Picturing Community: School of Art Vol. 1 (2022/23)

Belonging and collaboration have always been central principles in the world of arts and academia. However, in the wake of a global pandemic, these concepts have taken on an even greater importance. The isolating effects of the COVID-19 environment highlighted the deep human need to connect, collaborate, and feel part of something bigger. For many, the post-COVID landscape presented a stark challenge: how to rebuild the sense of community that had been eroded by prolonged periods of separation and remote engagement. Against such a backdrop, the value of shared projects and collective efforts became unmistakably clear, acting as bridges reconnecting individuals to each other and to their mutual passions.

Click on the image above to download the catalogue

Reflecting on my own experiences, I am reminded of a project I undertook in the early 2000s in western Kenya. Immersed within the community, I worked alongside local resource centres and groups to produce images that would be meaningful to them. Through portraits and documentation of group activities, not only did we capture moments, but we also forged lasting relationships and a shared sense of purpose. This effort, titled "Picturing Community: Ugunja, Kenya," was a testament to the power of art and collaboration in building bridges and fostering belonging.

The world of academia is often filled with initiatives aimed at nurturing a sense of belonging among its students. Whilst well-intentioned, these efforts can sometimes feel insincere, overly directed, or too prescriptive, causing them to fall short of their intended impact. In disciplines like the arts, where passion and identity are deeply intertwined, these attempts can feel especially mismatched. Photographers, for instance, often identify deeply with their craft, viewing it not merely as a field of study but as an intrinsic part of their identity.

Artists—whether they're painters, printmakers, sculptors, or photographers—share this deep connection with their discipline. They don't just practise their craft; they live it. Their work is a reflection of their innermost thoughts, emotions, and perspectives. Thus, traditional attempts at fostering belonging can sometimes be off the mark with them. Generic initiatives that aren't discipline-specific can feel out of place, failing to resonate with those who have a strong sense of identity in their craft.

In recognising this unique challenge, the "Picturing Community: School of Art" project was initiated. This effort is not just another university programme; it's a genuine bid to capture the essence and spirit of RMIT's School of Arts. Through a series of editorial style shoots carried out by students, the project aims to portray the myriad disciplines available at RMIT. From behind-the-scenes glimpses to portraits of artists in their element, the project seeks to document the vibrant tapestry of creativity that flourishes within the institution.

The project's foundation lies in collaboration and networking. By enabling students from various disciplines to work together, it not only provides them with valuable experiences but also allows them to forge connections that could last a lifetime. This collective approach is not just about producing compelling images; it's about building a community. Every photoshoot, every interaction, and every piece of art crafted becomes a mini 'belonging' event, organically nurturing connections amongst the students.

In essence, "Picturing Community: School of Art" is more than just a project. It's a reflection of RMIT's commitment to celebrating its diverse artistic community. It's about acknowledging the uniqueness of each discipline while also highlighting the shared passion that unites them all. This catalogue is not just a collection of images; it's a testament to the spirit of collaboration, creativity, and community that defines RMIT's School of Art

A Comparative Reflection on the Works of Bronek Kozka, Yao Lu, Yang Yongliang, and Lang Jingshan

As a contemporary artist operating in a world where the boundaries between nature and human-made environments are increasingly blurred, I often find myself introspecting on the paths treaded by previous visionaries and fellow contemporaries. As I reflect upon my work in this context, it is nearly impossible not to think about the ingenious shanshui montages of Yao Lu and Yang Yongliang, and how they starkly contrast and yet resonate with Lang Jingshan's layered compositions.

Unitiled, Japan 2023 B.Kozka

Lang Jingshan's works, rooted in a more traditional time, celebrate nature in its purity. His composite images emphasize serenity, aligning with the classical shanshui paintings. They bring forth an uninterrupted, harmonious relationship between humans and their surroundings, echoing a time when ecological disruptions were less evident.

Lang Jingshan, Spring trees and majestic peaks (Cunshu qifeng/ 春樹奇峰), 1934. (Photo courtesy of Long Chin-san Art & Culture Development Association).

On the other hand, Yao Lu and Yang Yongliang, through their intricate digital montages, have addressed the profound Anthropocene disruptions. They intertwine elements of rapid urbanization with the allure of classical Chinese landscapes, revealing the stark reality of environmental degradation. Their works do not just depict the contrast, but the integration of urban motifs with nature, suggesting a disturbing confluence rather than mere juxtaposition. In doing so, they unravel the disturbing truth about our dwindling relationship with nature, offering a critique of our times.

In drawing parallels with my own work, it's evident that while I, like Lang, might find solace and a source of reflection in nature, the pressing environmental issues highlighted by Yao and Yongliang cannot be ignored. Where Lang's works emanate a certain calm, Yao and Yongliang sound an alarm. But can there be a bridge, a synthesis of these approaches?

This brings me to my own journey. While Lang offered a peaceful coexistence with nature and Yao and Yongliang warn of our looming estrangement, perhaps my works suggest a re-engagement, a solution. Through my contemporary lens, I strive not only to highlight the challenges of our era but to propose a possible reconciliation. By engaging deeply with nature, by understanding its rhythms and intricacies, there's a chance for renewal. This is not just an aesthetic choice, but a call to action, an invitation to viewers to experience, respect, and work towards restoring the balance with the natural world.

Yao Lu, New Landscape 6 — Wine Boat on Pine Creek (新山水 六 — 松溪載酒圖), 2012. (Photo Courtesy of the artist Yao Lu)

While Lang Jingshan's works serve as a poignant reminder of a bygone era and Yao Lu & Yang Yongliang's montages starkly illuminate the issues of our times, my art hopes to offer a way forward. A path that not only acknowledges the challenges but also believes in the possibility of a harmonious coexistence between humanity and nature.

Yang Yongliang, “Time Immemorial — Sinking” (Taigu Shenshi — Chenmo/太古蜃市 — 沉没),, 2016. (Part) (Photo courtesy of the artist Yang Yongliang).

In expressing these reflections, there's a lingering concern that my optimism may come across as arrogance or naiveté. I recognize the weight and gravity of our environmental predicament and, in no way, intend to undermine its severity. Yet, in the face of such dire circumstances, perhaps even bordering on hopelessness, I believe that hope and proactive engagement are our most potent weapons. After all, without hope, there's a risk of inertia. And it's in this spirit of hopeful action, despite its potential naiveté, that I present my perspective. For it's not just about capturing and reflecting upon the world as artists, but also about inspiring change, no matter how incremental it may seem.

