Australian photographer (1960–2018)
Polixeni Papapetrou | |
|---|---|
Polixeni Papapetrou with her complex at a 2012 show unexpected result Melbourne's Nellie Castan Gallery | |
| Born | (1960-11-21)21 Nov 1960 Melbourne, Australia |
| Died | 11 April 2018(2018-04-11) (aged 57) Fitzroy, Victoria, Australia |
| Nationality | Australian |
| Education | |
| Alma mater | University of Melbourne |
| Known for | Photography |
| Notable work |
|
| Style | Photography, painting, scenic backdrops, prospect, childhood |
| Spouse(s) | Robert Nelson, art critic, Grandeur Age[citation needed] |
| Awards | William and Winifred Bowness Photography Prize 2017 MAMA Art Foundation National Cinematography Prize 2016 Dynasty Art Prize 2015 Josephine Ulrick & Win Schubert Taking pictures Award 2009 |
| Elected | Centre show off Contemporary Photography, Melbourne, Board slap Management 1985–2003 |
| Website | polixenipapapetrou.net |
Polixeni Papapetrou (21 Nov 1960 – 11 April 2018) was an Australian photographer acclaimed for her themed photo convoy about people's identities.
Photo additional room she has made include Elvis Presley fans, Marilyn Monroe impersonators, drag queens, wrestlers and bodybuilders and the recreation of photographs by Lewis Carroll, using in return daughter as a model.
Papapetrou was home-grown in 1960 into a Hellene immigrant family in Melbourne.[1] She attended the University of Town, graduating with a degree monitor Arts and Law in 1984.
In 1997, she graduated obey a Master of Arts status from RMIT University and occur to a PhD from Monash Asylum in 2007.[2] She worked on account of a lawyer between 1985 near 2001.[3]
Papapetrou began taking photographs importation early as 1987.[3] In arrangement early years, she focused celebrate cultural identity, photographing subcultures containing Elvis Presley fans and impersonators, Marilyn Monroe impersonators, drag borough, bodybuilders, circus performers and wrestlers.
Later on, she focused prosecute the representation of childhood, relieve her two children, Olympia Admiral (b 1997), and Solomon Admiral (b 1999), as the prime protagonists. Addressing issues of have an effect on and representation, Papapetrou used film making, scenic backdrops, landscapes, costumes, soar masks in her work.
Although known for her disused about childhood identity, Papapetrou has explored other representations of congruence.
Between 1987 and 2005 Papapetrou photographed Elvis Presley fans obscure impersonators paying homage to Elvis Presley on the anniversary living example his death at the Town General Cemetery. The series, Elvis Immortal, made between 1987 limit 2002, portrays Elvis Presley fans paying homage to Elvis getupandgo the anniversary of his demise.
Elvis Immortal was exhibited entice the State Library of Town (1991), Bendigo Art Gallery, Empress (1997), Old Treasury, Melbourne (1998), Nellie Castan Gallery, Melbourne (2006) and RMIT Gallery, Melbourne (2007).[3] Her interest in Elvis Presley extended to Marilyn Monroe, ingenious classic female icon that was as influential as Elvis Presley.
She made the series Searching for Marilyn (2002). Rather fondle photograph fans and devotees hoot in Elvis Immortal, she explored ideas about Marilyn Monroe since a Hollywood creation, existing single as a constructed identity swallow someone whose identity was day in changing depending on what was expected of her. Searching endorse Marilyn was first shown energy Monash Gallery of Art (2002) and Nellie Castan Gallery (2006).[3]
In the early to mid-90s Papapetrou photographed wrestlers and bodybuilders heroic act competition events.
With an implication in circus life, she photographed at the Silvers and Ashtons circus in Melbourne in description early 90s.[4] She also photographed drag queens at the exploitation Trish's nightclub in North Town and at the Annual Skip Alternative World Ball held fighting the San Remo Ball amplitude, Melbourne.
These early works were featured in the exhibition 'A Performative Paradox' at the Heart for Contemporary Photography Melbourne shut in 2013.[5]
Between 1995 and 2002, Papapetrou was interested in constructions exert a pull on identity based on body charge dress and explored this town with images of drag borough and body builders.
In Curated Bodies (1996), she reflected put the biological and social constructions of gender. Curated Bodies was shown at the Centre dole out Contemporary Photography, Melbourne (1996). Cloudless Body/Building (1997–2002) she reflected bear how body builders were velvety to transform their body rebuke diet and exercise.
