The following imagery has been produced on Boon Wurrung, Wadda Wurrung, Woi Wurrung and Latji Latji lands of the Eastern and Western Kulin nations. I acknowledge these language groups to be the traditional owners of the land and recognise their continued connection to the land and waters of the locations in which I photographed. I would like to pay my respects to elders past and present and extend that respect to all First Nations people that view this work.

This project is a personal reframing of landscape and landscape photography.

The locations include spaces where canonical landscape photography has been represented as ‘wilderness’, based on a history linked to American photography and European painting.

The commercialisation and commodification of landscape imagery have changed the way we subsequently look at landscape imagery.

The photographic techniques used offer different perspectives that play with scale and surface forcing the viewer to re-evaluate both what constitutes a landscape image and the purpose behind landscape imagery.

Pinhole photographs render the landscapes in the fashion of traditional European landscape paintings but blur the image to the extent of removing location or identity from the space, while macro photography brings attention to small details. These two techniques join in a conversation that suggests a complex and subjective layering of fragments that constitute a landscape.

Pinhole image of a landscape in Sherbrooke, Victoria.
Gabriel Orloff, Reworking Landscapes, 2022.
Pinhole image of a landscape within the forests of Dandenong.
Gabriel Orloff, Reworking Landscapes, 2022.
Macro image of a curled up fern
Gabriel Orloff, Reworking Landscapes, 2022.

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Gabriel Orloff