Coastal Series Exhibition at Xposure International Photography Festival

Black Rock, Coastal Series


I am honoured to announce that selections from my ongoing Coastal Series will be exhibited at the Xposure International Photography Festival in Sharjah, United Arab Emirates.This esteemed event is scheduled to take place from February 20 to 26, 2025.

About the Coastal Series:

The Coastal Series delves into the intricate relationship between nature and human interaction along the shorelines of Australia and New Zealand. Through photography, moving images, and mixed media, the series captures:

  • The dynamic interplay of textures and light found along the coastlines.

  • Environmental and historical narratives embedded in these natural spaces.

  • A contemplative approach to how we perceive and interact with these fragile ecosystems.

About Xposure International Photography Festival: Xposure is a premier photography festival in the Middle East, supported by professionals and industry experts.

It attracts some of the world's best photographers, offering workshops, seminars, and exhibitions. The festival serves as a dynamic platform for photographers, filmmakers, and enthusiasts worldwide to showcase their work, exchange ideas, and inspire each other.

Black Rock No.2, Coastal Series

About Sharjah: Sharjah, the third-largest emirate in the United Arab Emirates, is renowned for its rich cultural heritage and dedication to the arts. The city boasts numerous museums, galleries, and cultural centers, making it a vibrant hub for artistic expression and cultural exchange

Follow My Journey: Stay updated on my preparation and exhibition experiences:

Thank you for your continued interest in my work. I look forward to sharing this series and connecting with visitors during the festival.

The Reality of the Fake: Simulacra, Artifice, and AI in Artistic Practice

In a world increasingly defined by its capacity to manipulate, reshape, and recreate reality, the Twin Hills in Shanghai stand as an iconic representation of the artificial landscapes that have come to symbolise modernity. At first glance, these hills, featured in a recent Guardian article, seem to blend seamlessly into their environment—a pair of verdant mounds mimicking nature's beauty. However, the truth beneath the surface is far more striking: the hills are, in fact, an elaborate facade, hiding the structure of a multi-storey car park. This irony is particularly poignant in Shanghai, a city that continues to push the boundaries of urbanisation by reshaping not only its skyline but also the very land itself.

Nicknamed Nipple Mountains … Shanghai’s Twin Hills. Photograph: Shine


This phenomenon extends beyond Shanghai. In the nearby region of Lanzhou, Gansu province, another stark example of the human impulse to construct the fake at the expense of the real has unfolded. In 2012, a plan to flatten 700 mountains to build the Lanzhou New Area was announced, reflecting the extent to which contemporary society prioritises economic growth over environmental preservation. The physical destruction of these mountains to build a new urban district is emblematic of the broader theme in modern development: the erasure of natural landscapes to make way for constructed realities.



These examples are profound reflections on how deeply modern society has embraced simulacra. They are not merely instances of aesthetic manipulation but part of a larger shift in the way we engage with the environment. The real is destroyed to make way for the fake—nature itself becomes a canvas for human design, where authenticity is replaced by artificiality, and the natural world is commodified into a manageable, more palatable version of itself.

What lies beneath … more than 30,000 tonnes of steel and concrete were cast to form the structure. Photograph: Bloomberg/Getty Images

In my artistic practice, this tension between the destruction of the real and the creation of the fake is a central theme. Whether it is through my Theme Parks series, where cultural icons are miniaturized into hyper-real family-friendly experiences, or my more recent work exploring AI-generated landscapes, my art seeks to probe the unsettling reality of this shift. Using digital tools, I create layered works that not only simulate nature but extend it—folding the artificial into the artificial, creating what can only be described as fakes within fakes. This dialogue between the real and the unreal, the destruction of the natural and the creation of the synthetic, lies at the core of my work, challenging viewers to reconsider their relationship with the environments they inhabit, both physical and digital.

The Fake Within the Fake

In my most recent work, I explore the concept of "fake nature" through the creation of images that layer artifice upon artifice. The process begins with an initial attempt to connect with nature, an endeavour that has traditionally involved venturing into natural landscapes to capture the raw, untouched beauty of the environment. However, in this instance, the "nature" I begin with is itself a fabrication—a simulacrum of natural landscapes in a man-made space. This source, a construction imitating nature, becomes the starting point for further manipulation, as I employ artificial intelligence (AI) to extend, reimagine, and ultimately deepen the layers of simulation.