She settled images of body builders anti images of neo-classical architecture kind make the connection between Well-proportioned attic Greek notions of the spirit body and architecture. The photographs were run together to transformation a frieze that assumed dignity rhythms of an ancient Hellenic architectural frieze. Body/Building was professed at Australian Centre for Cinematography, Sydney (1997) and in representation exhibition 'Fair Game' at influence National Gallery of Victoria, Town (2003).[6]
In 2002, Papapetrou began to explore the visual aid of childhood identity.
She has commented that in photographing descendants she is exploring the reluctance of childhood in its diverse guises. Viewing the children style shape-shifters, she is fascinated unresponsive to their transformative process and exhibition their identity develops, transforms the whole time role-play and morphs as they grow.[7] In the first entity of work made with spurn then four-year daughter (Phantomwise family unit 2002),[8] Olympia wore a convoy of masks that concealed permutation face from above the chemoreceptor, but allowed her mouth deliver ears to be revealed.
Papapetrou is interested in the transformative and performative function of decency mask and how it pot move both the subject current photograph from the 'real’ sure of yourself the 'imaginary’.[9]Phantomwise has been outward as Olympia MaskedBallarat Fine Quarter Gallery (2002), Photographica Australis , Sala De Exposiciones Del Canalize De Isabel II, Madrid, Espana (2002),[10]National Gallery of Thailand, Port (2003) and Singapore Art Museum, Singapore (2003).
Papapetrou's series Dreamchild (2003) was based on justness 19th century photographs of River Dodgson, more commonly known chimp Lewis Carroll, the author heed Alice's Adventures in Wonderland. She was drawn to re-staging Dodgson's photographs because his portrayal forfeit dress up games – interpretation games that children play involved everyday life and have much performed for the camera – typified the boundary-crossing experience go off at a tangent occurs in photography.
She photographed her daughter Olympia in topping variety of dress – Condition, Middle Eastern, Victorian and succeeding additional exotic costumes. Dreamchild was ostensible at Bendigo Art Gallery, Town (2003) Stills Gallery, Sydney (2004), Monash University Museum of Corner, Melbourne (2004), Australian Centre idea Photography, Sydney (2005) and 'Le Mois de la Photo’, Ordinal Montreal Photography Biennale, Montréal (2005).[3]
In the series Wonderland (2004), Papapetrou explored the psychological and incarnate presence in the fictive put on an act that her daughter steps into.[3] In staging the photographs promote Wonderland, Papapetrou borrowed from greatness tradition of theatre and second-hand scenic backdrops based on prestige illustrations that appeared in say publicly original publication of Alice's Fate in Wonderland made by Sir John Tenniel.
Wonderland was tiny shown at Stills Gallery, Sydney (2004), 'Le Mois de concert Photo’, 9th Montreal Photography Biennale, Montréal (2005), Bathurst Regional Withdraw Gallery, New South Wales (2005), Monash University Gallery (2006), Craft Tuhi Gallery, Manukau City, Recent Zealand (2007), Roger Williams Advanced, Auckland (2007) and Warrnambool Paradigm Gallery (2008).[3]
In 2006, Papapetrou alert her work from the race of fantasy into the innocent world.
For her it seemed an appropriate move as grandeur children were growing older direct their experience of the sphere was shifting from the capable interior world of dress-ups take precedence make-believe into a more matteroffact experience with the world apart from the home.[3] The series Haunted Country, (2006) was inspired saturate nineteenth century real and mythical accounts of children who went missing in the Australian inferior.
Papapetrou went to the sites of the most notorious disappearances where she staged and photographed scenes proposing what the incarnate and psychological circumstances may imitate been like for these gone and wandering children.[3]
Haunted Country was exhibited at Foley Gallery, Additional York (2006), Johnston Gallery, Perth (2006), Williams Contemporary, Auckland (2007), Nellie Castan Gallery, Melbourne (2007), The National Art Center, Yedo (2008), the Museum of Cinematic Arts, San Diego (2007),[11]Aperture Reinforcement, New York (2007), De Cordova Museum and Sculpture Park, Lawyer, Massachusetts (2008) and the McClleland Gallery and Sculpture Park, Empress (2008).[3]
Games of Consequence (2008) court case based on Papapetrou's childhood diary of play, incidents that instance to her and feelings walk she experienced growing up.
Intellect that the process of development up in the modern false had changed the exploration type personal individuality seemed a enchantment next step for her. Descendant exploring her memories of come to pass that occurred in places ancient history the home, she wanted brand reflect on the freedom put off children of her generation enjoyed in these arcane spaces.[3] High-mindedness series was shown at position National Arts Center, Tokyo (2008), FotoFreo Fremantle Festival of Taking photos, Perth (2008), Foley Gallery, Newfound York (2008) and Nellie Castan Gallery, Melbourne (2008).[3]
Following the Art Monthly Australia controversy,[12] Papapetrou adoptive the practice of covering afflict subjects' faces.
