Materials: Camera Obscura Caravan and installation including pink elastic, tent pegs, dry point etchings. Performance including, Claire Conroy, Marty Jay, Yul Scarf.
A camera obscura caravan was situated within an allegorical city in a paddock in Kandos. It is based on The Book of the City of Ladies, a 15th century feminist text by Christine de Pizan. The City of Ladies could be moved through, inhabited as well as viewed upside down and in reverse from inside the camera obscura. The work is further documented in a series of four drypoint etchings.
The city works as a metaphor for the ever developing and evolving project of feminism. The City of Ladies continues to be built in the 21st century with communication and collaboration. The performers included female identifying, male identifying and non gender identifying friends.
The installation incorporated a 30 m long anamorphic distortion of the 15th century allegorical city with pink elastic. The drawing which was distorted and abstracted in the paddock could be viewed in correct perspective in 9 x 9 cm scale inside the camera obscura.
Photo documentation of performance by Freya Ververis.
These seascapes and landscapes were captured using my pinhole camera created from 1950's caravan. Weltzmertz captures the east coast of Australian in 2015. The retrospective return in this analogue process heralds a moment in photographic history linked to the Romantics and early days of white Australian settlement. The melancholy and menace that haunt the atmosphere in these images reflect on these founding moments in Australian history.
Caravan Camera Obscura
A Travelling Curio of wonderment and delight this retro Caravan from the late 50's has been converted into a pinhole camera, mobile darkroom, studio and a camera obscura.
Caravan Camera Obscura
By Claire Conroy
Inside Caravan Camera Obscura
Photo by Kelly Sturgiss
camera obscura caravan manly arts
camera obscura caravan north head sydney claire conroy
Scary Monsters and Super Creeps
These sea (weed) monsters are contacting the 'other' side in a seance calling connection to the wild nature of the sea. These unique one of a kind prints were created directly from seaweed washed ashore after a storm. Then slopping onto photographic paper and captured with light they have been created using an analogue direct contact technique and on archival silver gelain photographic paper.
Flying Fish 30 x 40 cm
Whirlpool 30 x 40 cm
FinFolk 30 x 40 cm
The Sydney Reef was a branch of the global Hyperbolic Crochet Coral Reef by the Werthiem sisters from the theiff.org.
This community collaborative installation brought together over 500 people to create the installation. It was co curated by In Stitches Collective who are Claire Conroy, Michaela Davies and Charlotte Haywood and exhibited at The Powerhouse Museum Sydney.
Crocheted yarn and plastic bag made by Claire Conroy.
Exhibition at the Power House Museum Sydney.
Created by In Stitches Collective.
Other worlds evokes the panoptic view of the asylum. The large scale pinhole images reflect on the eye of the camera and the power relationships involved in image making and architecture.
Silver Gelatin pinhole photograph.
1.2 x 1 meter.
Ha Ha Wall
Silver Gelatin Pinhole photograph.
1.4 x 1 meter.
The line of authority.
Silver Gelatin pinhole photgraph.
1.6 x 1 meter.
This Series of works came out of a residency at International Artspace Kellerberrin Australia (IASKA) in Western Australia in 2007.
These images were taken using a water tank pinhole camera. The subject of the images are Western Australian salmon gums, they provoke a haunting by the trees that populated forests in this area. It was cleared for wheat fields as a consequence the water that would have been contained in the land is evaporating leaving the surface of the soil saline.
Dirty Deeds Done Dirt Cheap
The installation embeds itself within the intellectual traditions of textiles and the codification of pattern inspired by Joseph Jacquard whose weaving loom is attributed to being the first computer. Michaela Davies, Claire Conroy,Charlotte Haywood extend the tradition by creating a unique code to represent the music.
Using the sensibilities of synaesthesia to separate forms and create disorientation, the work highlights revelations in technology and innovation of the past while using Australian music titles to question current innovation in Australia, particularly in primary industries. Filled with colour the installation references the ‘visual music’ traditions of Australian artist Roy De Maistre, utilising his system of correlating the light spectrum to musical notes.
This project was supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Travelling across Sydney in a two tonne truck as a camera. These pinhole photographs were taken over 7 days in 2006.
A darkroom in the gallery; the audience is encouraged to take a pinhole camera into the streets and created an image, return to the gallery and develop their prints. This took place at Medium Rare Gallery in Redfern Sydney in 2006.