Twin Hill, Shanghai image: B.Kozka


The starting point for this piece is a landscape that mimics the natural, but upon closer inspection reveals itself to be an artificial construct. Much like the Twin Hills in Shanghai, which serve as a car park disguised as a natural landscape, my image draws from a space designed to evoke a sense of connection to the natural world, while simultaneously being a complete artifice. This tension between the real and the fake is central to the work, and it mirrors the way in which modern society often engages with nature—through a mediated lens, where the pristine beauty we seek is often filtered, packaged, and constructed for our consumption.

work in progress image : B.Kozka


Once this artificial landscape is captured, I introduce AI into the creative process. Using AI as a tool, I begin to "fold out" the original image, extending and reshaping it to create additional layers of interpretation and reflection. The AI algorithms take the original simulacrum of nature and generate new, imagined landscapes based on it—landscapes that never existed in reality, but which feel just as real as the initial, man-made scene. This process of digitally augmenting an already artificial reality creates a visual experience that is both familiar and strange, where the viewer is left questioning the authenticity of what they see.

This layering of artificiality upon artificiality creates a hyper-reality, a concept deeply rooted in the ideas of philosopher Jean Baudrillard. According to Baudrillard, hyper-reality occurs when the distinction between reality and simulation collapses, creating a world where simulations of reality become more real than the original. In this work, the use of AI to extend a fake landscape transforms it into something hyper-real—a version of nature that is so polished, so perfectly manipulated, that it feels more "natural" than nature itself.

The role of AI in this process is both instrumental and thematic. On a technical level, AI allows me to push the boundaries of traditional image-making, offering new ways to manipulate and extend reality. By feeding the algorithm a simulated landscape, the AI is able to generate new content that is seamlessly integrated into the original image, creating an extended version of nature that feels authentic, even though it is entirely artificial. However, AI's role goes beyond technical manipulation—it is also a tool that invites us to question what is real and what is constructed. In this context, AI is not just creating new landscapes; it is highlighting the artifice that underpins them, encouraging the viewer to reflect on how digital tools are shaping our perceptions of the natural world.

In a broader sense, this work is a meditation on the layers of reality we navigate in the digital age. As our environments become increasingly mediated by screens, algorithms, and digital interfaces, our experience of nature—and of reality itself—becomes more and more constructed. My images, with their multiple layers of fake nature, reflect this shift, asking the viewer to consider the extent to which their own interactions with the natural world are filtered through layers of simulation.

Theme Parks and the Hyper-Real

In my Theme Parks series, I explore the intricate balance between the real and the artificial, particularly within environments that condense and curate reality into manageable, digestible forms. Theme parks are spaces where entire worlds—cultural icons, historical landmarks, and natural wonders—are miniaturised and reimagined for mass consumption. These spaces exemplify the concept of hyper-reality, where simulations of reality are often more appealing and "real" than the genuine articles themselves.

Pyramids and Eiffel Tower, Theme Park series image : B.Kozka

Pyramids and Eiffel Tower, Theme Park series image : B.Kozka

My work in Shenzhen, China, particularly in parks like Splendid China Folk Village and Window of the World, reflects this phenomenon. These parks offer scaled-down versions of famous global landmarks, allowing visitors to traverse the Great Wall of China, visit the Pyramids of Giza, and stroll by the Eiffel Tower—all in a single day. As Shane Hulbert discusses in the catalogue essay for the series, these parks present a "curated version of the world," where time and geography collapse into a single, surreal experience. The Eiffel Tower looms over the Sydney Opera House, while Mount Rushmore is flanked by artificial palm trees. This "meta-narrative for modern life" is less about presenting history or culture accurately and more about offering a highly consumable and enjoyable version of it.

Matterhorn, Theme Park series image : B.Kozka

Matterhorn, Theme Park series image : B.Kozka

In these parks, artificiality is not hidden; it is celebrated. The landmarks, while recognizable, are stripped of their original context, their cultural and historical significance reduced to visual spectacle. This aligns with Baudrillard's notion of simulacra—these are not simply replicas but hyper-real versions of the world, polished and perfected for the viewer's pleasure. The visitor becomes immersed in a reality that is more vibrant, more accessible, and more ideal than the real world ever could be.

Hulbert touches on this dissonance, noting that theme parks create "heterotopian spaces," where things are not as they first seem. While the parks are real in the sense that they exist as physical places, their presentation of the world is inherently fake, creating a sense of disconnection between what is presented and what is real. The careful curation of these parks distorts reality, offering a version of the world that is "both real and fake, scaled and disassociated from their actual particular space." In essence, these parks are simulations of simulations—an artificial world made to replace the real one.

