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Firstly, can you tell us a little bit about yourself and your photography,
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Claire?
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Yeah, so, um, my name is Claire Martin Lapworth, and I'm a,
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uh, working photographer, mostly in the commercial space,
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but I also do a little bit of visual artists work. Um,
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I've been working in the space on and off for 20 years,
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but really for the past 10 years being fully immersed in working with visual
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mediums and working with, uh, creating, uh,
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visual assets for various reasons. Um, yeah,
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and I have used a lot of, um,
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various aspects of my life to feel inspired by what I create.
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Some of it has been using portraits of, um,
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local people to my area here in Melbourne,
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or sometimes it's maybe something like depen DEMEC, um,
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that really inspires me to feel like I need to be able to represent that.
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So what about, uh,
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could you tell us a little bit about your finalist work masks on the inside?
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Yeah. Yep. Yeah,
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so I created that, uh, last year, um,
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we had been under locked down for over a hundred days, which was quite,
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um, it was quite intense. The children were at home.
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We all felt really unsure about what was going to happen. Uh,
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all of us were in the house and in Melbourne we had curfews and restrictions and
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it just felt like there was no end in sight. And it,
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it did sort of inspire me to start documenting it in the sense
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of maybe how we were all feeling and using, um, what I could,
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we weren't allowed to go outside and photograph,
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but I could photograph within my, the bounds of my property.
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Um, and, uh, when, when it came to about this time.
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So October last year restrictions were eventually lifted and we were allowed
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to, we had a big ring of steel around Melbourne.
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We weren't allowed to even leave out suburb, but, uh,
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eventually we're allowed to leave Melbourne and go into the country. And I,
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the whole time we were locked down, I felt this really sense,
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deep sense of feeling, uh,
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trapped in the city because I live in the inner city and you know,
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all you look around at is other buildings, and I wanted to see nature.
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So as soon as we could,
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we headed straight out to the countryside and we felt this great sense of relief
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and freedom, and you could see the horizon and you could see trees and animals,
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and it was pretty amazing for a soul. And we went swimming in the lake, uh,
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out in Dallas food. And, uh,
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it just felt like this wonderful euphoric moment
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of, oh my God, I can't believe that's over little did we know? But, um,
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and then, um, we headed upstairs, uh, in the lake.
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There's an old change room and my youngest headed upstairs. And, um,
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she became really fearful of not having a mask on.
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And it really said to me representing, um,
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how that sentiment of the virus being very present in our lives.
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And she was only five. And, uh, she put the,
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it says we need to wear a mask inside. And she didn't, you know,
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with the children too, but she felt the sense to do it.
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And she stood in the doorway and I just happen to have my camera with me and she
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stood in the doorway and just waited and the moment just presented itself.
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So, um, I snapped it.
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Yeah. Such a quiet, personal little moment as well.
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Yeah. And I think she, um, she, I didn't pose it.
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She just stood there like that. And I just took it and she, um,
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looked back out over the lake and was facing inside. And for me,
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that really sort of represented how it really felt during lockdown was you're
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captured you're in a confines or something.
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And then you can look out and you do look towards the future and you look
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out of the confounds of where you are, but yet you still brought in.
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Yeah. And even the scale of it, to me,
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like she's such a small little figure with a lot of looming, you know,
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architecture and walls and solid structures around her as well.
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So that scale of being so small in the photo, it's always really,
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really vulnerable as well.
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Yeah. And I think now we're come to the pointy end of it.
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All the children are the ones that have been left vulnerable to the virus.
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And now we're at, uh, in Melbourne hitting out of that long lockdown again,
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and the kids are heading back to school and there is a general sentiment in the
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community of, well,
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my child's not protected and they're going back to a school with a thousand kids
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in it, you know, I guess just hoping for the best.
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And yeah, I think that, uh, incidentally,
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that vulnerability of the children does sort of come through.
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And it's, uh, it's really hard,
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no matter how careful you are to filter what kids say in here,
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because it's absolutely everywhere.
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So even if you own home at someone else saying to them,
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you know, to be scared or to be frightened or, you know, it's overwhelming.
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Yeah.
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Yeah. I think, you know, it's very official, isn't it?
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And that's what the image was so represents. It's that here,
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here are the walls that we must exist within.
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And some of us have done that alone as well. Like, you know,
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I've gone insane because I haven't been alone,
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but some people have done that all by themselves.
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And some friends of mine have been alone, uh,
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for on and off for two years and in a really difficult place.
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And I felt when I saw the image, well, you know,
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when I was looking at the image later on and reflecting on it,
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I really felt that that represented the isolation of it as well.
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And her pop of colour against them or neutral tones.
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Yeah. She's a little flame in there in a red dress.
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What do you think, what, uh, what did, uh,
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being selected for the prize for living memory? What does that mean to you?
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I guess personally and professionally.
