The photographs in Tethered centre on the concept of relational gravity: the pull between people, places, and materials. They carry grief, love, attachment, and loss, shaped by personal experience and by the lives of friends and lovers. In this sense, Tethered approaches landscape as a relational field, rather than as a detached or neutral view.
Tethered is made through analogue processes using expired medium-format film alongside out-of-date FP-100C and 3000B instant film. Fogging, shifts in colour and density, uneven development, chemical marks, and occasional failure are part of the material outcome, carried on the photographic surface with what was in front of the camera.
As landscape images made in Australia, the work sits within the difficult, contested terrain of representing place, where images of land are shaped by histories of colonisation and dispossession, and by traditions of naming, framing, and picturing land through a colonial settler lens.
In this context, the works are never separate from the histories they inherit; they are tethered to other stories, other claims, and other ways of seeing, even when driven by personal attachment and material process. The photographs were made in high alpine country, on Country connected with the Wiradjuri, Wolgalu, Ngunnawal and Monaro Ngarigo peoples.
Tethered is also built through a collage logic. Images accumulate as fragments, and meaning forms through sequence, proximity, and repetition rather than through a singular narrative.
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