honorable mention
Marnie Haddad australiaPhoto © Marnie Haddad
title
'The Estate' #untitled #3
The gentle tick tock of the clock, the flickering of the heater, the doily under the flowers, the terrifying loneliness of being awake.
The recognition of just looking, the feeling of the room, the faded prints, the faces of relatives, the petal that fell, the street lights through the venetians, the curtains never moved, folded, the heavy velvet that hangs and stays, fades with the moving sun.
A chair so emperor-like among the couches and cushions, the pink coloured glass that refracts the ambient light and the scorching sun, it hopes for a flower.
The glass cut to perfect size over the varnished wooden table that presses heroic photos frozen in time, a wedding, an engagement, a first child.
The foot-stool with trimming, longing for shoes to rest weary legs, a pillow propped and stiff, a vase encased in a dust pattern pressed through a lace doily.
The chandelier with tilted globe and a missing globe that has faded through the glow of entertaining. The cabinet shut with a key that isn’t locked but turns easily to reveal the special plates in a stack.
Worn corners of couches protected by matching textured fabric, a single couch for the elderly, the 3 seater for the children, a separate chair for guests- it tilts and creaks.
The space filled with stories but seemingly empty and aching with memories.
The large fading photo of a bride hangs tall, mysterious and heroic. Her flowers and veil so delicate, the face of the beginning of all of this.
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
entry description
There was a time when I was frightened, alone, awake, asleep, dreaming, analyzing, acknowledging, dissecting, absorbing.The gentle tick tock of the clock, the flickering of the heater, the doily under the flowers, the terrifying loneliness of being awake.
The recognition of just looking, the feeling of the room, the faded prints, the faces of relatives, the petal that fell, the street lights through the venetians, the curtains never moved, folded, the heavy velvet that hangs and stays, fades with the moving sun.
A chair so emperor-like among the couches and cushions, the pink coloured glass that refracts the ambient light and the scorching sun, it hopes for a flower.
The glass cut to perfect size over the varnished wooden table that presses heroic photos frozen in time, a wedding, an engagement, a first child.
The foot-stool with trimming, longing for shoes to rest weary legs, a pillow propped and stiff, a vase encased in a dust pattern pressed through a lace doily.
The chandelier with tilted globe and a missing globe that has faded through the glow of entertaining. The cabinet shut with a key that isn’t locked but turns easily to reveal the special plates in a stack.
Worn corners of couches protected by matching textured fabric, a single couch for the elderly, the 3 seater for the children, a separate chair for guests- it tilts and creaks.
The space filled with stories but seemingly empty and aching with memories.
The large fading photo of a bride hangs tall, mysterious and heroic. Her flowers and veil so delicate, the face of the beginning of all of this.
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