honorable mention
Marnie Haddad australiaPhoto © Marnie Haddad
title
untitled #4 'The second door'
I wanted to create a story that was as truly Australian as it is fantastical and imagined. Cliche's obliterated.
My subjects were cast with a famous Aboriginal actress and a subject that appears white and entitled- both beautiful and elaborately made-up. They are seated at an indulgent setting, the family table to read the will of their parents. the differences only apparent by appearance.
It could be reportage or fashion or just a story I wanted to portray. Modern family, adopted or conceived.
Both expressions fearless, lost, confident but connected. Sisters and siblings regardless. The story can be written by the viewer.
Haddad’s new works draw inspiration from her love of classic film, depicted in her evocative and poetic portraits utilising shadow and subtle illumination. Haddad’s cinematic staging, rich painterly hues, technical precision and romantic undercurrents are beautifully articulated in this latest photographic essay.
In this series, Haddad illustrates ‘a time that stands still’, she commented – “it’s neither comforting nor unsettling, but focuses on the kind of timeless travel that stops the clock and allows your imagination to transport you.”
The fantasy that cinema brings has long ignited Haddad’s artistic sensibilities, she recalls being mesmerized by a flickering theatre scene where ordinary objects take on deeper meanings - the pink fluted glass, the arranged flowers, the street lights casting stripes through the venetian blinds, the curtains locked in folds, the heavy velvet that sits and fades with the migrating sun.
Haddad’s quest is to keep alive and tangible the fantasy that sometimes exists only in our minds. The result is the creation of an etched memory that is everlasting and invites you to dance within the possibilities.
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entry description
The narrative behind this image is the indigenous daughter sitting at the table with her white sibling.I wanted to create a story that was as truly Australian as it is fantastical and imagined. Cliche's obliterated.
My subjects were cast with a famous Aboriginal actress and a subject that appears white and entitled- both beautiful and elaborately made-up. They are seated at an indulgent setting, the family table to read the will of their parents. the differences only apparent by appearance.
It could be reportage or fashion or just a story I wanted to portray. Modern family, adopted or conceived.
Both expressions fearless, lost, confident but connected. Sisters and siblings regardless. The story can be written by the viewer.
about the photographer
Marnie Haddad unveils her new exhibition, ‘The Estate’ at Graham Geddes salon from 15 – 22 March 2019.Haddad’s new works draw inspiration from her love of classic film, depicted in her evocative and poetic portraits utilising shadow and subtle illumination. Haddad’s cinematic staging, rich painterly hues, technical precision and romantic undercurrents are beautifully articulated in this latest photographic essay.
In this series, Haddad illustrates ‘a time that stands still’, she commented – “it’s neither comforting nor unsettling, but focuses on the kind of timeless travel that stops the clock and allows your imagination to transport you.”
The fantasy that cinema brings has long ignited Haddad’s artistic sensibilities, she recalls being mesmerized by a flickering theatre scene where ordinary objects take on deeper meanings - the pink fluted glass, the arranged flowers, the street lights casting stripes through the venetian blinds, the curtains locked in folds, the heavy velvet that sits and fades with the migrating sun.
Haddad’s quest is to keep alive and tangible the fantasy that sometimes exists only in our minds. The result is the creation of an etched memory that is everlasting and invites you to dance within the possibilities.
back to gallery