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It was a pretty big honour. I grew up in Canberra, so I know about it
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and I have been watching it since it started and, you know,
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coming to the exhibition. And, um, yeah, so I feel like for me,
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it's quite a long personal journey and I've been, as I said,
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in and out of photography mostly for 20 years, but for the past 10 years,
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really looking to, um, where, you know, be represented in this space.
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So for me, it was a pretty big, um, big deal.
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And I felt really honoured to be a part of other people who are known,
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who have been in it and also, you know,
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some of their really amazing artists who are featured in it and, um,
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to have my name against that felt pretty amazing.
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Yeah. And so you're developing your artistic sort of side of your practise.
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I think you were saying now. Um, so going into more shooting, what,
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what, um,
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you're really passionate about and you're studying counselling as well as that.
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Right. So looking at melding those two paths, you know,
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like that cathartic nature of photography and.
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Yeah, absolutely.
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So I've got a mask I'm doing almost finished a master's in counselling. Um,
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and definitely looking at, um,
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representing and looking at youth and children is something that I,
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and motherhood as well is something that, um,
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resonates strongly with me and always has, um,
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representing a journey of maybe how world's perceived or how,
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uh, maybe the, the others look out. Um,
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it's something that I've been looking at. I recently just did a pusher study,
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uh, with my, um, because of restrictions, my oldest child, um,
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and she's on the autistic spectrum.
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And so looking at how maybe she views the world out and,
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uh, looking at, um, how maybe, you know,
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it's not always us looking in, how is the wellbeing projected out to others?
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So that's been, um,
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a really great project that she's very willingly participated in
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and having the background of being a parent of a child on the spectrum and going
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on that journey along with understanding the years and years of intense therapy
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involved, you know, a lot of the parents,
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I talk to don't feel like they've been represented or accounted for.
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And I think that's something I would like to further develop in my practise.
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Yeah, that sounds amazing.
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And I guess it does lead into my next question really quite naturally was
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how have locked downs and all the changes in the world affected your,
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your practise, your photography progress,
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obviously professionally it's had a big effect,
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but personally and professionally.
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Yeah.
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It's a great question because I think initially I very creatively deflated
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and I felt maybe completely overwhelmed and not maybe completely overwhelmed by
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everything that was going on. However, um,
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strangely enough as pull back of life and
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having to be centred at home,
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I actually found the time to reflect more on what I thought creatively
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and be able to develop that sense of where I want to take my pro my own personal
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practise.
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And whereas when I was running my studio and I'm working in a commercial
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sense,
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you're flat out and you're too busy and you go on to develop this more later,
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and then, then later it gets pushed out. Whereas, uh, strangely enough,
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in the pandemic, I really found, I had a lot of time to sit in and I wanted to,
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and I felt like I needed to represent this time in my life.
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Awesome.
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A lot of self-reflection we thought the shutdown for artists that are
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reshaping the way a lot of artists operate.
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Yeah.
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And I think it invoked feelings and emotions that maybe you have really strong
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feelings and emotions of out of control,
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lack of like lack of sense of what's going on. Loneliness,
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frustration, overwhelmed with people, overwhelmed, lack of people, um,
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and using all those, um, feelings.
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And also particularly here in Melbourne, you know,
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everything was literally shocked. I live in a busy street and it was empty,
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vibrant urban centre. And there's, you know,
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people were weeping on the streets at some stage if you'd like,
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just walk down the street and see people crying. You know,
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you really were visually surrounded by the feeling was very much there to.
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So one thing we get asked a lot, um, you know,
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and it's usually sort of aspiring or people that are entering the prize,
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asking on social media and stuff is what,
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what sort of technical equipment do you use? Like,
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what's your selected equipment that you like?
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So I use, um, a cannon, um,
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mark for a,
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and my favourite lens is a 50 millimetre Sigma art lens. Um,
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that's my lens of choice. Uh, however,
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I will say you're not always bound by your equipment,
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cause sometimes some things just present themselves and you might only have a
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small camera or your iPhone on you. You know, I think I,
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I teach often, uh, uh, photography and I'll say to the students,
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sometimes you don't limit yourself to your equipment,
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limit yourself by what's around you. So, but yes, my equipment of choice,
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I have Bronco hella lights in much studio and I have a Canon series of Canon
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cameras. And I also love, uh, I have a muralist I could go on all day,
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but when the money runs out, um,
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yeah, I, you like to be honest,
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I feel like you can't be limited by your equipment. Don't stop and say, well,
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I won't it because I don't have a fancy camera. It's not the fancy camera.
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It's your own ability to see light shape foreman and capture
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a moment.
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So you're a photography teacher as well.
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Yeah. I just guess lecture, you know, when it crops up, um,
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for students and, and I teach workshops and, um,
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yeah. And mentor other photographers particularly.
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Well, that leads into the second part is,
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do you have any advice for aspiring photographers? It's like,
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we've segwayed this it's amazing.