Personally, I find these environments fascinating because they reflect society's growing obsession with perfect, polished realities. In my engagement with these spaces, I am less interested in their entertainment value and more drawn to their function as curated environments—worlds designed to control every aspect of the visitor's experience. Everything, from the architecture to the lighting, is engineered to evoke specific emotions, leaving no room for the unpredictability or imperfections of the real world.

Through my lens, I attempt to capture this dissonance, presenting the artificiality of these environments while hinting at the cracks in their facade. In some of my images, the grandeur of the landmarks is undercut by signs of wear—the cracking surface of the Matterhorn, the peeling paint on a replica of the White House. These details invite the viewer to question the authenticity of what they are seeing. Is this really the Pyramids of Giza, or just a convincing imitation? And if it is fake, what does that say about our experience of the real?

The artificiality of these parks links directly to my exploration of digital landscapes using AI. Just as the theme parks manipulate physical space, my AI-driven images manipulate digital space, creating worlds that feel real but are entirely constructed. In both cases, the viewer is invited into a simulation—a world that is recognizable yet dislocated from reality. The AI functions as a tool to extend these artificial landscapes, pushing the boundaries of what is real and what is imagined. In both the theme parks and my digital work, the question of authenticity is at the forefront: where does reality end, and where does the simulation begin?

Memory, Reality, and the Constructed Past

In my Remembering What Never Happened series, I delve into the complex relationship between memory and constructed reality, questioning how personal and collective memories can be manipulated, reshaped, and, in some cases, entirely fabricated. The series underscores the disconnection between personal memory and the realities we believe we remember, drawing parallels with the artificial landscapes of my Theme Parks series and the fake nature created through my AI-generated works. Just as landscapes and environments can be curated and constructed, so too can our memories—filtered and influenced by external forces such as media, technology, and cultural expectations.

BTS , Remembering what never happened

BTS , Remembering what never happened

At the core of Remembering What Never Happened is the idea that memory itself can become a simulacrum. Much like the artificial environments of theme parks or the digitally extended landscapes in my recent AI work, memories are subject to layers of construction. We tend to believe that our memories are faithful representations of past experiences, but in reality, they are often shaped by a variety of factors beyond our control. Cultural narratives, media portrayals, and even the way we share memories with others all contribute to the construction of a past that is not necessarily "true" in an objective sense. Over time, these memories can become distorted, altered, or entirely artificial—much like a carefully curated theme park, where the familiar landmarks of the past are rearranged and polished into something more digestible but far removed from their original form.

The creation of these "fake memories" is a deeply collaborative and technical process. Using 3D modeling, AI, and photography, I create highly detailed spaces that serve as the backdrop for these imagined memories. The process begins with an architectural framework—a digitally constructed house or room designed to reflect the imagined past of a particular character. For example, in one piece from the series, I worked with an architect to design a home based on the life of an imagined older man. The house was fully rendered in 3D modeling software, complete with furniture, lighting, and textures that evoke a sense of lived history, even though no one ever inhabited this space.

Installation image : Remembering what never happened

Installation image : Remembering what never happened

Once the space is constructed, I photograph actors in isolation, capturing hundreds of different expressions and poses, which are later composited into the scene. These actors, who never met during the creation process, are choreographed to appear as though they are engaging in social interactions—each in their own world, yet placed together in a common space. This disconnect between the characters further emphasizes the idea of constructed reality. The final images are not pre-visualized; instead, I respond to the characters' expressions and body language, allowing these elements to guide the narrative of the scene. In this way, the story of the memory unfolds organically, even though the memory itself never existed.

Through this process, I construct a space that feels real and lived in, but is entirely artificial—a hyper-real version of a memory. In this context, the "fake" nature of the memory is no different from the "fake" nature of a theme park or an AI-generated landscape. Both are simulations that evoke a sense of reality, yet remain fundamentally detached from the original. This raises important questions about the reliability of memory and the extent to which our past is shaped by external narratives rather than lived experiences.