Hotham Heights, Victoria, Australia 2023 B.Kozka

(That's the look, that's the look)

Cleopatra Records · ABC - The Look Of Love

Jonathan’s Look

Let’s take a moment to regroup. So far, we have two characters to work on: Jonathan and Matthew. We've made progress in fleshing out Jonathan through his monologue and questionnaires, while Matthew's questions have been completed but not explored further. Our ultimate goal is to create a monologue for Matthew and a dialogue for the scene we'll shoot.

For now, let's focus on Jonathan's appearance, his style, and how he carries himself. As a 54-year-old executive living in Bel Air, Los Angeles, Jonathan's fashion choices exude a sense of refined charm and sophistication. In the office, he is often seen wearing tailored suits in neutral tones, meticulously fitted to his slender frame, reflecting his professional status. He pairs these suits with crisp dress shirts and tasteful accessories like pocket squares and luxury timepieces.

During leisure time and art collecting ventures, Jonathan embraces a more relaxed yet still polished style. He might be spotted in well-fitted blazers with designer jeans or chinos, striking a balance between trendy and elegant. Whether at work or in his downtime, he takes great care in grooming, ensuring his salt-and-pepper hair is neatly coifed and his overall appearance is impeccable.

As we continue developing these characters, we'll soon delve into Matthew's perspective through his own monologue and work on the scene where their paths will intersect. But for now, let's focus on portraying Jonathan's appearance, personality, and mannerisms to bring depth and authenticity to his character on screen.

Styling and propping characters can be quite challenging, especially when we don't fully "know" the character. The more detail and backstory we have, the easier it becomes to make choices, like selecting the right sunglasses, for instance. It reminds me of my approach to lighting design for tableau images or any other visuals. When I'm figuring out how to light a scene or a person, I ponder who they are and where they fit into the story. Once I have a clear understanding of their identity and place in the narrative, the lighting decisions flow effortlessly. I draw on my past observations of light and everything falls into place, creating a cohesive and meaningful visual representation. I'll be sharing more about this in an upcoming blog post. Styling and propping the character follow a similar path, and it's especially helpful when collaborating with stylists, bringing the character's essence to life through their appearance and props.

Working with a skilled stylist can be incredibly beneficial in bringing the characters to life. They can use their expertise to translate the character's essence into their wardrobe and props, enhancing the visual storytelling and adding depth to the character's portrayal.

But for you as the photographer, who’ll be putting together the mood boards and wanting to ‘direct’ the look of your character, having a clear picture of the character's motivations, preferences, and experiences will make researching ‘the look’ much easier.

Once armed with knowledge about my character, Jonathan, and the era we are working with, researching the basics of his attire became a breeze. Here's a rundown of his stylish ensemble:

- Footwear: Allen Edmonds loafers in a deep walnut colour.

- Trousers: Impeccably tailored Hugo Boss trousers with fabric imported from Italy.

- Shirt: A custom-made Italian silk shirt in a rich emerald-green hue.

- Belt: A vintage Hermès belt featuring the iconic H1 buckle in polished gold.

- Sunglasses: Cartier aviator-style sunglasses with lightweight titanium frames.

Allen Edmonds Shoe Corp. Vintage 1985 Print Ad

With these elements in place, Jonathan's appearance exudes the refined taste and sophistication befitting a successful executive in 1980s Los Angeles. Now I have a very clear idea of his appearance, and so would a stylist. The next part I found rather fascinating I took my list of props, clothes, a description of Jonathan’s career and life and snippets of the monologue and loaded this into ChatGPT. This was the result:

Jonathan strides through the bustling hallway of the ad agency, his attire meticulously curated to reflect the status and style of a successful executive in 1980s Los Angeles. Every detail of his ensemble oozes with a carefully cultivated sense of opulence and brand obsession.

His feet are adorned with a pair of sleek, polished Allen Edmonds loafers, the deep walnut colour complementing the tailored lines of his appearance. The soft leather moulds to his feet, exuding an air of refined elegance with every step.

His legs are encased in a pair of impeccably tailored Hugo Boss trousers, expertly hugging his form while maintaining a sense of sophistication. The fine fabric, imported from Italy, drapes just right, accentuating his lean physique.

Above, he wears a custom-made Italian silk shirt, the rich emerald-green hue drawing attention to his impeccable taste. The fabric, smooth to the touch, whispers against his skin as he moves, the meticulously sewn seams a testament to the craftsmanship that defines his world.

A vintage Hermès belt, with its iconic H buckle gleaming in polished gold, cinches his waist, adding a touch of luxurious extravagance to his ensemble.

Jonathan’s gaze is framed by a pair of aviator-style Cartier sunglasses, the lenses reflecting the vibrant energy of the office around him. The frames, crafted from lightweight titanium, sit comfortably on the bridge of his nose, effortlessly accentuating his chiselled features.

His coifed hair, styled with precision, showcases the expertise of his trusted hairstylist at the famed Beverly Hills salon, Cristophe. Every strand is in place, a testament to his unwavering attention to detail.

Jonathan completes his ensemble with a subtle hint of fragrance—Creed Aventus cologne. Its intoxicating blend of citrus and woody notes envelops him in an aura of power and confidence, leaving a trail of sophistication in his wake.

As he walks, the fabrics caress his skin, the designer labels and meticulously chosen accessories marking him as a man of status and excess. His appearance is flawless, a calculated facade of success in a world that thrives on surface allure.

The description of Jonathan provided a solid foundation, and the added embellishments of the props were spot-on. The AI response not only captured his appearance but also offered ideas for hairstyling and cologne, providing deeper insights into the character. While I might not use all the suggestions, they certainly give more depth to Jonathan's persona. I needed to research each suggestion, but I must admit they were quite accurate and on the money!

As we continue to refine the characters and finalize all the elements, we're getting closer to the casting stage. It's remarkable how far we've come, from a mere idea to a faint outline, and now to a fully developed character like Jonathan. I can almost visualize him in front of me, so vivid and real that I can almost smell his cologne!

In the next blog post I’ll get back to Finding Their Voice Part 2.

