Roth/Horowitz
methodically checking his trap line Gallery (New York), among others.
in a remote area of Idaho in the His work is in numerous collections,
Western United States. Through including the San Francisco
converging pictures of landscapes, Museum of Modern Art, George
architecture, an encroaching Eastman House, the New Orleans
resort community, and the solitary, Museum of Art, and the Georgia
secretive process of trapping pine Museum of Contemporary Art in
marten for their pelts, Lick Creek Atlanta. Jude is the co-founder of
Line underscores the murky and A-Jump Books and the author of
culturally arbitrary nature of Alpine Star, Postcards, Other Nature
moral critique. and Emmett . He is represented by
Gallery Luisotti in Santa Monica.
With an undercurrent of mystery
and melancholy that echoes
Jude’s previous two books about Lick Creek Line by Ron Jude
his childhood home of Central Softcover with dust jacket
Idaho, Lick Creek Line serves as the 29.2 cm x 25.7 cm
lynchpin in a multifaceted, three- 112 pages
part look at the incomprehensibility 69 colour photographs
of self and place through With a booklet and accompanying
photographic narrative. While essay by Nicholas Muellner entitled
Alpine Star functioned as a fictitious No Such Place
sociological archive, and Emmett
www.mackbooks.co.uk
explored the muddy waters of
memory and autobiography, Lick
Creek Line finds its tenor through
the sleight-of-hand structure of a
traditional photo essay.
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42 My focus on the landscape in recent Although I would situate my work in
years represents an attempt to the realm of what has been called
reconcile the descriptive power of “conceptual documentary,” which
photography with the uncertainty implies an arid tone, I am equally
of looking, and our desire to assign invested in making visually arresting
meaning to even the most empty pictures. A successful prosaic piece
and reticent scenes. The intruded-‐ does not preclude the emergence
upon landscape has a rich history of the poetic. Paradoxically, as I
in the photography of the past 40 strive to make compelling individual
years, but my interests, although images, I tend to think in terms
not in opposition to this history, lie of books and installations, which
elsewhere. The questions I want to favor larger programs over singular
ask are more ontological in nature, photographs. As such, the whole is
and I use the occupied landscape almost always greater than the sum
as an enigmatic conduit for this line of its parts, which makes me think
of thought. of my photographs as raw material
until they find their true significance
through the context of a broader
structure. I consider books to be
the ideal form to give further shape
to my ideas about elusive meaning
and alternative narrative structures.
Ron Jude
Ithaca, NY
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Michela Heim
Anteroom
www.michelaheim.com
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Kate
Robertson
Dust Landscapes
www.kate-robertson.com
Dust Landscapes is a series of Extracted dust particles from 71
photographs that record dust the site are brought back into
collected from ConFest; a festival the studio and photographed
located in the arid landscape of through various processes to
south-west New South Wales create unfamiliar topographical
and held by one of the first open maps. The dust particles thus
healing communities in Australia. become artifacts of the ‘celestial
Throughout the festival, as experience’ of ConFest,
participants move around the mapping the disorientating,
site, the dry land is unsettled surrendering, transformative
and clouds of dust are created and energising qualities of the
that linger listlessly above the festival.
ground. The wind stirs the dust This work is part of an ongoing
particles across the ConFest exploration into alternative
site, clinging onto festival goers natural healing networks and the
as they immerse themselves influences of related phenomena
in community rituals and that foster well-being in oneself
spontaneous happenings. and community.
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Kate Robertson (b.1981) currently 79
lives and works in Melbourne,