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Um, yeah, don't, don't, you know, it's a rollercoaster,
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you know it, and if you, you have to take the heat in the kitchen,
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keep trying, there will be more rejection than there will not,
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and it takes time. And I think when you start out,
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the students see the success of others and they wonder how they'll
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ever get there. And I think when someone is successful,
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that rollercoaster of self-doubt still exists.
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So I'm pretty sure even if you ask the most successful artists or, you know,
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in whatever you want to succeed in,
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they'll probably still have that enemy of, um, the, uh,
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the person who's all in me. No, not me.
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So I think it's just keep going. It's a rollercoaster and you got to ride it.
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Be good foot. Don't cry too much when it's bad.
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Awesome. So what about, um,
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photographers or artists that you look up to or that inspire you?
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Yeah. Um, I mean, I remember, uh,
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I was really loved for training hits this work.
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I'd love the stillness and the quiet, and she works with children a lot too.
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And, um, I was really loved her work, uh,
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right from a technical point of view through to what it represented. Um, and,
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and that stillness of the porches, particularly the bird series. Um,
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and for me also,
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there's a lot of really great photographers who are not well-known,
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there's just people who have this passion and drive,
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and there are people that exist in my community.
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And I look at the work they produce and I think you're amazing and you're
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getting out there and maybe they don't because they're not trying to do it for a
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reason. They don't have this hindrance of self-doubt.
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They're just getting out there and making work. And, yeah, I'm a loner Nelson,
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who's a local artist in my area.
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She produces really wonderful series representing motherhood and has been a
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wonderful mentor to me over the years to, um, show me, um,
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how to go about creating bodies of work in the journey that is the creation of a
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body of work. Um, then I've had wonderful teachers and mentors over the years.
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So I've been very fortunate.
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What about, can you remember the first photograph you ever took? Like,
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do you have a conscious memory of taking a photograph when you're.
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Well, maybe not the first one I ever took my mother,
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there's no photos of me as a child.
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It's not like I come from this long line of wonderful.
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It's not like focus in focus, but as a me, however,
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when I hit high school, I became interested in, it was still film.
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Obviously back then, um, I was really interested in, I,
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I decided in my art class that I.
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Was going to use cameras to make my final project for the year. And I, um,
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would have been, I guess, 13 or 14,
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and I dressed my little cousin up and created a whole scene in the kitchen and,
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and took this photo and entered it in the word and Plaza,
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photography competitions, and had this great sense of wow.
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I mean, you know, we had the living memory Porter prize, and then we have the,
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and yeah, I mean, it's secondary. I need to have a hyper day. Right.
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So maybe it's something I knew I loved when I was a
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teenager and thought it was, um, really great. But like, as I said,
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for 10 years, uh,
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school post studying that I kind of came in and out of it because I guess I
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wasn't really sure. And now, yeah, 10 years I've been slugging away.
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And is your family still here?
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No, they're moved away. A lot of my friends still live there. No,
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they moved up to Sydney.
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We were originally from Sydney then moved back to Sydney,
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but we come back all the time, my best friend calorie at the.
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Oh, cool. Yeah. Awesome. So be good.
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If you can come and see the exhibition.
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I am planning on it when they let us out. Yeah.
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So I'm planning to come in January.
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Let us know when you're coming.
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Yeah.
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And I'm bringing Saskia she's cause she thinks it's a solo exhibition of
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her.
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But it totally is.
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Why don't we go into the gallery to see the famous picture of me? And I'm like.
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No, I have to run her red dress. If it still fits.
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He's planning. It don't worry. There's nothing else to talk about.
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She's cured. What about a drain subject,
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if you could have anyone in front of your camera in the world?
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Um, really isn't it.
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I think I have a particular dream subject to be honest. Um,
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I love the everyday person and for me it's not about models and
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beauty because in commercial world,
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that is really what you're aspiring to work with. Perfect object, perfect shape.
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I actually really love the imperfection of life.
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And having now been in the neuro diverse community for 10 years, you know,
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these quirks and these aspects of people are actually what makes things much
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more interesting than, um,
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perfection and having something in front of you. So for me,
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it would be having unvetted access to representing people who they are.
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That's awesome. What about any shout outs and thank you's.
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Well, shout out to Alaina Nelson and Ricky Bondar who from the
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beginning always told me to keep going.
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Don't stop and have been wonderful living,
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working artists and cells for many years. Um,
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and also of course my husband who has put up with, um,
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the many, many hours of, you know,
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writing submissions and putting work in and listening to me,
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go on about things and being one of my,
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one of the supporters along with my children who are the willing and unwilling
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subjects many times over. And if they had,
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um, been willing subjects to sit for my ideas,
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then maybe my ideas sort of gotten nowhere.
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So again, what about clothes? Parting words of wisdom.
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So they can be art or life or whatever you want.
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Claire has wisdom words. Um,
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not often a statement like a.
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Coffee mug now.
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By the clock. Um, my words of wisdom would be, uh,
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you know, I think within all of us,
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there is something worthwhile putting out to the universe and seeing what is
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said and whatever is said, doesn't matter because it's your thoughts anyway,