Murray Fredericks est né et élevé à Sydney où il étudiera la politique et l'économie à l'Université de Sydney. Tout en poursuivant ses études, il passa cinq années à voyager au Moyen-Orient et se rendit en Himalaya. L'expérience de ces moments passés dans des zones "puissantes" lui permis d'acquérir les bases de son approche photographique.
Exposition Exhibition : « Salt : Vanity » by Murray Fredericks Exposition Murray Fredericks RECENT WORK Exposition Murray Fredericks presents « Topophilia » at ARC ONE Gallery Exposition Murray Fredericks presents « Hector » at Hamiltons Gallery Exposition Murray Fredericks - Salt II Modifier l'image
Press release :
Hamiltons presents Salt: Vanity, an exhibition of the most recent work by Australian photographer Murray Fredericks. The Vanity series is a continuation of Fredericks’ renowned Salt series, previously exhibited at Hamiltons in Salt, 2007, Salt II, 2009 and Recent Work, 2014 – 2015. In this next cycle of the project, Fredericks introduces a mirror into the previously undisturbed landscape.
Australian photographer Murray Fredericks’ long relationship with Lake Eyre, where his most recent series Vanity has been produced, commenced in 2003, and to date consists of twenty journeys to the centre of the lake where he photographs for weeks at a time in the vast and infinite landscape. Fredericks is not interested in documenting the literal forms of the landscape. He views the landscape a...
Hamiltons presents ‘Recent Work’, an exhibition by Australian photographer Murray Fredericks, showcasing a selection of large scale work from his Lake Eyre series and Topophilia: the Greenland Ice Sheets.
Lake Eyre is a continuation of Fredericks’ Salt series, as previously exhibited at Hamiltons in Salt, 2007 and Salt II, 2009. Often travelling alone with a bicycle and trailer, carrying his large format camera and supplies, Fredericks navigated this vast area in Southern Australia in extreme weather conditions, taking both a physical and mental toll, in order to capture the perfect frames.
“The project arose out of a desire to work in the most barren landscape that I could find. Lake Eyre was chosen as an appropriate location since its perfectly flat surface and razor sharp horizon provide ...
In the three years from 2010 to 2013, Australian photographer Murray Fredericks made six journeys to the center of Greenland’s Ice Sheet to create his latest project, Topophilia. In it, Fredericks explores the subjects of ‘space’ and the ‘void’. Aiming to convey ‘an emotional experience of space’, he describes an inner, rather than outer landscape.
Fredericks locates his projects in featureless, perfectly flat landscapes austerely defined by an unbroken and continuous horizon. Working in such minimal environments, temporal atmospheric phenomena and the subtleties of light become powerful elements that define the visual plane. Verging on transcendental, this view transports us beyond our culturally imbued recognitions of the geographical qualities of place.
In thes...
Australian photographer Murray Fredericks embarked on his latest body of work, Hector, in 2010. The project is on going and continues his exploration into the concept of space and isolation, last shown in the 2007 and 2009 ‘Salt’ exhibitions at Hamiltons. The exhibition comprises a selection of large format black and white pigment prints, each from an edition of seven and prices start at £9500 GBP.
Hector is the colloquial name for the convection thunderstorms ‘Hector the Convector’ that occur almost daily over the Tiwi Islands, situated in the Arafura Sea North of the Australian mainland; and it was during the build-up season prior to the monsoon in 2010 that Fredericks chose to make his first trip to the area. These storms are among the world’s largest thunderstorms and conse...
After his exhibition at Hamiltons in 2007, Australian artist Murray Fredericks has continued to make long, physically and emotionally challenging trips to Lake Eyre each year in order to capture the exquisite images seen in this ongoing series Salt II.
The exhibition comprises a selection of large format colour photographs, alongside two new grand scale, 1.2m x 4.1m, panoramic scenes; horizontal successions of ten to twenty frames assembled in one image representing the feeling of vast space and emptiness. "Regardless of their digital origins, these images are produced to have the integrity of a traditional analogue photograph. The move to digital was not to enable manipulation, rather it was to overcome the view limitation of a traditional film camera." Fredericks' documentary film, which recently won best ...