For the viewer, confronting these constructed memories becomes an act of introspection. By engaging with these imagined scenes, they are invited to reflect on their own experiences of memory. How much of what we remember is real, and how much has been shaped by external forces? In today's world, where technology allows us to curate, edit, and share our lives with unprecedented precision, this question becomes even more pressing. The digital tools we use to preserve memories—photographs, social media posts, and even AI-generated content—are all layers of simulation that distance us from the real. In this sense, Remembering What Never Happened speaks not only to the individual experience of memory but also to the broader cultural phenomenon of constructing reality in the digital age.

The Role of AI in Artistic Practice

Artificial Intelligence has radically transformed my artistic practice, not merely as a tool but as a creative partner. Traditional photography captures a moment in time, reflecting reality as it appears, but my work with AI seeks to generate entirely new realities—expansions and reinterpretations of the real world, re-imaginations. These new realities are rooted in what was originally captured but also in what can be constructed, layered, and enhanced. In this sense, AI plays a crucial role in exploring the boundaries between the real and the simulated, much like the artificial landscapes of the Twin Hills in Shanghai.

Just as the Twin Hills conceal a multi-storey car park beneath an outwardly natural facade, my use of AI builds layers of artifice on top of a foundational image—the "Origin Image." This concept is central to my work: the original photograph represents a starting point, a raw encounter with the real, but it is only the beginning. Through AI, this base is expanded, allowing for a dynamic dialogue between what is real and what is constructed. The result is a hybrid image that feels simultaneously organic, artificial, I like a memory of something imagined.

In this dialogue between the real and the artificial, AI acts as more than a tool; it becomes a co-creator. It doesn't simply automate the artistic process but actively contributes to it, analysing the textures, lighting, and atmosphere of the original photograph and generating new elements that blend harmoniously with the existing composition. The Twin Hills function in a similar way, where artificial design mimics and enhances nature, creating a space that feels natural but is, in fact, entirely constructed. AI allows me to manipulate and expand the boundaries of reality, much like how the Twin Hills present a version of nature that obscures what lies beneath.

For example, in my work with coastal landscapes, AI enables me to introduce new layers of clouds or subtle shifts in lighting that were never present in the original scene. These enhancements create an illusion that feels real but is, in fact, a manipulation—a reflection of how AI can deepen the illusion of reality, in this case being a visual representation of both memory and imagination.

Whispers & Fury for Anna

Whispers & Fury for Anna

The integration of AI into my practice brings with it critical questions about the nature of simulation. Does AI enhance reality, or does it obscure it further? In the case of the Twin Hills, the artificial landscape could be seen as enhancing the urban environment—bringing a sense of nature to the city—or as a deception, masking the utilitarian structure beneath. Similarly, in my work, AI adds layers of complexity to the original image, but it also blurs the line between what is real and what is imagined.

This tension is particularly significant when considering our relationship with nature. Can AI ever be used to reconnect with nature, or does it only serve to distort and remove us further from it? In my practice, I often use AI to expand natural landscapes, creating hyper-real versions that feel both familiar and otherworldly. But as the layers of digital manipulation grow, the question arises: are these images bringing us closer to the essence of nature, or are they merely creating a more elaborate simulation? The Twin Hills prompt similar reflections—do they offer an improved urban environment, or do they symbolize society's growing preference for the artificial over the authentic?

AI's role in my practice also mirrors the fluidity of memory, much like the Twin Hills represent a curated memory of nature. Memories are not static; they are shaped and reshaped over time, just as AI allows me to expand and reinterpret a captured moment. In my work, AI-generated elements serve as layers of memory—distorting, embellishing, and adding depth to the original image. This process is particularly evident in my Coast series, where the AI's modifications create a fluid, evolving landscape that feels like a recollection rather than a static photograph.

This idea of memory connects directly to the broader theme of artificial landscapes like the Twin Hills. Just as AI allows me to reshape my memories of nature into something more idealised or polished, the Twin Hills reshape the memory of nature into a perfect, controlled form. Both the hills and my AI-driven works raise questions about the authenticity of these reimagined realities—are they truthful representations, or are they simulations designed to replace the real?

East Coast Tasmania , Coastal series


Ultimately, the role of AI in my artistic practice mirrors the broader theme of constructed realities embodied by the Twin Hills. Both are examples of how technology can create environments that feel real but are deeply artificial. The Twin Hills appear as natural features in an urban landscape, but they are carefully crafted simulations of nature. Similarly, my AI-driven work uses technology to expand and reimagine natural scenes, creating hyper-real environments that challenge the viewer's perception of what is real and what is artificial.

