20 March – 19 April

Rhiannon Tully is an emerging photo media artist. The focus of her work is contemporary landscapes and portraiture defined by a natural aesthetic. Rhiannon is currently working on a number of new series including The Kids and Australiana Land. She is also continuing to collaborate with photographer Takashi Fukui on Photographic Exchange Project a pictorial cultural exchange between Australia and Japan. Works: The Kids 2014-2015 Australiana Land 2013-2014 All life is fleeting 2014 Street portraits Asia 2013 Echo Chambers 2012 Photographic Exchange Project 2012-Ongoing Exhibitions: 2015 Der Greif Guestroom at Galerie f5,6 Munich The Kids at Perth Centre for Photography Perth 2014 Collective Exhibition at Perth Centre for Photography Perth Iris Award 2014 at Perth Centre for Photography Perth Australiana Land as part of Head On 2014 Queen St Gallery Sydney Australiana Land at Queensland Centre for Photography Brisbane 2013 Moran Prize 2013 Juniper Hall Sydney Echo Chambers at Edmund Pearce Gallery Melbourne 2012 Empire State at PSAS Fremantle September 2012 Press: http://worldphoto.org/news-and- events/wpo-news/collection-photographer-interview-rhiannon-tully/ “Racks and ruin: framing decay” The Age, 31/07/2013 “New vision for the city” The West Australian, 14/09/2012 Prizes Finalist Moran Prize 2013 Finalist Iris Award 2014.

The Kids is a series of double portraits depicting teenagers between the ages of 12-18. I am interested in photographing this age group as there is a continual dynamic change occurring, as they experience different aspects of their growing adult identity. There is a conflict and tension between their still child-like nature and its inherent vulnerability, and the adult world which they encounter and experience. My intent is simply to present these teenagers in a way which is compelling, in order that the viewer engages with the portrait and considers the complex experience of growing up; which is a universal and enigmatic rite of passage. The style is purposefully minimalist. I have chosen to eliminate those elements such as settings and props, which are often used to create a narrative in portraiture. These portraits have a quiet nuanced poignancy because the subjects’ innocence is tangible, yet they are unaware of it, as we all were at that age. The use of diptych makes explicit the dialogue that is occurring whilst these images are being created. There is an exchange which occurs as these teenagers respond to the photographer viewing them. Because of their age they have a natural curiosity, however the exchange that is occurring is an unusual one for them, which produces powerful imagery. The act of photographing these teenagers reveals the central theme of this body of work; they are experiencing a time of key change; both their perception, and the perception of them is shifting.