Always check your research (and others)

Creed Aventus cologne did not exist in the 1980s; it was launched in 2010. Instead, we could consider Calvin Klein's Obsession for Men or Giorgio Beverly Hills for Men. After examining the advertisements for both fragrances, Calvin Klein's Obsession for Men stood out as the more appealing choice for Jonathan. The adverts exuded a strong homo-erotic quality that resonated with him, featuring images by Bruce Weber that captured near physical perfection. Additionally, openly gay photographer Herb Ritts, who was HIV positive, also worked for Calvin Klein and sadly passed away from pneumonia in 2002. This information opens up possibilities for your story, as Jonathan and Matthew could have been involved in these shoots or had connections to the Calvin Klein account at their advertising agency.

Intriguing possibilities start to unfold as we consider Jonathan and Matthew's potential involvement in the Calvin Klein shoots featuring prominent photographers like Bruce Weber and Herb Ritts. Perhaps they were both present at these shoots. The allure of the fashion world, with its intimate connections to beauty and desire, may have drawn them in deeper.

As they navigate the opulent realm of advertising in 1980s Los Angeles, the names of legends like Bruce Weber, Herb Ritts, and even supermodel Kate Moss add an air of excitement to their world. Connections to the Calvin Klein account could have shaped their journeys, unveiling secrets and desire. The fragrance of Calvin Klein's Obsession for Men could become more than just a scent; it might symbolize the allure, the passion, and the complexity of their entwined destinies.

Finding Their Voice (PART1)

Welcome to "Finding Their Voice," in this instalment we delve further into the world of Jonathan. We will explore his monologue, delve into research about his appearance, and experiment with AI to develop mood board images.

We'll begin by uncovering the essence of Jonathan's thoughts and emotions through his monologue, gaining valuable insights into his motivations, desires, and dreams. Following that, we'll take a closer look at his appearance, fashion choices, and overall demeanour, painting a vivid picture.

Finally, we'll embark on an AI experiment to curate a collection of visuals that reflect Jonathan's personality, aspirations, and the essence of his monologue. This was a hit and miss exercise, some work is definitely needed to develop my AI skills. You’ll be familiar with the emerald-green shirt image…that was the highwater mark.

Based on the questions that established Jonathan’s character in the last blog post here is a brief outline that summarises the character, this is useful when starting to develop the monologue.

Full Name: Jonathan Parker

Jonathan Parker is a 54-year-old high-ranking executive at a prestigious advertising agency in Los Angeles. Born and raised in the affluent neighborhood of Bel Air, he exudes refined charm and possesses a discerning eye for aesthetics. Outside of work, Jonathan indulges in art collecting, fine dining, and has a passion for jazz and 80's pop music. He navigates social circles with ease but struggles with internal turmoil and decision-making. While he maintains a cordial relationship with his prominent family, emotional detachment lingers beneath the surface. His most treasured possession is a vintage Rolex watch passed down from his father. Jonathan dreams of personal liberation and contemplates the impact of suppressed desires on his life choices, cherishing the idea of becoming a partner in the future.

Drawing on the monologues I've experienced and shared in my last blog post, I began crafting Jonathan's monologue. Being a visual person, I had to start by imagining him at work, maybe just after leaving a meeting, and walking through the office. This internal monologue captures Jonathan's thoughts and emotions, addressing us with sincere honesty before shifting into his work-mode to interact with his colleagues.

An internal monologue is a literary device used to convey a character's inner thoughts, feelings, and reflections. It is a narrative technique that allows readers to access a character's mind, providing insights into their motivations, conflicts, and emotions. In a normal text or blog post, an internal monologue can be presented through the character's first-person perspective or in a more indirect manner, revealing their thoughts as they navigate situations, make decisions, or analyse events happening around them. This technique adds depth to the character and enhances the reader's understanding of their psyche and actions, for us, it used to further understand our character and how best to portray them and direct them.

Here we delve into Jonathan's inner world, giving us a glimpse of the complexities that lie beneath the surface as he navigates through his daily interactions. The monologue will enable readers to better understand Jonathan's character and the intricacies of his personal and professional life.

Jonathan, weary and contemplative, mused on the nature of their line of work. In this cutthroat industry, they were relentless peddlers of dreams, architects of beguiling facades that masked the truths they dared not confront. The allure of these fantasies proved seductive, and at times, they found themselves ensnared in their own intricate webs of make-believe, cowering from the harsh glare of their own raw realities.

JONATHAN

(haggard, introspective)

You know, in this business, we're always selling dreams. We create illusions, paint pictures of lives we wish we had. And sometimes, we get lost in those illusions, too afraid to face our own reality.

AI generated drawing

He nods and smiles at a passing co-worker.

JONATHAN

(cheerful)

Hey, great job on the Grimes campaign. You knocked it out of the park!

The co-worker thanks him, and Jonathan continues down the hallway, his demeanour shifting as he resumes his monologue.

I like the jump from (haggard, introspective) to (cheerful). While I know we are not filming this I cant help thing how good it would be, maybe even with a split screen (see above)  both sides talking to the camera, then when we break to talk to the co-worker one side stays in internal monologue mode, staring directly to the camera, uneasy. The other chats cheerful to the co-worker, then re-joins…back to the internal monologue.

JONATHAN

(heavy-hearted)

But what about the dreams we can't sell? The ones that consume us, tearing at the seams of our carefully constructed lives? What happens when those dreams collide with the harsh light of day?

He stops briefly to congratulate another co-worker.

JONATHAN

(earnestly)

Congratulations on closing that deal, Sarah. You're a force to be reckoned with.

Sarah beams with pride, and Jonathan's expression darkens as he resumes his monologue.

JONATHAN

(resolute, yet melancholic)

We pretend it's all about success, about climbing the ladder, but sometimes the rungs start to crumble beneath our feet. We chase after something we can't name, something that feels like truth, even if it leads us down a treacherous path.

He passes by his office, glancing at the closed door.

JONATHAN

(whispered)

Home away from home.

Taking a deep breath, he continues down the hallway, his voice filled with despair.

JONATHAN

(whispered)

We make choices, each one carrying its own weight. Sacrifices made in the name of duty, loyalty, and love. But what happens when those choices eat away at our souls, leaving us hollow and broken?

A brief pause as he acknowledges another co-worker.

JONATHAN

(sincerely)

Hey, congrats on the promotion, Dave. Well-deserved.

Dave expresses gratitude, and Jonathan's eyes reflect a profound sadness.