As with the Twin Hills, there is an ethical dimension to this practice. By creating these simulated environments, whether through physical construction or digital manipulation, we risk losing touch with the natural world. The artificial becomes more desirable than the authentic, and we begin to accept simulations as replacements for reality. In my work, this tension is always present—while AI allows me to explore the boundaries of creativity and memory, it also raises questions about the role of technology in shaping our perception of the world.

The Twin Hills in Shanghai—artificial mountains designed to conceal a parking lot—are emblematic of the broader tension between the real and the artificial that permeates both our urban environments and my artistic practice. These hills represent a world where simulations are not only accepted but embraced, reflecting humanity's growing desire to manipulate and reshape nature to fit our curated, controlled versions of reality, memory and imagination.

Throughout my work, whether through the Theme Parks series or my AI-generated landscapes, I explore the same disquieting phenomenon: the replacement of the real with polished, idealised simulations. The artificial becomes more desirable, more digestible than the raw and unpredictable, creating a world where even nature and memory can be digitally reconstructed to suit our desires. My AI-driven art, much like the Twin Hills, raises important questions about how we engage with the world around us. Do these simulations bring us closer to nature, or do they ultimately distance us from it, offering an artificial connection that obscures the original?

As our landscapes and memories are increasingly mediated by digital tools and artificial constructs, the line between what is real and what is imagined becomes harder to discern. The Twin Hills are a powerful metaphor for this blurred reality—a natural landscape that is entirely man-made, an illusion that is accepted as authentic. In my practice, I seek to push this inquiry further, using AI to expand upon the "Origin Image," folding layers of artifice into each piece and inviting viewers to question their own perceptions of reality.

new work , untitled, Xi'an China

The Twin Hills serve as a powerful metaphor for the intersection of the real and the artificial, much like AI serves as a tool for exploring that intersection in my art. Both highlight the growing trend in society to favour simulations over reality, to curate and control nature rather than engage with it authentically. As we continue to integrate AI and other technologies into our lives, the challenge will be to balance these enhancements with an awareness of what we may be losing in the process. Are we enriching our understanding of the world, or are we merely creating more elaborate fakes to replace the real?

Ultimately, both the Twin Hills and my work challenge us to confront the fake within the real, and to reflect on the implications of a world where simulations might become more meaningful than the original experiences they replace. As we move forward, the critical question remains: Are these constructed realities helping us reconnect with nature and memory, or are they merely more elaborate fakes, pulling us further away from the world as it truly is? As we navigate this increasingly simulated world, we must continue to engage with these questions, challenging our perceptions and understanding of reality itself.



new work , untitled, Xi'an China

ALL STARS - RMIT School of Art Staff Exhibition

There is a link at the bottom of the post to download images

Site 8 Gallery RMIT

It was great to be involved in this year’s staff exhibition. Having my work hanging in the same room as so many amazing artists was fantastic. It gave me the opportunity to showcase one of the pieces I have been working on with Ade Vincent. We even included a small QR code so people could listen to the composition.

The piece I exhibited is part of the 'Hidden in the Glass' project, a collaboration between myself and Ade Vincent. This project explores the interplay between visual art and music, aiming to create a multi-sensory experience that captivates the audience. By integrating QR codes, we invite viewers to engage with the artwork in a deeper, more interactive way, combining visual elements with musical compositions to enhance the overall impact.






There were so many standout works in the exhibition. Some I was familiar with, such as Shane Hulbert's 'Angry Skies,' which never fails to impress. Others were a real surprise. Simon Perry's 'Limelight' had a solid yet luminous quality that made me feel as if I could see through it. Another favourite was Steven Rendall's 'Infrastructure,' a beautiful oil on linen of a wall radiator. There is something so simple, perfect, and endearing about this piece. I even tried to talk him into a swap, but unsuccessfully!

Martine Corompt presented a small video piece shown on an iPad, called 'For Those Who Wait.' This is part of a bigger project that I had the pleasure of working on with her. In fact, we are shooting more for this project soon. Mark Edgoose had a beautiful suspended piece titled 'Finding the Right Path,' a kind of divining rod—a useful tool in an art school.

While the opening was great and loads of fun, I was lucky to be asked to document the show. This gave me the opportunity to spend time with each and every piece, quietly and contemplatively—the best way to appreciate this amazing show. Well done to all involved, and special thanks to Kit Wise for initiating it, Nick Bastin, Paula, and of course, Bronwyn Hughes.