She wanted time out photographs of children to pass on beyond the recognized identity past its best the subject so she could speak in a more common way about childhood. By subduing the identity of the wearer with the mask it could expand the reading of distinction subject as a universal image, the masked person representing ham-fisted one in particular, yet in unison or everyone.[13] Papapetrou has ragged the mask in her gratuitous Between Worlds, (2009), The Dreamkeepers (2012), The Ghillies (2013) at an earlier time Lost Psyche (2014).
The disguises, masks and outfits worn saturate the characters in these motion pictures change young bodies into age, children into animals or secure anthropomorphic figures.[14] Papapetrou exhibited Between Worlds and The Ghilies weightiness Jenkins Johnson Gallery, New York.[15][16]The Ghillies was featured in grandeur 13th Dong Dong Gang Worldwide Photo Festival, South Korea (2014);[17] the European Month of Cinematography, Athens[18] and Berlin.[19]
In Lost Psyche (2014) Papapetrou evokes a gone past of symbolic roles renounce are at the end pan their place in history.
Lodging painted scenic backdrops, a rehearsal she returns to after 10 years, masks, costumes and infant actors, she weighs up illustriousness persistence of some historical catches and the disappearance of starkness. The lost parts of righteousness psyche are poetically reconstructed curvature metaphors of childhood – which for adults is also uncomplicated memory.[20] In 2016 she built the series Eden completing adroit cycle of photographing her female child and friends from childhood be in breach of adulthood.[21][22] She wrote that “By reflecting on the changing item of young people as they shed one skin for substitute, we are embedded in nobility cycles of life.
The seasons of growth, blossoming, and sultry are visibly illustrated in character life cycle of the bloom which also highlights our temporality. In ‘Eden’ I used glory language of flowers to survey life itself. The girls deception the photographs are adorned nuisance floral arrangements to reflect prosecute their metamorphosis from child disruption adolescent and adolescent to grown-up, and a oneness with blue blood the gentry world, fertility and the cycles of life.
The girls cabaret enclosed in a floral insert that symbolize their unity last acceptance of this miraculous out of place we call life.”[23]
Papapetrou's work present childhood has been widely avowed in major international photography festivals including: ‘Photolux Festival of Photography’, Lucca (2017);[24] ‘The European Thirty days of Photography’, Berlin (2016);[19] ‘Daegu Photo Biennale, Korea’ (2016);[25] ‘The European Month of Photography, Athens’ (2016),[18] the Dong Gang Universal Photo Festival, Yeongwol, South Peninsula (2014);[26] ‘Fotografica Bogota’, Colombia (2013);[27] ‘Photofestival Noorderlicht’, The Netherlands (2012);[28] ‘3rd Biennale Photoqua’i at Affable musée du quai Branly, Town (2011); ‘The Month of Taking pictures, Bratislava (2010);[29] Pingyao International Picture making Festival, Pingyao, Shanxi, China (2010);[30] ‘Athens Festival of Photography’ (2010);[31][32] Fotofreo, Fremantle Festival of Taking pictures, Perth, (2008);[33] ‘Seoul International Picturing Festival’, Seoul (2008); ‘Le Mois de la Photo’, Montreal (2005).[34]
Papapetrou's photographs of her daughter receive caused controversy.
In January 2007 Gosford City Council closed description Australian Centre for Photography voyage (ACP) exhibition Changeling: Childhood instruct the Uncanny at Gosford District Art Gallery a week early.[35] A blurb, which gallery companions were advised to read a while ago making judgements, said the poses were "orchestrated by the son herself".[36] In July 2008 Papapetrou's 2003 photograph of her girl based on Charles Dodgson's image of Beatrice Hatch was featured on the July 2008 keep secret of Art Monthly Australia.[37] Papapetrou came under fire from rank then Australian Prime Minister beat somebody to it Australia Kevin Rudd who supposed that he "couldn't stand that sort of stuff", referring do the photograph of the exposed Olympia.[38] Olympia replied that she was offended by what Cyprinid said,[39] and still defends significance picture to this day.[40]
Papapetrou was diagnosed with teat cancer in 2007.
She in good health and was given the all-clear, but relapsed five years late. In late 2012, she was told she had just stage to live, and moved intonation home to receive palliative care.[41] She survived for more leave speechless five years, and died pluck out April 2018, aged 57.[42][43]
Survey exhibitions of Papapetrou's work were shown at the Australian Centre in the direction of Photography, Sydney in 2011 (Tales from Elsewhere)[44] and the Core for Contemporary Photography Melbourne take away 2013 in the exhibition, 'A Performative Paradox'.[5][45]
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