JONATHAN

(resigned)

We wear masks, disguising our true selves, afraid of being seen, afraid of being known. And in those moments, we lose sight of who we really are. We become strangers in our own lives.

He continues walking, the weight of his words evident in his every step.

JONATHAN

(bitterly)

We tell ourselves it's temporary, that someday it'll all make sense. But deep down, we know the truth.

(Jonathan's voice cracks with emotion, his eyes welling up with unshed tears).

We're lost, adrift in a sea of missed opportunities and broken dreams.

Being overly specific about how Jonathan delivers these lines might seem excessive, but delving deeply into his character will help us understand him better. By providing more details about Jonathan, we will empower the actor chosen to portray him, enabling them to fully embody the role.

AI generated image

The monologue above was generated using Murf AI, this is the first time I have done this, part of the journey and part of the experiment I want to share. I experimented with several “voices” , I was able to add pauses, adjust the timing and the pitch. While its interesting, it breathes life into these characters, I’m not sure how I feel about it yet. I’m keen to have an actor try the lines…and maybe they are just meant to be read as a way of understanding who Jonathan is.

When delivering lines as Jonathan, it is crucial to set a very clear tone for the character. His emotions and demeanour are multifaceted, and these directives will help convey that complexity:

1. Heavy-hearted:  Jonathan carries a profound sadness within him, which should be evident in his voice and body language. There's a weight on his shoulders that he can't shake off.

2. Bitterly: At times, Jonathan's bitterness might surface, revealing a sense of resentment or disillusionment. His words may carry a sharp edge, reflecting his inner turmoil.

3. Resolute, yet melancholic: Despite facing hardships, Jonathan has an unwavering determination, but it's tinged with a touch of melancholy. This adds depth to his character as he navigates difficult situations.

4. Haggard, introspective: His weariness is visible, both physically and emotionally. When deep in thought, his introspection becomes apparent, and his voice may take on a contemplative quality.

Contrast these attributes with the lighter, more cheerful exchanges he has with his co-workers. This contrast will emphasise the duality of his character, showcasing the internal struggles he grapples with while putting on a facade of normalcy in front of others.

PART 2 - coming soon

Rekindling the Tableau: Embracing Personal Stories and Sharing the Creative Path

A Broken Bust of Chopin - by DALL·E (bronek kozka)

As those familiar with my work will recognise, it has predominantly been rooted in the tableau style, often underscored by a cinematic aesthetic. This approach has allowed me to depict narratives drawn from personal histories and life in suburban settings. On occasion, I've also dabbled in crafting imagined narratives, creating a unique blend of the real and the fantastical.

In recent(ish) years, my creative practice has begun to diverge slightly from the tableau format, venturing into new territories while still maintaining a fond connection with my original style.

Barry - Bronek Kozka

In my series, "Mediated by the Digital Lens", I explore the intricate relationship between humans and their ubiquitous handheld devices in the digital era. This body of work dissects our impulse to instantaneously capture and share our experiences, and how such constant interaction with technology moulds our perception of reality. Through a unique layering technique, I infuse still images with a sense of depth and movement, highlighting the transient and boundless conditions of the digitally tethered subject. This series is an invitation for viewers to ponder on the profound influence of technology on our lives and to balance the act of being fully present in a moment versus the relentless urge to document and share our experiences digitally.

Another recent venture, "The Sublime Beauty of the Imperfect", stands as a testament to my exploration of the sublime within the natural world. Here, my work draws inspiration from traditional landscape photography and painting, capturing scenes that evoke a sense of awe and reverence. Through meticulous attention to detail and careful composition, I strive to uncover the imperfect beauty hidden within natural landscapes. This series is a reminder of the fragility and ever-changing nature of our environment and urges viewers to immerse themselves in these mesmerizing landscapes, fostering a personal connection with the sublime and underscoring the importance of preserving our natural world.

Wilson No.16 , Mediated by the Digital Lens , ‘Understanding Wilson’ - Bronek Kozka

While my recent works might suggest a departure from the tableau style, it's important to note that it remains an integral part of my artistic journey. I see it as an evolving path, a continuum where every new series I produce is a reinterpretation or evolution of my initial style, reflecting both my growth as an artist and the changing dynamics of the world around me.

Why did I shift from tableau to landscapes, you might ask? Well, in truth, it wasn't so much a shift as it was an expansion of my scope. Yes, it might seem confusing, and it was for me as well. My newer series, "Mediated by the Digital Lens," is heavily influenced by my relationship with the environment.

This connection to the environment became evident through my hiking, walking, and hunting activities. Yes, you read it right - hunting. But before you judge, let me clarify that it's a sustainable practice, and I eat what I catch. The intricacies of that could fill another essay!

I was simultaneously working on my tableau imagery and this newer series, which was still in its infancy as a concept and creative process. Tableau, though, is something I've always been involved in. It's familiar territory for me.

My inspirations for tableau come from various corners: painting, book covers (I even shot for Penguin books in my early days), cinema, TV, and more. But a significant part of my inspiration also came from my family's photographs from the '50s and '60s.

At the heart of most of my images, is a family photo, an object or story, that’s usually where it starts. It's a thread that ties my work together, a consistent theme running throughout my photographic journey.

My most recent and ambitious tableau series to date, 'Remembering What Never Happened', is a significant milestone in my artistic journey. This body of work, which forms a part of my PhD research, is more than just a collection of photographs - it is an exploration of memory, perception, and the fluid nature of truth.

In 'Remembering What Never Happened', I delve into the complex narratives of personal and collective memories. The tableaus, meticulously staged and crafted, challenge the viewer to question the reliability of their own recollections and the perceived realities they construct. They provoke a dialogue about the mutability of truth and the potential fallibility of memory.

Staring - Remembering what never happened - Bronek Kozka

The inspiration for this series draws from diverse sources, including paintings, book covers, cinema, and television. These sources have deeply informed my artistic approach, enabling me to create a series of tableaus that resonate on multiple levels. However, one of the most influential inspirations for this work has been the family photographs of my grandparents and parents from the 50s and 60s. These images, steeped in personal history and connection, form the emotional backbone of the series.

Beyond the imagery, this series embodies the philosophy that guides my work. At its heart, 'Remembering What Never Happened' is a study of connections - to our past, to each other, and to the world around us. This series stands as a testament to the power of photography as a medium to not only document reality but to question it, deconstruct it, and ultimately, to reimagine it.