Installation Day!


Download Images here

Bronek Kozka

Picturing Community: School of Art Vol. 1 (2022/23)

Belonging and collaboration have always been central principles in the world of arts and academia. However, in the wake of a global pandemic, these concepts have taken on an even greater importance. The isolating effects of the COVID-19 environment highlighted the deep human need to connect, collaborate, and feel part of something bigger. For many, the post-COVID landscape presented a stark challenge: how to rebuild the sense of community that had been eroded by prolonged periods of separation and remote engagement. Against such a backdrop, the value of shared projects and collective efforts became unmistakably clear, acting as bridges reconnecting individuals to each other and to their mutual passions.

 

Click to download the catalogue

Click on the image above to download the catalogue

Reflecting on my own experiences, I am reminded of a project I undertook in the early 2000s in western Kenya. Immersed within the community, I worked alongside local resource centres and groups to produce images that would be meaningful to them. Through portraits and documentation of group activities, not only did we capture moments, but we also forged lasting relationships and a shared sense of purpose. This effort, titled "Picturing Community: Ugunja, Kenya," was a testament to the power of art and collaboration in building bridges and fostering belonging.

The world of academia is often filled with initiatives aimed at nurturing a sense of belonging among its students. Whilst well-intentioned, these efforts can sometimes feel insincere, overly directed, or too prescriptive, causing them to fall short of their intended impact. In disciplines like the arts, where passion and identity are deeply intertwined, these attempts can feel especially mismatched. Photographers, for instance, often identify deeply with their craft, viewing it not merely as a field of study but as an intrinsic part of their identity.

 

Artists—whether they're painters, printmakers, sculptors, or photographers—share this deep connection with their discipline. They don't just practise their craft; they live it. Their work is a reflection of their innermost thoughts, emotions, and perspectives. Thus, traditional attempts at fostering belonging can sometimes be off the mark with them. Generic initiatives that aren't discipline-specific can feel out of place, failing to resonate with those who have a strong sense of identity in their craft.

 

In recognising this unique challenge, the "Picturing Community: School of Art" project was initiated. This effort is not just another university programme; it's a genuine bid to capture the essence and spirit of RMIT's School of Arts. Through a series of editorial style shoots carried out by students, the project aims to portray the myriad disciplines available at RMIT. From behind-the-scenes glimpses to portraits of artists in their element, the project seeks to document the vibrant tapestry of creativity that flourishes within the institution.

 

The project's foundation lies in collaboration and networking. By enabling students from various disciplines to work together, it not only provides them with valuable experiences but also allows them to forge connections that could last a lifetime. This collective approach is not just about producing compelling images; it's about building a community. Every photoshoot, every interaction, and every piece of art crafted becomes a mini 'belonging' event, organically nurturing connections amongst the students.

 

In essence, "Picturing Community: School of Art" is more than just a project. It's a reflection of RMIT's commitment to celebrating its diverse artistic community. It's about acknowledging the uniqueness of each discipline while also highlighting the shared passion that unites them all. This catalogue is not just a collection of images; it's a testament to the spirit of collaboration, creativity, and community that defines RMIT's School of Art

A Comparative Reflection on the Works of Bronek Kozka, Yao Lu, Yang Yongliang, and Lang Jingshan

As a contemporary artist operating in a world where the boundaries between nature and human-made environments are increasingly blurred, I often find myself introspecting on the paths treaded by previous visionaries and fellow contemporaries. As I reflect upon my work in this context, it is nearly impossible not to think about the ingenious shanshui montages of Yao Lu and Yang Yongliang, and how they starkly contrast and yet resonate with Lang Jingshan's layered compositions.

 

Unitiled, Japan 2023 B.Kozka

Lang Jingshan's works, rooted in a more traditional time, celebrate nature in its purity. His composite images emphasize serenity, aligning with the classical shanshui paintings. They bring forth an uninterrupted, harmonious relationship between humans and their surroundings, echoing a time when ecological disruptions were less evident.

 

Lang Jingshan, Spring trees and majestic peaks (Cunshu qifeng/ 春樹奇峰), 1934. (Photo courtesy of Long Chin-san Art & Culture Development Association).

On the other hand, Yao Lu and Yang Yongliang, through their intricate digital montages, have addressed the profound Anthropocene disruptions. They intertwine elements of rapid urbanization with the allure of classical Chinese landscapes, revealing the stark reality of environmental degradation. Their works do not just depict the contrast, but the integration of urban motifs with nature, suggesting a disturbing confluence rather than mere juxtaposition. In doing so, they unravel the disturbing truth about our dwindling relationship with nature, offering a critique of our times.