Australia.
She received a Bachelor of
Arts (Honours) in 2006 from
the Victorian College of the
Arts, Melbourne and received
a Masters of Arts (Research) in
2012 from RMIT, Melbourne.
Her work has appeared in
solo and group exhibitions at
numerous galleries both locally
and internationally including
Sentinel Gallery in Brooklyn, New
York, Te Tuhi Gallery in Auckland,
New Zealand, and Melbourne
galleries Edmund Pearce, Techno
Park Studios, Kings ARI, TCB Art
Inc, Blindside, C3 Contemporary
Art Space, neospace and VCA
Margaret Lawrence Gallery.
the
spirit
is in the air
and palpable
if one’s open to it
Poem by Dr Les Spencer, clinical sociologist
and regular ConFest attendee
Takeshi
Shikama
Silent Respiration
of Forests
www.shikamaphoto.com
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I am very much fascinated by the I personally never embraced any For me, photography is just one of 85
forest, enveloped in a natural and sense of affinity for forests during Mother Nature’s many wonderful
simple air. a span of more or less forty years blessings. Yet, it is also true that
Seized by a strange sensation, I when I lived in the megalopolis the spread of environmental
can sense the forest calling me, Tokyo. Nevertheless, owing to the destruction is making it difficult
almost beckoning me. I find myself invaluable experience of spending for me to pursue my photographic
responding to the telepathic the next ten years building a activities. At times, I walk for more
power of the forest. Driven by lodge myself inside a forest, my than ten hours a day but to no
this mysterious sensation, I have sensitivity towards nature came to avail, only to discover that the
continued to take photographs for be fully awakened. forest indicated on the map has
my work entitled “Mori no Hida - Time flowing ever so gently in turned into a dam construction
Silent Respiration of Forests”. the forests proved to be far more site. Not giving up, however, I have
pleasant than the sound of the also been fortunate to come across
This can probably be attributed giant trees inside the forests. Trees
to the fact that I am a Japanese clock ticking away. Through the
experience of building a lodge which were judged to be of little
national living in Japan where use and left unfelled due to their
seventy per cent of the land is with my own hands, I found myself
following in the footsteps of our crooked forms continued to live for
made up of mountains and forests. several hundreds of years, growing
Owing to Mother Nature’s rich forefathers in terms of lifestyle.
I believe that this experience into gigantic trees. Trying my best
blessings, we Japanese have to listen to the whispers of these
continuously partaken in the long awakened the feelings of yearning,
appreciation as well as awe in the trees, I release the shutter of my
history and tradition of doing our camera just once.
best to preserve nature and even face of nature which had been
worshipping nature. Having said lying dormant in my genes as Photographs that capture once-
so, however, it cannot be denied a Japanese, and these feelings in-a-lifetime encounters... I have
that it has been quite a while since which had surfaced came to be been inspired by such a style of
the chain of co-existence between imprinted in all corners of my soul. photography. I am not the one
nature and humans has been This led to my encounter with taking the photographs, rather
broken in contemporary Japan, photography. the forests are inducing me to
especially in cities which have take their photographs. And
developed at a most rapid pace. it my earnest wish that these
photographs of mine will never
end up to be a requiem for nature.
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Born:1948 in Tokyo, Japan. In 2011, he began new work 97
Education:Aoyamagakuin photographing in two distinct

University, 1968-1970. American landscapes--Yosemite
National Park and New York City’s
In 2002 Takeshi Shikama turned to Central Park.
photography after a career in the
field of design. He was drawn to His most Recent body of work
forests as the subject for his large features land scapes throughout
format camera. It was the “invisible the pacific Northwest.
world”, hidden behind the “visible” His work is included in the
that he worked to capture. His first permanent collection of the
photo collection was published Bibliothèque Nationale de France
in 2007 as Mori no Hida—Silent (Paris, France), the Museum of
Respiration of Forests. This project Photographic Arts San Diego
became the start of what will be a (California, United States), Museet
lifetime endeavor. for Fotokunst Brandts (Odense,
In 2008, he created a new Denmark), The Museum of Fine
series,Utsuroi-Evanescence, Arts, Houston (Texas, United
consisting of four parts: Forest, States), Santa Barbara Museum of
Field, Lotus, and Garden. In 2009, Fine Art (California, United States),
he added the fifth part, Landscape. Davison Art Center, Wesleyan
The following year, in 2010, while University (Conneticut, United
working on the Evanescence series, States), Portland Art Museum
he started working with handmade (Oregon, United States) and the
Japanese Gampi paper for his San Francisco Museum of Modern
platinum/palladium printing. Art, (California, United States).
The detail involved to create In 2009, He was invited to take
these prints; each requiring part of FOTO Triennale.dk and his
hand-coating the emulsion on the solo show was held in Johannes
paper and contact printing the Larsen Museet (Kerteminde,
negative; reflects the intimacy Denmark). He was also one of nine
and interaction that he feels artists selected for the FotoFest
towards his subject matter. International Discoveries II
(Houston, Texas, United States).
In 2012, He was invited to take part
of the Noorderlicht Photofestival
(The Netherland).
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Front image Takeshi Shikama Back IMAGE Jacqueline Ball Please note no image in UYW can be reproduced
without the artists prior permission. All images are protected by copyright and belong to the artist.
www.unlessyouwill.com // hello@unlessyouwill.com

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No 23

unless you will

to Melbourne from Perth to

Lick Creek Line

Line, extends and amplifies in 1965, grew up in the Pacific

lives and works in Melbourne,

Education:Aoyamagakuin photographing in two distinct

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