Mark Kimber
This book encapsulates the photographic career to date of Mark Kimber, whose track record as an artist has its origins in the early 1980s when, only one year after graduating from art school, six of his prints were collected by the Art Gallery of South Australia. Since that time his photographs have been collected nationally and internationally and his curriculum vitae is evidence of a rich photographic legacy, spanning a fascinating time in the history of the medium.
The essay by Jim Moss that accompanies Mark Kimber's photographs relates episodes from Mark's youth and early adulthood, drawing an animated profile of a complex and motivated individual. As a photographic artist Kimber is able to reap the fields of his imagination that were sown in the western suburbs of Adelaide, demographic aspects of which he has recreated with an uncanny, crepuscular precision. Other territories and citizens come under Mark's gaze and in more recent work he displays a proclivity for the creation of fictive worlds.
Jim Moss's essay also sketches in a sense of the critical and technological evolution that has permeated photographic discourse and practice in the years since Mark Kimber first peered through a viewfinder. Throughout this period of change, a sensibility that has remained constant at the heart of Mark's repertoire is his battle of wits with what has been described as 'the uncontrollable intrusion of reality' that is intrinsic to the photograph.
The age of the photograph as a discreet object unto itself has passed, but in the world of art the photographic image persists as an intriguing and often complex document. This book bears witness to an ongoing fascination with photography as a medium of creative expression, while simultaneously it celebrates the contribution of Mark Kimber to photographic art.
The essay by Jim Moss that accompanies Mark Kimber's photographs relates episodes from Mark's youth and early adulthood, drawing an animated profile of a complex and motivated individual. As a photographic artist Kimber is able to reap the fields of his imagination that were sown in the western suburbs of Adelaide, demographic aspects of which he has recreated with an uncanny, crepuscular precision. Other territories and citizens come under Mark's gaze and in more recent work he displays a proclivity for the creation of fictive worlds.
Jim Moss's essay also sketches in a sense of the critical and technological evolution that has permeated photographic discourse and practice in the years since Mark Kimber first peered through a viewfinder. Throughout this period of change, a sensibility that has remained constant at the heart of Mark's repertoire is his battle of wits with what has been described as 'the uncontrollable intrusion of reality' that is intrinsic to the photograph.
The age of the photograph as a discreet object unto itself has passed, but in the world of art the photographic image persists as an intriguing and often complex document. This book bears witness to an ongoing fascination with photography as a medium of creative expression, while simultaneously it celebrates the contribution of Mark Kimber to photographic art.