Monday, 26 December 2016

Colberg, who picked my work (Indefinitely), writes: “Pictures are more than what they are as pictures. They also are what we bring to them. Possibly my choice is in part a reflection of how I have been feeling about the state of this world since this year’s events have taken humanity back to a very dark place. Indefinitely for sure is dark and somber. Yet it contains traces of hope, of it being a dream. We don’t know, yet, whether it’s about to become a nightmare or whether it will end well.”
Astres Noirs, photobook of the year:

Friday, 2 December 2016

Friday, 25 November 2016

"Astres Noirs is an ethereal, other-worldly experience; figures bathe in half light, galactic dust clouds disrupt familiar landscapes and alien jellyfish seem to be suspended in motion. The duotone printing shimmers with an unique silver quality, providing an astonishingly beautiful publication with a tactility not often experienced in the photobook".

Tuesday, 2 August 2016

'Indefinitely is that moment of intimate silence that binds us to life, that freezes time, action, judgment. It's the space between reality and imagination. It's the transition from sleep to the perception of the new day's sun. Katrin Koenning captures observation itself, in its purity; her shots translate a sense of pause that has to do with listening.'

Sunday, 17 July 2016

'Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the extraordinary in order to access invisible states of consciousness...The essence of both their work, therefore, appears to be rooted in the personal and meditative relationship they have with metaphysical thought and less with rigid notions of representing a photographic reality. Astres Noirs gives us an insight into their supernatural vision through these fairly eclectic astral projections...Having been a follower of both Koenning and Protick for some time on Instagram, often being mesmerised by their images and regularly dumbfounded at how they might have been created, I was beautifully reminded of the very natural affinity both artists have towards a higher state of consciousness.'

Wednesday, 13 July 2016

Lars Boering, managing director at World Press Photo, on The Crossing, Noorderlicht Festival, NL

Thursday, 26 May 2016

Curated by Pippa Milne, CCP Declares: On the Social Contract draws together emerging and mid-career artists working at the forefront of Australian photography and video in its expanded field. The subtitle to this second iteration of CCP Declares acknowledges that these works examine or extend the idea of social contract theory; the idea that moral and political obligations and rights are bound upon an intrinsic agreement amongst the various constituents of a society.

Wednesday, 13 April 2016

'Koenning’s environment is one not solely of nature, but of human interference in the ritual of place making – and yet, the opportunity remains to insulate artefacts of history under gentle observation, in order to explore the entrenched narratives of each frame...'

Sunday, 6 March 2016

Daylight digital feature (Indefinitely) with text by Dan Rule

'We’re left in a state of flux – the tension between connection and disconnection ever present.'  
 'Light floods the frame. Bleached flares of afternoon sun gently inundate an otherwise lush woodland scene, its tangles of ferns, vines and low-lying foliage ensnaring the forest floor. It is a filter of haze, almost psychic in its effect. A proximate image describes a partial domestic scene, morning light creeping up a bedroom wall. It is adorned with a framed print of a classical still-life painting, a pair of pillows anchoring the composition at its base.'
Dan Rule

Sunday, 17 January 2016

 Untitled from Lake Mountain, 2012

In our capitalist pursuit we thought we found progress, but in that, things got lost forever.  Now the urgency to halter manifests, knowing what is lost can’t resurrect. Our legacy is undeniably carved into everything we’ve touched; water, land, air. According to predictions measuring the effects of global warming, Australia counts among one of the countries most vulnerable to climate change. Increasingly extreme weather conditions threaten to impact destructively on the environment, biodiversity, infrastructure and community. During the 2009 Black Saturday Bush fires considerable damage was caused at Lake Mountain, a popular winter destination 120 km out of Melbourne, Australia, changing the site forever. Lake Mountain is a long-term study of this scarred and transitioning Australian landscape. Much of my practice is an inquiry into our physical and emotional connection to place and our relationship to that which surrounds us. At their core, my methodology and vernacular rotate around the idea of returning to things; I’ve held this mountain’s breath for six years. It’s through immersion that I can be part of a land. The return enables me to know, the knowing makes me love, the loving authors me.