The exhibition 'Remembering What Never Happened' premiered at MARS gallery on Thursday, 12th November 2015, a date that now feels like a lifetime ago. The opening was quite an event, as Andy Dinan sure knows how to hold an opening.

Installation Image - Remembering what never happened - Bronek Kozka

However, the evening took a serious turn when I received a phone call. My mother, who had been ailing, was now in the ICU. The medical team recommended that I head to the hospital immediately. So, we exited the gallery and made our way to the hospital. Against all odds, my mother pulled through that night, and for several days it seemed like she was on the mend, on the 23rd of November, 11 days later, she passed away.

Sheila Kozka’s funeral order of service

I was in the middle of casual drinks with my RMIT colleagues at Punch Lane when I got the news. The loss of my mother felt like the severing of my last tie to family history. My father had died when I was just 14, my uncle when I was 20, and my aunt had left when I was about 14 or 15. My grandparents had already passed away. While, my partner, Catherine, our two daughters Georgie and Ivy and I are creating new stories, I drew heavily on those old family stories in my inspiration and content. I don't mean to suggest that the well of stories ran dry, with my mothers passing, rather that I found myself hesitant or unwilling to tap into those memories, photos, journals etc.  after my mother's death.

Sheila Kozka dancing (with flower) , Frank Kozka , sits talking in the background

The exhibition 'Remembering What Never Happened' concluded on the 29th of November. A few days later, on the 2nd of December, we held a cheerful funeral for my mother, full of Jean Bourdy Cremant du Jura, numerous stories, and the occasional tear, especially when "I Vow to Thee My Country" or Blake's "Jerusalem" were played. Every so often, there's a sense of "they are all gone" that surfaces, even after all these years. As an only child (and I can almost hear the comments of "that explains a lot"), this feeling can be quite potent.

Peggy Stonehouse, family friend and fashion designer sitting with Jozef Kozka (holding cigarette), Dr Zygmunt Kordos and Lillian Kordos

Following this, I didn't make a conscious decision to cease creating tableau - it just unfolded that way. I had a few ideas in mind, one being "The Ghost of Chopin and Other Dead Poles", which even reached the casting and production stage. But the drive was lacking, my work inevitably stagnated, and I drifted from what had been my core practice.

This decline in activity and my apparent disengagement didn't go unnoticed, and eventually, I parted ways with the two galleries that used to represent me. It was a tough pill to swallow, but I understood their standpoint - business is business, after all.

Two men looking to their left - Remembering what never happened - Bronek Kozka

I've continued with the overarching series, 'Mediated by the Digital Lens', exhibiting at festivals in the USA, China, and Australia. I remain committed to this work and will persist with it, but... yes, there's always a 'but'... the tableau is beckoning me once more.

And so, I find myself contemplating the path back to tableau. A few years back, I taught a 12-week course: 'Telling Stories: The Tableau.' Surprisingly, I did not find it emotionally challenging, mainly because it focused on the development of characters and scenes rather than drawing from my personal narratives.

However, now, a few years later, I feel ready for the next challenge. The opportunity to teach another tableau class hasn't presented itself, so I plan to do it here online through the blog. This is a new venture for me, it will involve delivering a course, discussing how I like to develop characters for work that either doesn't directly draw from personal stories or does so in a very loose manner.

Behind the scenes for Remembering what never happened

I'll also discuss approaches to propping, casting, styling, and of course, lighting. I might even delve into construction and retouching methods. Essentially, it's going to be a journey - one I'm excited to share and embark upon.

Behind the scenes for Remembering what never happened

In undertaking this new venture, I aim to dust off an old idea that's been lying dormant in my mind for some time, "The Ghost of Chopin and other Dead Poles." I had envisioned a tableau photograph situated in a sophisticated suburban home of a Polish doctor. This image captures a poignant moment wherein the doctor's youthful wife, herself half his age and hailing from Poland, performs Chopin's nocturne in C sharp minor with an effortless elegance before a small, intimate group of friends.

Unfinished series of images called I/J/K - Bronek Kozka

This was an experimental series, each of these items is in my memory inextricably linked to my Aunt Izabela. Her PhD, naturally Chopin, the Grand Piano the graced their house, the heads from Wawel Castle & the Guillotine for rats. My Ausnts PhD, Effect of sulphydryl reagents on sugar transport by rat soleus muscle, involved her decapitating rats & removing the the soleus muscle for the experiment. She took me to Monash one to show me the procedure.

Rat’s soleus muscle

This story borrows from the real-life experiences of my uncle. He had married a youthful and talented Polish woman who initially was charmed by his worldly experiences and wisdom. However, as time passed, her affections shifted. She became enamoured with a visiting Polish concert pianist, and together they ran away to England, abandoning the life she had built. The dramatic tale of love and heartbreak would played out against the emotive backdrop of Chopin's music.

Iza’s birthday celebrations (prior to marriage)

This narrative, filled with its complex characters and their tangle of emotions, is calling out for attention. It's imbued with a weighty sense of melancholy and reflection, and it's this depth that I feel ready to explore. It's time to delve into these complicated emotions and bring the story to life.

In my upcoming post, I will delve into the art of developing characters with depth, complete with a compelling backstory. I will share the step-by-step process I follow and explain why this approach proves invaluable in various aspects, such as shaping their appearance, selecting the right actors, and effectively directing them on set. Without exaggeration, I consider this aspect of preproduction to be among the most essential and practical components.

I hope you will come along for the trip.

Bronek

Dr Jozef Kozka & his new wife Izabela Jadwiga Kozka

Joe with Iza and Sheila Kozka and an unidentified man.

Supporting Printmaking and Embracing Artistic Connections: Join me at the RMIT Print Auction

I hope this post finds you well. Today, I wanted to share my ongoing connection and fondness for the printmaking department at RMIT University. As some of you may know, I had the pleasure of working with Printmaking at RMIT through a hybrid program called Print Imaging Practice, which holds many dear memories for me. During my time there, I was introduced to the rich traditions associated with Printmaking and the vibrant Printmaking department.

One event that holds a special place in my heart is the annual print auction organized by the Open Bite Association. Every year, around this time, I receive an email announcing the auction date, accompanied by a humble request for donations. It's something I wholeheartedly support, both by donating my own work and attending the event to purchase remarkable art. In fact, as I sit here in my studio writing this post, I am surrounded by three beautiful prints that I acquired at last year's auction.

