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People: Services

GUY LITTLE CREATIVE

Photography ~ Drawing ~ Workshops

Masters MA in Photography

In September of 2021 during COVID lockdown in Melbourne I decided to commence a Masters MA in Photography at Falmouth University in the UK. I was interested in a multidisciplinary approach looking at the intersectionality of photography and drawing.

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Artists Statement
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                                                                           Photography’s Shadow

 

 

                                                                         “The unexamined life is not worth living.” Socrates

                                                                       (Stokes :2007: 228)

 

In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.  My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes. It’s my therapy. 

In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch." This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper,by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.

My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph,my adult self) world my parents lived in. 

To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.

My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.

                                                                  “Exploring not explaining”.  Valder Bailey

 

 

                                                                "Grief needs to move."   Jessie Stephens

                                          And how you choose to move it is up to you and the key. 

The Teenager ©
Flight of the Rubric ©
The Listening Tree ©
The Crucible part 2 ©
Direction ©
Falling Leaves 1 ©
Pear ©
Capsican ©
Rock_paper_sneezes ©
Onion ©
Twist of the Mouse ©
Tomato ©
Falling Leaves 2 ©
Flight of the Onion ©
The Machine ©
Feedback

 

"Guy Little’s artwork involving the combination of drawing and photography is a method employed to reveal his current and past emotions and memories. Using pen drawing as a metaphor for past experiences and photography as contemporary emotional manifestations, his work produces a powerful but complex narrative. The result is reminiscent of Terry Gillian’s stop motion animations combining photographs and drawings within a satirical setting. Little’s work is provocative with a sense of surrealism. The images are highly personalised, and his creative practice is original."

 

Associate Professor Dr Glenn Porter

University of New England

 

 

"I have been in regular discussions with my colleague Guy Little throughout his Masters and I have also reviewed recent work and accompanying writing.

Guy is unique in that he is both a highly experienced photographer and visual artist. In his Masters work, he is exploring the intersection of these two mediums, both of which have been lifelong companions to him. 

Through this work, Guy explores his isolated childhood with the physicality of these mediums acting as a stand in for the lack of affection he received during his upbringing. Photography and drawing interconnect (or “touch”) in multiple ways, whether he combines elements of each in camera or through using Photoshop. In blurring the boundaries between the two mediums, Guy aims to reintegrate these two aspects of his identity back together and perhaps even heal his childhood trauma.

I believe his practice is quite unique and I can’t think of other Australian contemporary photographers who are currently working in a similar vein."

 

Krystal Seigerman

Photographer and photography educator

"Guy Little's work presents a captivating fusion of form, texture, and emotions within a multimedia framework. 

He skillfully employs photography and illustration as visual mediums to narrate his story, delving into some challenging memories and emotions. Guy subtly hints at the spectrum of emotions he once experienced, or possibly still does.

The photographic component of his work establishes the structural foundation, while the illustrations deconstruct these structures, revealing an intimate and vulnerable narrative. The images are both beautiful and compelling, immersing the audience into Guy's world. 


Guy's art elicits an intriguing blend of emotions, drawing viewers into an intimate understanding of his narrative. Despite any unease, there exists an inherent allure that captivates the audience, offering a glimpse into the complexities of his lived experiences."

 

Tatiana C C Scott

Photographer  

 

"Immersing oneself in the captivating domain of Guy Little's MA project, "Photography's Shadow," leads to a transcendence of traditional constraints, offering a deep dive into the sphere of conceptual photography through a complex amalgamation of photography, drawing, and paper sculpture, Little crafts multi-dimensional photographic images that invoke intense introspection.

 

In his quest to generate visually stunning conceptual imagery, Little deviates from established narrative structures, thereby encouraging audiences to interact with his works on both intellectual and emotional levels. His detailed crafting of images surrounding memories captivates the viewer's attention while simultaneously permitting the viewer to examine the image for indications of the underlying narrative.

 

Little's craft in photography is evident in his manipulation of light within his compositions. By artfully controlling light, he enlivens his images, constructing a three-dimensionality that enthrals the viewer. As viewers embark on a visual exploration, they become engrossed in all the intricate details of his meticulously crafted photographs. Each detail is purposeful, conveying a specific message while allowing the viewer to interpret and unearth the concealed meaning.

 

Notably, Little's artistic practice staunchly adheres to the principles of technical excellence, forgoing digital manipulation to showcase his technical competency. This unwavering commitment to craftsmanship infuses his work with an aura of authenticity, thereby amplifying its overall impact.

 

"Photography's Shadow" represents an innovative contribution to surrealistic conceptual photography. Through the seamless integration of diverse creative practices, Little orchestrates a visual symphony that exudes sophistication and intellectual rigour. This project challenges pre-existing paradigms, pushing the boundaries of artistic expression while establishing a unique aesthetic within the realm of photography."

 

Dani Watson 

Danielle Watson Photography

"In the unique intersection of powerful photography and illustration, Guy skilfully navigates the realm of visual storytelling, delicately unravelling the memory of his difficult childhood. Guys conceptual and creative ability, transforms moments of vulnerability into images of self-discovery while the illustrations serve as a bridge, connecting the dots of vulnerability and resilience. These powerful images encourage viewers to take a moment for reflection."

 

Tania Lee Sferopoulos

Tania Lee Photography

 

"I’m writing you this email because I wanted to tell you how amazed I am looking at your new work posted on instagram; I found it beautiful, unusual and unique.

 

The way you blend together drawing, photography and paper sculpture, allows you to create a very masterpiece art. This is the very first time I see something so different and I enjoy seeing your works every time. I’m looking forward to seeing some more works like these.

 

I hope to catch up soon one day and talk about photography and art, meanwhile I wish you a great day and good luck with this new photography/drawing project."

Gianluca Carretta

Gianluca Carretta Photography 

"Photography and drawing are art forms that have been a long-standing creative practice for Little and a way to express events or process challenging moments he has lived. Little’s Masters body of work visits drawings from his archive and combines them with photography in a manner that brings his past explorations into the present and acts as a document of reflection to explore past experiences and emotions. The combination of his work and ideas displays his technical mastery of photography, sculpting of light, use of digital technologies and create a unique moment to consider the surreal worlds that have been crafted and sculpted into a two-dimensional presentations."

 

Kerry Pryor OAM

 

Acknowledgements

Thanks to all below for their support during my Masters.

Glenn Porter for all those endless phone conversations talking through ideas

Krystal Seigerman for inspiring me to be better

Dani Watson for your fortitude

Gianluca Carretta for being as solid as a rock

Kerry Pryor for your courage

Danette O’Brien for your wisdom

Peter Leaver for your meaningful conversations

Tatiana C C Scott for understanding my work better than I do myself

Tania Sferopoulos for your perceptiveness and energy 

Nathan Larkin Print Master for helping me through 3 print runs

Alison Belcher for great research support

Suzie Blake for your great humour, respect, style and support

Ollie & Kat for saving my hard drive

Daniel Boetker-Smith for some great drawing references

Anthony Polis for pumping up anybody’s tires

Simon Whitick for your attention to detail and persistence

Kate Danford-Storey for your insightful remarks 

Marylou Verberne for your interesting observations

Jennifer Shaw for your kindness

 

Falmouth University

Wendy McMurdo

Paul Clements 

Steph Cosgrove 

Gem Toes-Crichton

Jesse Alexander

Colin Pantil

Anthony Prothero 

 

And to my brother Jonathon Little

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