 

In drawing parallels with my own work, it's evident that while I, like Lang, might find solace and a source of reflection in nature, the pressing environmental issues highlighted by Yao and Yongliang cannot be ignored. Where Lang's works emanate a certain calm, Yao and Yongliang sound an alarm. But can there be a bridge, a synthesis of these approaches?

 

This brings me to my own journey. While Lang offered a peaceful coexistence with nature and Yao and Yongliang warn of our looming estrangement, perhaps my works suggest a re-engagement, a solution. Through my contemporary lens, I strive not only to highlight the challenges of our era but to propose a possible reconciliation. By engaging deeply with nature, by understanding its rhythms and intricacies, there's a chance for renewal. This is not just an aesthetic choice, but a call to action, an invitation to viewers to experience, respect, and work towards restoring the balance with the natural world.

 

Yao Lu, New Landscape 6 — Wine Boat on Pine Creek (新山水 六 — 松溪載酒圖), 2012. (Photo Courtesy of the artist Yao Lu)

While Lang Jingshan's works serve as a poignant reminder of a bygone era and Yao Lu & Yang Yongliang's montages starkly illuminate the issues of our times, my art hopes to offer a way forward. A path that not only acknowledges the challenges but also believes in the possibility of a harmonious coexistence between humanity and nature.

 

Yang Yongliang, “Time Immemorial — Sinking” (Taigu Shenshi — Chenmo/太古蜃市 — 沉没),, 2016. (Part) (Photo courtesy of the artist Yang Yongliang).

In expressing these reflections, there's a lingering concern that my optimism may come across as arrogance or naiveté. I recognize the weight and gravity of our environmental predicament and, in no way, intend to undermine its severity. Yet, in the face of such dire circumstances, perhaps even bordering on hopelessness, I believe that hope and proactive engagement are our most potent weapons. After all, without hope, there's a risk of inertia. And it's in this spirit of hopeful action, despite its potential naiveté, that I present my perspective. For it's not just about capturing and reflecting upon the world as artists, but also about inspiring change, no matter how incremental it may seem.

Hotham Heights, Victoria, Australia 2023 B.Kozka

(That's the look, that's the look)

Jonathan’s Look

Let’s take a moment to regroup. So far, we have two characters to work on: Jonathan and Matthew. We've made progress in fleshing out Jonathan through his monologue and questionnaires, while Matthew's questions have been completed but not explored further. Our ultimate goal is to create a monologue for Matthew and a dialogue for the scene we'll shoot.

 

For now, let's focus on Jonathan's appearance, his style, and how he carries himself. As a 54-year-old executive living in Bel Air, Los Angeles, Jonathan's fashion choices exude a sense of refined charm and sophistication. In the office, he is often seen wearing tailored suits in neutral tones, meticulously fitted to his slender frame, reflecting his professional status. He pairs these suits with crisp dress shirts and tasteful accessories like pocket squares and luxury timepieces.

 

During leisure time and art collecting ventures, Jonathan embraces a more relaxed yet still polished style. He might be spotted in well-fitted blazers with designer jeans or chinos, striking a balance between trendy and elegant. Whether at work or in his downtime, he takes great care in grooming, ensuring his salt-and-pepper hair is neatly coifed and his overall appearance is impeccable.

 

As we continue developing these characters, we'll soon delve into Matthew's perspective through his own monologue and work on the scene where their paths will intersect. But for now, let's focus on portraying Jonathan's appearance, personality, and mannerisms to bring depth and authenticity to his character on screen.

 

Styling and propping characters can be quite challenging, especially when we don't fully "know" the character. The more detail and backstory we have, the easier it becomes to make choices, like selecting the right sunglasses, for instance. It reminds me of my approach to lighting design for tableau images or any other visuals. When I'm figuring out how to light a scene or a person, I ponder who they are and where they fit into the story. Once I have a clear understanding of their identity and place in the narrative, the lighting decisions flow effortlessly. I draw on my past observations of light and everything falls into place, creating a cohesive and meaningful visual representation. I'll be sharing more about this in an upcoming blog post. Styling and propping the character follow a similar path, and it's especially helpful when collaborating with stylists, bringing the character's essence to life through their appearance and props.