Typically, I donate a print from a past exhibition, as it always finds an appreciative new home and supports the printmaking students. However, this year is a little different for me. I will be donating a work that is yet to be exhibited, giving attendees a sneak peek into my upcoming exhibition. Speaking of which, next year I will be presenting a new body of work under the Mediated by the Digital Lens umbrella. While last year's show, "The Imperfect Beauty of the Sublime" at ACAE Gallery in Collingwood, explored similar themes, this new collection draws inspiration from my experiences in Nepal and Japan.

The Winter Sun - B.Kozka 2023 (58cm x 32cm)

During my time in Japan, I discovered the poetry of Ryōkan, and I couldn't help but see a connection between his work and my own. It's fascinating how art and inspiration can transcend time and geography. The piece I'm donating to the printmaking auction is titled "The Winter Sun" and was created in Japan in January 2023. While the final exhibition will feature larger prints, measuring 1 x 1.8m, for the auction, I've prepared a unique 58x32 (image size) print. It's an artist's proof or test print, a one-of-a-kind piece, and it's printed on Canson Platine.

I highly encourage all of you to consider attending the print auction. It's always a wonderful night filled with incredible prints, supporting a fantastic department with dedicated staff and talented students. If you're interested in the work I'm donating and are unable to attend the event, I believe they offer phone bidding or possibly online options.

Let's come together to celebrate the art of printmaking, support emerging artists, and contribute to the thriving artistic community at RMIT. I look forward to seeing you at the auction and sharing this enriching experience with all of you. Thank you for your continued support and enthusiasm.

SAVE THE DATE: Friday 25 August, in Building 49, 67 Franklin Street, Melbourne, VIC, 3000 .

"Harmonising Photography Education: Lessons from the World of Music"

Graeme Thomas Photo Bronek Kózka

As a dedicated photography teacher at a well-known school of art, I have always been passionate about nurturing the creative potential of my students. However, in recent years, I have observed a significant shift in the type of students we attract to our photography program. Unlike in the past, these students often arrive with fewer technical skills and a noticeably diminished engagement with the art of photography. This observation has led me to question whether our teaching methods have evolved sufficiently to address this skill deficit and provide them with the best possible education.

The Best Years of Our Lives : photo Bronek Kózka

In contemplating this dilemma, I was reminded of a particular tableau photograph I had planned titled "The Ghost of Chopin and other dead Poles." The tableau photograph I envisioned took place in the affluent setting of a suburban home, capturing a significant moment in a Polish doctor's residence. Here, his young wife performed Chopin's nocturne in C sharp minor with elegance and grace, surrounded by an intimate gathering of friends. The scene emanated an atmosphere of sophistication and cultural appreciation, providing a captivating backdrop for the exploration of artistic expression.

As I delved into the planning of this tableau photograph, I found myself yearning for a deeper understanding of the music that would accompany the visual narrative. Chopin's nocturne in C sharp minor carried immense emotional weight, but I desired to grasp the intricacies that underpinned its power. I sought a profound connection with the piece that transcended its subjective impact on my own emotions.

In my pursuit of this understanding, I serendipitously stumbled upon a podcast episode that offered a refreshingly technical analysis of Chopin's nocturne. The hosts of the podcast delved into the compositional choices, meticulously dissecting the notes, responses, and audience engagement with analytical precision. They explored how the opening notes set the tone, how subsequent musical progressions intertwined to create emotional arcs, and how these technical elements elicited specific reactions from listeners. Despite my lack of musical expertise, I managed to comprehend the significance of each element in evoking emotions and engaging the audience. This experience not only deepened my appreciation for the music but also sparked a realisation of the power of technical elements in conveying the intended message to the viewer. It was a profound reminder of the potential for integrating similar technical discussions into the realm of photography, allowing us to bridge the gap between technical skills and concept-driven artistic expression.

In the realm of photographic education, discussions, and critiques, the focus often remains on conceptual aspects and the necessity of reading the artist's statement. However, this approach stands in stark contrast to my experience with the podcast analysis of Chopin's music, where the technical intricacies were explored in relation to the concept and audience engagement. Despite the prevailing notion that technical aspects are secondary to deciphering abstract ideas in photography, I firmly believe that these elements are fundamentally linked to the successful delivery of the concept and intention behind a photograph. The skilful use of lighting, composition, and other technical elements can significantly enhance the impact of the photograph, shaping the viewer's understanding and eliciting an emotional response. It is through the understanding and adept application of these technical elements that a photographer can effectively convey their intended message to the viewer.

This realisation prompted me to reflect on our teaching methods, approaches, and attitudes, hoping to shed light on the matter and explore ways to improve. There often seems to be a distinction between those classes that are considered technical, or merely technical by some, focusing on camera-craft, lighting, digital technologies, and post-production, and those classes that are driven by "ideas and concepts." This division is where the problem arises, as the connection between technical skills and the essence of the artwork and the concept itself, can become tenuous. I am eager to examine how discussions on lighting, composition, and other technical elements can be harnessed to directly address the concept and elicit meaningful viewer engagement. By making technical aspects an integral part of the discussions surrounding concepts, we can achieve a comprehensive and meaningful understanding of both the creation and interpretation of artwork.

In the following thought piece, I aim to explore this divergence further and delve into how we teach photography, or how we should teach photography. By acknowledging the intrinsic link between technical aspects and the delivery of the concept, we can strike a balance that empowers students to create work that is both visually captivating and conceptually rich. Through a deeper understanding of how technical elements contribute to the overall artistic vision, we can provide our students with the best skills possible while fostering their engagement and connection with the art of photography.

 Behind the scenes, Remembering what never happened

When comparing the experience of engaging with photography at an exhibition to attending a music concert, distinct differences become evident. At photography exhibitions, viewers often rely heavily on artist statements and contextual information provided to understand the concept behind the artwork. Artist statements serve as a guide, assisting in deciphering the artist's ideas and intentions. They provide viewers with a framework through which to interpret the work, often acting as a crucial first point of reference. In contrast, music concerts offer a different dynamic. The written commentary accompanying musical performances, particularly in classical music, often delves into historical anecdotes and contextual information. This disparity in approach prompts us to question whether photography education can benefit from a more profound exploration of the technical aspects that contribute to conceptual delivery.

