Ross McNaughtan
This is more a bio than an artist statement. I have several bodies of work ready to present as exhibitions.
My work is introspective and often focuses on issues of identity, self and personal or intimate connection along with sentimentality and nostalgia; the connections between people and how those connections shape our sense of self and place in the world. I approach these themes with a sensitivity to capture the intangible and often transient qualities of relationships and values. I strive to understand the elements that make us human and what undermines us.
Often I’ve been accused of thinking too much about the meaning of meaning; this is reflected in my artistic practice. My practice is rooted in conceptual development and a desire to explore and understand. The approach being conceptual is often well-developed intellectually prior to experimenting. In addition, I use specific techniques and methods to support the outcome.
I grew up in a place I referred to as the cultural wasteland. Art served a very specific purpose to obscure, white-wash and beautify—or, at least, that was the perception of a child. Meaning was not its purpose. When given license to express myself with a digital camera, on-loan from the local council, I photographed broken bottles in the dirt and trolleys thrown into stormwater drains; focussing on people’s ephemera.
As an artist working with photography, I’ve a preference for analogue photographic methods, which allow me a more meditative approach to creating photographs and planning the outcome ahead of time. My commitment to analogue techniques also allows me latitude in my approach affording me the opportunity to mix and match analogue and digital approaches and subvert elements of tradition to suit my purposes.
My recent exhibitions include being a core artist at the last Shimmer Biennale held by Onkaparinga Council and a solo exhibition for SALA 2023 and I was the runner up for the SALA solo photographic opportunity.
My work is introspective and often focuses on issues of identity, self and personal or intimate connection along with sentimentality and nostalgia; the connections between people and how those connections shape our sense of self and place in the world. I approach these themes with a sensitivity to capture the intangible and often transient qualities of relationships and values. I strive to understand the elements that make us human and what undermines us.
Often I’ve been accused of thinking too much about the meaning of meaning; this is reflected in my artistic practice. My practice is rooted in conceptual development and a desire to explore and understand. The approach being conceptual is often well-developed intellectually prior to experimenting. In addition, I use specific techniques and methods to support the outcome.
I grew up in a place I referred to as the cultural wasteland. Art served a very specific purpose to obscure, white-wash and beautify—or, at least, that was the perception of a child. Meaning was not its purpose. When given license to express myself with a digital camera, on-loan from the local council, I photographed broken bottles in the dirt and trolleys thrown into stormwater drains; focussing on people’s ephemera.
As an artist working with photography, I’ve a preference for analogue photographic methods, which allow me a more meditative approach to creating photographs and planning the outcome ahead of time. My commitment to analogue techniques also allows me latitude in my approach affording me the opportunity to mix and match analogue and digital approaches and subvert elements of tradition to suit my purposes.
My recent exhibitions include being a core artist at the last Shimmer Biennale held by Onkaparinga Council and a solo exhibition for SALA 2023 and I was the runner up for the SALA solo photographic opportunity.
