About Roz ’Spiri’ Laurie | Photographer
Like most of us, Roz’s earliest photographic awareness came from her family – her father’s 16mm home movies with reams of brilliant colour footage from his frequent exotic trips overseas, and her Grandfather’s hand-tinted photographs of the Australian tropics. This Grandfather was W. J. B. Laurie, a well-known photographer who established a studio in Townsville, Far North Queensland, where in the first decades of last century he photographed the development of the new town, the local people, and early tourists to the Great Barrier Reef, along with scenic shots. Being photographed and taking photographs was a regular family past-time, with cine film coming later. Roz first seriously started taking photographs on her first long overland trip from Australia to Britain via South East Asia in the late seventies; obtained a B-Tech Diploma in Photography from Paddington Green College some years later; continued her broad photographic interests on numerous travels from her London base.
Jabiru Dancers was exhibited in 1991 at Queensland House, Strand, London. The exhibition was very well received, mostly by antipodeans, since few British had been to Australia or knew or cared much about our Indigenous culture.
Jabiru Dancers was her first exhibition and reflected an increasing pre-occupation with music and dance. I hoped the available light, close-up zooms and movement would convey a strong dramatic feeling of being right there and experiencing the heightened theatrical tensions. I wanted to achieve a narrative in a single image – the before, now and after – with very slow shutter speeds and very fast film. It was experiential and experimental – warts and all.
Jazz Café, Camden Town, London, UK
Group exhibition of jazz musicians with two other jazz photographers
Local London musicians
Maori Men of the Cook Islands was the inaugural exhibition of ARTHERE.
Digitalizing major projects while playing around with a Coolpix doing abstracts, colour shifts, landscapes, usually with some movement.
View more galleries below.
a Different Eye emerged from my first digital camera experience during a creative photography ‘indulgence’ workshop led by Ken Ball and Wendy Roche in March 2015. My inspiration drew on the broad sweep of historical creative photography and film, and on darkroom techniques familiar to me, such as Bas Relief, Solarization, Negative Sandwiching, Photomontage, and using Screens and Filters. No concern for ‘outcomes’, ‘stakeholders’, the ‘GDP’, or ‘towing the party line’. Only see what happens when …
Another thick cloying summer night in Cairns, December 1990, and Jabiru Dancers is performing at a small local theatre-in-the-round. The generous Dave Hodder, at the time trying to get his tourist business off the ground, knows the manager, Ray Alcott, so I get a front row seat and carte-blanche to photograph. When the house lights dim right down, a sense of movement on stage, the didgeridoo intones the welcome, through swirling smoke and fade-in stage lights, it’s not at all difficult to feel transported to a bush corroboree. But after the entire show, which features Aboriginal and Islander dance theatre, didgeridoo, song, traditional, contemporary and club dance, and comedy, not only are you aware of the wealth of Aboriginal and Islander culture but also of the grace, vitality, athleticism, skill and stamina of these dancer/musicians who perform this extraordinarily diverse repertoire
Common to the river pools and mud flats of Cairns, a Jabiru, also known as a black-necked stork, is a large bird with a thick, black straight bill and very long red legs.
This series of photographs was taken during a single performance of about 2 hours: 2 rolls of 35mm film. All images are full frame.
One set of Gelatin Silver prints available – 31 x 46cm
(individual variation pertains)
Digital Archival Print
Editions of 10 + 1AP
Kiaorana: Portraits of Maori Men of the Cook Islands
These were shot in the early 1990s some of the portraits being made available as a calendar in 2008. I lived and worked in Rarotonga for six months and completed this personal and collaborative project with Henry Taripo. The men chose their traditional costumes as well as the island landscapes they appear within. The location for the group photograph is on the front steps of the newly restored Makea’s (Queen’s) Palace.
With it’s sensitive handling of the subjects, the work can be seen as a delicate reworking of images by photographers such as Wilhelm Von Gloeden (1856-1931) or the idealized film documentary style of Flaherty and Murnau in their classic film Tabu (1931). Both films set precedents for sensual views of masculine imagery from the South Pacific.
Technically the project was challenging. Film stock available in Rarotonga was extremely limited and there was no chance of a reshoot. Days of rain delayed shooting and the cover shot almost didn’t happen. The film was processed in the Cook Islands and Australia, while the images were printed in London where they were first exhibited in 2006.
Calendar production was 2008 (limited numbers are still available $50) and the photographs were exhibited at Gallery East in Sydney as the inaugural exhibition of ARTHERE .
Portrait and landscape images approx. 152 x 237mm.
Individual variations pertain.
Digital Archival Print
Editions of 100 + 1AP
Prices listed do not include postage. Varies between items and will be calculated on request.
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