The Dispute from 'Remember what never happened' photo: Bronek Kózka

The reliance on artist statements in photography exhibitions highlights the need to decode the artist's ideas and intentions, particularly when the viewer's familiarity with the artist or their work is limited. Artist statements offer valuable insights into the artist's thought process and can guide viewers in interpreting the visual artwork. However, this reliance on written explanations may limit viewers' ability to engage independently with the visual components of the artwork. It raises the question of whether the work should stand on its own, with ideas and concepts conveyed directly through the artwork itself, or at least where the statement serves as a supplemental rather than primary element.

This notion became apparent to me during an assessment of student work. The students had presented a body of work that, at best, was solid. The subject matter hinted at an environmental theme, but beyond that, the work lacked depth. They had meticulously planned and staged an exhibition using a 3D modelling system, creating an impressive presentation. However, the work itself seemed unable to stand alone without the extensive artist statement, which was almost essay-like in its length.

During the critique, my fellow assessor opened with enthusiastic praise for the artist's statement. The discussion revolved around the ideas and concepts covered in the writing, rather than focusing primarily on the visual images. While my colleague's engagement with the written component was understandable, it left me perplexed on several levels. Why was the artist being praised more for their writing than for the visual image-making itself? Additionally, I couldn't help but question the purpose of creating the images if the primary message was contained within the writing. Were the images mere notes, sketches, or visual ideas in service of the written piece? If so, then why display them on gallery walls?

This experience emphasised the need for a balanced approach in photography education, where the technical and conceptual aspects are integrated harmoniously. While artist statements can provide valuable insights and context, they should not overshadow the visual impact and storytelling potential of the artwork itself. By fostering a deeper understanding of how technical elements contribute to the conceptual framework, we can encourage photographers to create work that is visually compelling and conceptually rich, allowing the audience to engage directly with the art.  Understand the artists' intentions more clearly through a reading of the work itself, rather than relying solely on the artists' statements, while still allowing the magic of individual interpretation, loaded with their personal histories and baggage to be part of the experience.

The technical classes mentioned earlier also warrant consideration in terms of how they deliver skills and information to students. Specifically, let's explore the teaching of lighting, which can be approached through two distinctive pathways: Pathway A and Pathway B.

Pathway A involves instructing students in various lighting setups such as Butterfly Lighting, Rembrandt Lighting, Loop Lighting, Darkfield, Light Field, and more. This method focuses on providing students with a repertoire of established lighting techniques that they can utilise in their work. It equips them with a comprehensive understanding of different lighting setups and their visual effects, allowing them to experiment and apply these techniques purposefully.

In contrast, Pathway B takes a more observational approach to teaching lighting. Instead of presenting predefined setups, students are encouraged to observe and analyse existing lighting scenarios in the world around them. They embark on a journey of exploration, learning to recognise and understand the qualities of light, including its direction, intensity, colour temperature, and how it interacts with the subject.

Through this observational approach, students gain a deeper appreciation for the subtleties and nuances of light. They develop a keen eye for identifying different lighting conditions and understanding the impact they have on the mood, atmosphere, and overall aesthetic of a photograph. By studying natural and artificial lighting situations, students become attuned to the dynamic interplay between light and shadow, discovering the transformative power of light in shaping their photographic compositions.

Additionally, students must become fully conversant in different light sources and their characteristics. This includes gaining proficiency in working with various lighting tools and equipment, such as flash units, continuous LED lights, natural light, and even more experimental or innovative options. By understanding how each light source functions and its specific qualities, students can make informed decisions when selecting the most suitable lighting technique for their creative vision.

The crux of Pathway B lies in developing a deep understanding of the quality of light and how it can be effectively employed to achieve creative ends. Students explore how different lighting conditions can evoke specific moods or convey a particular narrative in their photographs. They learn to manipulate and shape light to enhance textures, create dramatic effects, or highlight specific elements within the frame. This mastery of lighting techniques, combined with their observational skills, empowers students to adapt and respond to various lighting conditions spontaneously, resulting in compelling and evocative imagery.

By incorporating both observation and technical knowledge of lighting, photography educators can provide students with a comprehensive understanding of the subject. This approach allows students to integrate the observation and appreciation of natural and artificial lighting scenarios with technical proficiency in utilising different light sources. The fusion of these elements enables students to effectively communicate their creative vision, engage viewers, and elevate the impact of their photographs through a nuanced understanding of light.

Both Pathway A and Pathway B have their merits, and their respective approaches can be valuable in different contexts. Pathway A provides students with a foundation of established techniques, allowing them to create specific lighting effects intentionally. It offers a structured framework that can be particularly beneficial for beginners or those seeking to achieve predetermined outcomes. On the other hand, Pathway B nurtures observational skills and a more instinctual understanding of light, enabling students to adapt and respond to diverse lighting situations creatively.

As photography educators, it is crucial to recognize the strengths and value of each pathway and offer students the opportunity to explore and engage with the most appropriate approach for their educational level. I would argue that at a diploma level, Pathway A, which focuses on teaching various lighting setups and technical skills, is particularly suitable. By emphasising technical knowledge and providing students with a comprehensive understanding of different lighting techniques (Rembrandt butterfly etc.), in a consistent repeatable fashion. It enables them to effectively execute these techniques by applying specific lighting setups to achieve desired predictable visual outcomes. This pathway instils proficiency in lighting tools and equipment.

In contrast, Pathway B, with its observational approach to teaching lighting, is better suited for tertiary-level education. This approach allows students to explore and analyse existing lighting scenarios in the world around them, developing a deeper appreciation for the subtleties and nuances of light. By studying natural and artificial lighting situations, students gain a greater understanding of how different lighting conditions impact their photographs. Pathway B fosters adaptability and encourages students to think critically and creatively when responding to diverse lighting scenarios.

This approach ensures that students develop a well-rounded skill set that combines technical expertise with creative vision and adaptability. By striking a balance between technical knowledge and conceptual exploration, we enhance students' ability to convey their concepts and engage viewers effectively, regardless of their chosen pathway.

This approach can indeed be applied to other technical areas within photography, such as lens focal length choice. The selection of focal length plays a crucial role in defining spatial relationships between the foreground, background, and other elements within the frame. By delving deeper into the technical aspects of focal length, students can gain a better understanding of its impact on visual storytelling and composition.

