Frontier conflict on the Overland Stock Route

I am planning to go on  a photocamp at  Wentworth in NSW  next week for the Mallee Routes project. I leave after  Anzac Day, on Friday 26th of April. Whilst there  I   plan to  explore along the lower  Darling River, which is  in dire straits due to the massive  increased water use upstream,  bad water management  and corruption. The result is that the Darling is no longer a healthy river system.

During this photocamp  I  also plan to scope  and  to start to make  some photos for the Our River Our Country project.  I have yet to  make any photos for the latter project, as it is still in the  embryonic stage of designing the project, inviting other photographers to participate,  and taking advice from gallery directors and curators about how best to respond to the Godson Collection. There is still a lot of preliminary work to do before we start applying for grants for a curator and  various residencies.

Nor-West Bend, River Murray

The photo above was made near the  Nor’west Bend at Morgan   on the western  side of the River Murray. The Nor’west Bend is  where, in October 1839,  the overlanders, who were  driving their cattle and sheep on the Overland Stock Route between Sydney and Adelaide   killed 11 Aboriginal people in retaliation to the local indigenous  (the Ngayawung) people) attacking the overlander’s party and stock and  killing  the overseer (Thomas Young). This is one of the early  massacres of aboriginal people in South Australia. The overland stock  route was a site of frontier conflict and aboriginal resistance. The South Australian colony was almost bankrupt and any threat to the overland route threatened the financial viability of the Colony.  Continue reading


pre-Mabo narratives of Australia

When you   step into history of water and country in Anglo-Australian society you quickly reconnect with the colonisation of Australia,  the  pre-Mabo narratives of Australia as an empty landscape (the doctrine of terra nullius),  the colonialist discourses that we are rooted in colonialist ideologies and legacies and racist law. These justify and legitimate the nigger hunts in the colonial history of frontier conflict involving  white men riding out on hunting expeditions to hunt and exterminate aboriginal people, as an exercise in land clearing.

A core  colonial ideology is  all about progress and destiny, the planting of flags and the arrival of legitimate historical narrative. This settler narrative  is  a heroic tale of the British as the discoverers, explorers and pioneers of the country, of how these white men came to settle a strange country and transform it by their science and technology, capital and labour, thus creating a civilisation out of a wilderness. This narrative  is silent about a population that has been almost exterminated; and it  denies that the wiping of Australian Aborigines  should be considered a genocide.


This discourse  repudiates the alternative  narrative of invasion and dispossession of the original inhabitants.  Section 127 of the Australian Constitution pre-1967, was a section in which Aboriginal Australians were not classified as people but as part of the flora and fauna. This represented the extinguishment of their rights to land. Continue reading

The ‘Our Waters’ project: an update

The  Our Waters project, which is based around contemporary photographic responses to the Godson Collection held at the State Library of South Australia,  is starting to take shape.

At this stage several photographers have provisionally agreed to participate: namely,  Tony Kearny, James Tylor,  Nici Cumpston,  Stravos Pippos,  Paul Atkins, With Lars Heldmann and myself that makes 7  photographers in the project.  A few more may  come on board (possibly Mark Kimber and Andrew Dearman) whilst others may pull back from full participation.

Some background text to the project has been written,  and there are a few links to provide reference points for the project.  It is looking quite promising  at this  early stage, despite the lack of a website for the project. At the moment this blog is the only online presence  for the project.


The 1st exhibition has been planned for the SALA Festival in Adelaide  in 2019, with the gallery at Atkins Photo Lab  decided on.  The design  of the exhibition in this rectangular space has been tentatively mapped out:  there will be 6-9 photographers and 12-14 prints–maybe more– in the exhibition, with  each  responding differently to the general Godson Collection from their own perspective.

Some may just do the odd image  for the specific exhibitions  whilst others may link or connect parts of  their own projects to the general Godson Collection.   The responses will be quite diverse:  the  photographers could rephotograph,  reinterpret or critique  the Collection in general and they will be using using contemporary, classical  and alternative technologies.
Continue reading