Tom Goldner Aiguille du Midi – Art Blart _ art and cultural memory archive

Exhibition dates: 5th May – 21st May, 2017

Tom Goldner (Australian, b. 1984)
Valley
2015-2016
Silver gelatin print

It is such a pleasure to be able to walk into a gallery – in this case, one located in the recently restored Young Husband Wool Store in Kensington: a building originally built in the late 1800s which is now home to a vibrant community of artists, musicians, designers and makers – to view strong, fibre-based analogue black and white photographs printed by the artist from medium format negatives. No worrying about crappy, digital ink-jet prints which don’t do the tableau justice. Just the pure pleasure of looking at the wondrous landscape.

Goldner is working in the formalist way of modernist photographers and in a long tradition of mountain photography – a combination of travel, mountaineering and fine-art photography. As the text from the recent exhibition at the Musée de l’Elysée Vertical No Limit: Mountain Photography observes: “… photography invented the mountain landscape by revealing it to the eyes of the world. Photography is heir to a certain idea of the mountains and of the sublime, closely linked to pictorial romanticism.” In Goldner’s work, this romanticism is subdued but still present: reflection in lake, mist over treetop, and the capture of human figures in the landscape to give scale to the great beyond, a feature of Victorian landscape photography, mountain or otherwise.

However, the photographs contain a certain innocence: not the romantic, isn’t the world grand BUT this is the world. Goldner celebrates photography by allowing the camera to do what it does best – capture reality. He takes things as they are. There is no waiting for a particularly dramatic sky, the artist just takes what he sees. In this sense his everyday skies undercut the dramatic romanticism of place by allowing the possibility that these images (or variations of them) could be taken day after day, year after year. This is the natural state of being of these places and he pushes no further.

This is where the title of the exhibition and words supporting it are confusing. There is nothing transitional, transnational, or transient about these images – no movement from one state to another as in a “passage” – and certainly no discernible difference from one year to the next. Goldner’s photographs show the everyday, just how it is. That is their glorious strength: their clarity of vision, their ability to celebrate the here and now, which can be witnessed every day in the passes and peaks around the Mont Blanc regions of France, Italy and Switzerland. And then I ask, is that innocence enough?

Dr Marcus Bunyan

Many thankx to Tom Goldner for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Tom Goldner (Australian, b. 1984)
Passage
2015-2016
Silver gelatin print

Tom Goldner (Australian, b. 1984)
Lake
2015-2016
Silver gelatin print

The world around us is perpetually changing – ice melts, glaciers shift, weather changes and time passes. Nowhere stays the same, and neither do we.

Passage captures a transitional time in Tom Goldner’s photography practice. In 2015 and 2016, Tom made two physical expeditions around the Mont Blanc regions of France, Italy and Switzerland. Ever-conscious of the changing nature of the landscape – the fact that you could stand in the same spot one year later and find everything had changed – he shot fleeting moments on medium format film.

Back in Melbourne, Tom painstakingly developed and printed each photograph by hand in his darkroom. The experience reawakened his love of manual photography, and he saw parallels between the physical exertion of actually taking the pictures and the intense concentration needed in producing the series of atmospheric silver gelatin prints.

Artist’s statement