Different focal lengths, such as wide-angle, standard, and telephoto lenses, have distinct characteristics that influence how the viewer perceives the spatial relationships within a photograph. Wide-angle lenses, for instance, tend to exaggerate perspectives, create a sense of depth, and provide a wider field of view. On the other hand, telephoto lenses compress the perceived distance between objects and can isolate subjects from their surroundings.

By exploring the technical considerations of focal length, students can make informed decisions about lens choice based on their conceptual intentions and develop a more nuanced understanding of how their technical choices align with their creative vision. They can intentionally select a focal length that enhances the visual narrative, effectively conveys emotions, and creates the desired spatial relationships within the frame. Understanding the relationship between focal length and spatial perception empowers students to craft compelling compositions that engage viewers and effectively communicate their artistic concepts.

Like the integration of technical and conceptual discussions in lighting, incorporating discussions about focal length choice within photography education enables students to connect technical knowledge with their creative vision. By emphasising the significance of focal length in shaping spatial relationships, educators provide students with a deeper understanding of how technical choices influence the delivery of their concepts. This comprehensive approach allows students to harness the full potential of focal length as a tool for creative expression and visual communication.

As we have discussed the integration of technical and conceptual discussions in lighting and focal length choice (or lens choice) the same approach can be applied to other technical areas, retouching, postproduction, camera format (digital, medium format, large format) and material choices, film digital.

To improve the education of photography students, it is crucial to elevate the discussion of technique and technical approaches to the same level as concept and ideas. As educators, we need to emphasise the importance of skill sets and how they enable students to communicate their vision in subtle and nuanced ways. We should not take technical abilities, skills, or knowledge for granted but instead recognise their significance in the overall creative process.

The division between so-called "technical classes" and other courses can inadvertently create a mindset where technical aspects are undervalued or seen as separate from the creative process. This mindset can lead to a lack of discussion and exploration of technical elements when critiquing or discussing student work. By prioritising the discussion of technical aspects early on, we send a strong message to students that technical proficiency is essential and integral to their development as photographers.

Drawing inspiration from another example, there is a notable YouTube video discussing the drumming style of John Bonham from Led Zeppelin. This video provides a detailed breakdown of Bonham's drumming technique, including the number of strikes, pacing, and time signatures. It then demonstrates the piece in its entirety to fully grasp its impact. The ensuing discussion delves into how listeners interpret and engage with the music.

Similarly, in photography education, we can adopt a similar approach. By thoroughly examining and understanding the technical aspects of photography, such as lighting, composition, and equipment usage, students can gain a deeper appreciation for how these elements contribute to, or if unsuccessfully used, distract from, their work. This level of technical understanding allows them to communicate their concepts effectively and engage viewers on multiple levels.

By elevating the discussion of technique and technical approaches in photography education, we empower students to embrace the technical aspects of their craft. We emphasise that technical skills are not separate from creative expression but are essential tools for bringing their conceptual ideas to life. Through this comprehensive approach, we cultivate well-rounded photographers who can communicate their concepts skilfully, fostering a deeper understanding and appreciation for their work among viewers.

In addition to elevating the discussion of technical choices to the same level as concept and ideas, we can further emphasise their importance by implementing separate rubrics alongside the main rubrics used for assessing projects. While this may initially seem contradictory to the goal of equalising the technical and conceptual aspects, I believe that incorporating separate rubrics specifically focused on technical proficiency can be beneficial across various photography courses.

By including technical rubrics that span different subjects and are consistently applied, we reinforce the value and significance of technical abilities. These rubrics can cover a range of technical aspects, such as lighting techniques, composition principles, equipment usage, post-processing skills, and more. They provide a framework for evaluating students' technical execution and mastery in addition to the conceptual aspects of their work.

Implementing separate rubrics for technical proficiency ensures that students understand the importance of developing and demonstrating strong technical skills alongside their conceptual ideas. It establishes a clear expectation that technical proficiency is an essential component of their overall photographic practice.

Moreover, these technical rubrics serve as a guide for educators, enabling them to provide constructive feedback and targeted instruction to help students improve their technical abilities. By incorporating technical assessment criteria into the evaluation process, educators can highlight areas where students excel and identify areas that require further development, fostering a comprehensive growth trajectory.

By implementing separate rubrics focused on technical proficiency alongside the main rubrics used for assessing projects can effectively emphasise the value and importance of technical abilities in photography education. By consistently evaluating and providing feedback on technical execution, we foster an environment where students recognise the significance of developing strong technical skills alongside their conceptual exploration.

By integrating technical discussions and separate rubrics into photography education, we emphasise the importance of technical skills and their direct impact on the delivery of concepts. This comprehensive approach equips students with a well-rounded skill set, enabling them to create visually captivating and conceptually rich photographs. By consistently evaluating and guiding students in their technical development, we instil in them the understanding that technical proficiency is an essential component of their artistic practice. It cultivates a deeper understanding of the interplay between technical elements and creative vision, empowering students to effectively communicate their ideas and engage viewers on multiple levels. Ultimately, this harmonization of technical and conceptual understanding fosters the development of skilled photographers who can create impactful and meaningful work in the field.

Some useful references:

1. Alec Soth: Alec Soth is a renowned American photographer who has emphasised the significance of technical skills in photography. In his book "Photography as Practice: Experiments with Materials and Processes," he explores the relationship between the materiality of photography and the conceptual aspects of the medium.

2. David Hurn: David Hurn, a Magnum photographer, has advocated for a balance between technical proficiency and conceptual understanding in photography education. He co-authored the book "On Being a Photographer: A Practical Guide," which discusses the importance of technical competence in realising a photographer's vision.

3. Charlotte Cotton: Charlotte Cotton, a curator and writer, has written extensively about contemporary photography and the relationship between technique and concept. In her book "The Photograph as Contemporary Art," she explores different conceptual approaches in photography and how technical elements contribute to the expression of ideas.

4. Michael Freeman: Michael Freeman, a photographer and author, has discussed the importance of technical mastery in photography. His book "The Photographer's Eye: Composition and Design for Better Digital Photos" explores the role of composition and design principles in creating visually engaging photographs.

5. Brooks Jensen: Brooks Jensen, the editor of LensWork magazine, has written about the integration of technical skills and concept in photography. In his articles and podcasts, he emphasizes the importance of understanding and utilizing technical aspects to effectively convey the intended message.

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