Photography Awards
Awards
1993 Best sports photograph of the year in the Country Press Awards.
Numerous prizes and awards for and Internationa National Exhibitions.
Accpetances in many Nationals and International Exhibitions ongoing.
2001 Awarded SSVAPS with the Victorian Photographic Society
2004 Attained my LAPS Honours with the Australian Photographic Society.
2011 Attained my AAPS Honours with the Australian Photographic Society.
Memberships
Member of Australian Institute of Professional Photographers for 10 years up until I retired.
Member of Warragul Camera Club since 1991, held positions on committee most of this time, serving as President, Editor, Social Secretary,National Print Steward
Member of Pakenham Camera Club for 2 years.
Member of Victorian Association of Photography since 1991
Member of Australian Photographic Society 2000
Living History Profile
This written profile was presented in the Gallery Handout documents during the exhibition of my Living History Images at Tacit Gallery..
Melbourne School of Art
Kerrilee Ninnis-Bateson. Head of Photography.
"Living History is a moving tribute to the volunteers of Neerim South, a country district in Gippsland. These individuals provide essential services to the community and respresent the nature of goodwill displayed in any society. In this way the photographic images are a universal portrayal of helpful gestures, the kind that would seem familiar to a viewer in Melbourne, country Australia, and a myriad of localities around the globe. But this vision is in danger of fading, for these volunteers are from a predominantly older generation that will age and need increasing help in return. Country twons suffer an increasing imbalance as the younger inhabitants exodus for the cities, so this documentary body of work represents a catalogue of something precious that needs replenishing. Can we envision ourselves amongst the faces on these walls?
The images pseak of openness, of relationships and of the unquestioned knowledge that the individuals fit within a community of those who care and care for. They either face us directly, inviting the viewer into a visual relationship of gazing in the formal tradition of portraiture respectful to this generation. Or else they are captured whilst absorbed in their own work. Here we see them performing the routine tasks of their personal lives or their voluntary duties. It is as if we have passed them in the street as we walk about 'the town', encountering the friendly provincial hospitality. Growing up in a small town myself, I remember the feeling of everybody being interested in each others lives and business, a curious mixture of a little bit of nosiness and a lot of belonging together. As a viewer and now city dweller, I am reminded that newcomers also felt welcomed, yet with a tinge of being perpetually new, maybe not quite local yet – to be local often involves a long pedigree. My own response to these images now is one of recognition of the small countyry town spirit, the genuine extension of self into the lives of those arouond the area, and also the awareness that for myself this 'belongingness' was sacrificed for anonymity in the big city.
The faces on the wall imbue a deserved pride and desire to show; 'See here, this is what I do….this is where I fit….this cause is important….somebody needs to do this….I'm glad to be of service.' The complete body of images displays a staggering variety of viewpoints and placement, as diverse as the facets of living. The entire Neerim South Country Fire Authority have been crammed in and on top of their life saving vehicle, a perspective which involved Burleigh being hoisted aloft. In another we are greeted as if over the fence, by a volunteer pruning fruit trees within the branches above. Our gaze is led straight up a ladder to a man high above, hanging lights on the ceiling of a hall. And the slow exposure needed to capture the ladies of the Co-operating Church preparing sandwiches, aptly conveys the blurring flurry of luncheions, the production line of fillings and condiments. Some visions are vo;yeuristic, peering through gardens, across a sea of jostling stock chasing a shower of feed, regarding a quiet pause to read. This 'unaware' viewpoint, like a glance, is fitting as some of these souls are seen daily around the locality without others being aware of all that they do. These sights are of those with whom Burleigh is familiar and involved with.
Ruth's volunteering to make this tribute of those who volunteer, and who then volunteered to be photographed in this project to heighten awareeness, creates a cycle of involvement. The word 'involvement' is the pivotal concept.
How involved will you be?"