Jemima Wyman (palawa)
Based in Los Angeles

Q. Hi Jemima! What did your PHOTO 2024 commission mean to you?

 

Within photography time is a material, a process and a concept. I loved developing new collages to be considered within this historical context of photography and ‘futures’, especially alongside so many amazing photographers. Being included in PHOTO 2024 highlighted all the different types of ‘futures’ and ‘time’ present in my work while introducing it to new audiences in Australia.

 

Q. Did you have any reflections on having presented your work in public space or at this large scale for the first time?

 

Dissent in the public sphere is at the core of my collages as I collect thousands of online images related to camouflage present in protest to make new collective representations. Surprisingly PHOTO24 was the first time my work could be viewed in public on the street which set a new benchmark, from now on this is the ideal viewing scenario.

 

 

Q. What advice do you have for those considering participating in PHOTO festivals in future?

 

My advice for future artists is to dive deep into considering the very special public encounter that PHOTO 2024 offers especially in terms of site and audience.

 

 

 

Jo Duck (AU)
Based in Melbourne

Q. Hi Jo! What did your PHOTO 2024 commission mean to you?

 

When my open call submission was accepted, I felt great validation and support for my art practice. Exhibiting as part of PHOTO 2024 felt like a big step up and got my work in front of incredible local and international curators who maybe wouldn’t have made the time to see a smaller exhibition. It was a massive opportunity and I’ve had great feedback from peers and strangers about the series. Also being invited to speak about my concepts at the Ideas Summit alongside such established artists gave me confidence to back myself and continue with the direction of my work.

 

Q. Did you have any reflections on having presented your work in public space or at this large scale for the first time?

 

I got such delight from seeing strangers interact with the work.  I’m so grateful that my ‘Brick Trick’ piece was 4 storeys tall in such a prominent position and was very difficult to ignore. Seeing people come up from Parliament station and look at it either with bafflement or a smile was a thrill. Both 99 Spring Street and Gordon Reserve engaged the public as well as those following the maps for PHOTO 2024. Even if people within the area didn’t want to see any art that day, they had no choice!

 

Q. What advice do you have for those considering participating in PHOTO festivals in future?

 

I almost gave up on my submission for the open call because I lost confidence that it would resonate with the panel. Thankfully though, I decided to put my all into it, adopted the ‘gotta be in it to win it’ mentality and sent it through. I would advise anyone entering an open call to believe in your idea, try not to anticipate what the panel *might* be looking for and be authentic to your concept.

 

 

Zoë Croggon (AU)
Based in Melbourne

Q. Hi Zoë! What did your PHOTO 2024 commission, presented by Fed Square, mean to you?

 

My PHOTO 2024 commission has been a significant step in my practice, expanding my work conceptually, physically and professionally.

 

Q. Did you have any reflections on having presented your work in public space or at this large scale for the first time?

 

Having the opportunity to share my work publicly and at such a large scale was an enormous privilege. Making Chamber Dance illuminated for me what a democratic, inclusive and generous medium public art is.

 

Q. What advice do you have for those considering participating in PHOTO festivals in future?

 

PHOTO festivals are an incredible force for the art of photography in Australia, be ambitious!

 

 

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