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still taking and making

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Im still taking pictures, just started back at uni doing an honours year and its a full time thing. 

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mari and walkerville north cave

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friends new place (bit old now)

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I put things on Instagram a bit more than on here.  @aaron_sees

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I’ve got a bunch of shots and a bit of text from a recent extended road trip included as part of the newest edition of online magazine Accent. www.accent-magazine.com 

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working on new stuff..

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Film photography by Aaron Claringbold

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Aaron Claringbold -  www.aaronclaringbold.com

BAG(H)DAD 

As Australians we are far removed from much of the world, from western imperial policies, actions and perhaps most importantly outcomes. Here conflict is obscured. In this sense we serve as an experiment; what one group of people can be convinced to do to another if the distance between them is great and the understanding small and distorted.This concept does not negate the situation at home, but the reality is that ‘settlement’ was predominantly su ccessful. Those who are left are seen through years of misinformation, false interpretation and guilt, if seen  at all. With regard to western imperialism, it should be reasonably understood that when land is at stake any situation can be made to seem a battle. When there is no immediate land at stake, rather only specific interest, then so me time and energy has to go in to controlling ways of seeing and communicating. Concerning shaping what is understood, a significant effort must b e undertaken to coerce.

Bio 

I consider myself a photographer-cum-visual artist. I am interested in exploring the role that images play in contemporary society and the ways in which they have, are and can be used to shape it. I believe that the best place for this is within a visual arts context. I do not feel restricted to a photographic outcome, though I can recognise that I have a photographic approach to my artistic thought process. My work and interests are influenced by a strong social, political and epistemological concern, alongside the belief that art and artists play a formative role in critical thought and transformative ideas within contemporary society. My work runs parallel to my interests and as such has followed a progression towards the historical in attempts to understand the world I inhabit and the situations found within it.

Aaron Claringbold

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JONATHAN CHERRY: What did you want to be growing up?

AARON CLARINGBOLD: When I was younger I always liked skateboarding. I guess I got interested and involved in photography through that and kind of wanted to be a skateboard photographer. I changed my mind after a little bit. Pretty typical introduction.

JC: Who or what is inspiring you at the moment?

AC: Mainly well written articles on interesting and important things. Also good critics of (lens-based) art. Anyone who is effectively communicating things that make me think a bit differently. Also good music, company and conversation.

JC: What are you up to right now?

AC: Taking pictures, thinking, learning and deciding what to do. Trying to get some exposure for my photography (work out if other people like my photographs) and to make something that satisfies me.

JC: Have you had mentors along the way?

AC: Tracy Chapman, Lou Reed, Leonard Cohen, Blaze Foley, Townes Van, Zandt, Tom Waits, John Prine.

The list could go on…

JC: Where are you based right now and how is it shaping you?

AC: Home, which is Melbourne, Australia. This country is full of contradictions and barely hidden issues. Melbourne is probably the easiest place to question the behaviour and notion of Australia and Australianess. People here seem entirely un aware of how bad some things are and how good other things are. It’s all backward and internalised. We are not taught about our own history in schools, you have to seek it out yourself and it’s not made easy. On an international level we are one of the richest countries and are certainly some of the most privileged people in the world, yet we continue to participate is some of the most terrible behaviour.

JC: One piece of advice to photography graduates?

AC: The world is very big and quite complicated. From what I can see it is immensely interesting and very beneficial to learn about it. This might not help with the expensive lifestyle and sports car in the magazine.

JC: If all else fails - what is your plan B?

AC: I think it is unhelpful to think about things in that way. There is no end point or finish line that I am working towards. I’m not planning to get anywhere, I’m just doing things I enjoy and think are worth doing.

JC: Is it important to you to be a part of a creative community?

AC: I have never really considered myself to be, but I think I am sort of moving towards that and finding it very positive. You definitely need to be exposed to other ways of doing things, and preferably confronted by opposing ideas and processes in order for you to grow and develop. It is undeniably helpful to be able to engage in detailed discussions about creative practice in a casual, friendly and understanding environment.

MULL IT OVER on twitter MULL IT OVER on instagram

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My project, Bag(h)dad is featured this week on Phases Magazine.  http://www.phasesmag.com/aaron-claringbold/baghdad/

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edge of town by Aaron Claringbold I really like this image, not at first but it has grown on me. 

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Small Creek/Drain in Royal Park by Aaron Claringbold

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Bag(h)dad | Aaron Claringbold

Australia and it’s population are so far removed from much of the world; from western imperial policies, actions and most importantly outcomes. Here conflict is obscured. The work sets about to question what one group of people can do to another if the distance between them is great and the understanding small? Through doing so it explores concepts of distortion, coercion and nationalism as they feed into societies psyche.

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All text and images © Aaron Claringbold