 

Working with a skilled stylist can be incredibly beneficial in bringing the characters to life. They can use their expertise to translate the character's essence into their wardrobe and props, enhancing the visual storytelling and adding depth to the character's portrayal.

 

But for you as the photographer, who’ll be putting together the mood boards and wanting to ‘direct’ the look of your character, having a clear picture of the character's motivations, preferences, and experiences will make researching ‘the look’ much easier.

 

 

Once armed with knowledge about my character, Jonathan, and the era we are working with, researching the basics of his attire became a breeze. Here's a rundown of his stylish ensemble:

 

- Footwear: Allen Edmonds loafers in a deep walnut colour.

- Trousers: Impeccably tailored Hugo Boss trousers with fabric imported from Italy.

- Shirt: A custom-made Italian silk shirt in a rich emerald-green hue.

- Belt: A vintage Hermès belt featuring the iconic H1 buckle in polished gold.

- Sunglasses: Cartier aviator-style sunglasses with lightweight titanium frames.

 

Allen Edmonds Shoe Corp. Vintage 1985 Print Ad



 

With these elements in place, Jonathan's appearance exudes the refined taste and sophistication befitting a successful executive in 1980s Los Angeles. Now I have a very clear idea of his appearance, and so would a stylist. The next part I found rather fascinating I took my list of props, clothes, a description of Jonathan’s career and life and snippets of the monologue and loaded this into ChatGPT. This was the result:

 

Jonathan strides through the bustling hallway of the ad agency, his attire meticulously curated to reflect the status and style of a successful executive in 1980s Los Angeles. Every detail of his ensemble oozes with a carefully cultivated sense of opulence and brand obsession.

His feet are adorned with a pair of sleek, polished Allen Edmonds loafers, the deep walnut colour complementing the tailored lines of his appearance. The soft leather moulds to his feet, exuding an air of refined elegance with every step.

His legs are encased in a pair of impeccably tailored Hugo Boss trousers, expertly hugging his form while maintaining a sense of sophistication. The fine fabric, imported from Italy, drapes just right, accentuating his lean physique.

Above, he wears a custom-made Italian silk shirt, the rich emerald-green hue drawing attention to his impeccable taste. The fabric, smooth to the touch, whispers against his skin as he moves, the meticulously sewn seams a testament to the craftsmanship that defines his world.

A vintage Hermès belt, with its iconic H buckle gleaming in polished gold, cinches his waist, adding a touch of luxurious extravagance to his ensemble.

Jonathan’s gaze is framed by a pair of aviator-style Cartier sunglasses, the lenses reflecting the vibrant energy of the office around him. The frames, crafted from lightweight titanium, sit comfortably on the bridge of his nose, effortlessly accentuating his chiselled features.

His coifed hair, styled with precision, showcases the expertise of his trusted hairstylist at the famed Beverly Hills salon, Cristophe. Every strand is in place, a testament to his unwavering attention to detail.

Jonathan completes his ensemble with a subtle hint of fragrance—Creed Aventus cologne. Its intoxicating blend of citrus and woody notes envelops him in an aura of power and confidence, leaving a trail of sophistication in his wake.

As he walks, the fabrics caress his skin, the designer labels and meticulously chosen accessories marking him as a man of status and excess. His appearance is flawless, a calculated facade of success in a world that thrives on surface allure.

 

The description of Jonathan provided a solid foundation, and the added embellishments of the props were spot-on. The AI response not only captured his appearance but also offered ideas for hairstyling and cologne, providing deeper insights into the character. While I might not use all the suggestions, they certainly give more depth to Jonathan's persona. I needed to research each suggestion, but I must admit they were quite accurate and on the money!

 

As we continue to refine the characters and finalize all the elements, we're getting closer to the casting stage. It's remarkable how far we've come, from a mere idea to a faint outline, and now to a fully developed character like Jonathan. I can almost visualize him in front of me, so vivid and real that I can almost smell his cologne!

 

In the next blog post I’ll get back to Finding Their Voice Part 2.

 

Always check your research (and others)

Creed Aventus cologne did not exist in the 1980s; it was launched in 2010. Instead, we could consider Calvin Klein's Obsession for Men or Giorgio Beverly Hills for Men. After examining the advertisements for both fragrances, Calvin Klein's Obsession for Men stood out as the more appealing choice for Jonathan. The adverts exuded a strong homo-erotic quality that resonated with him, featuring images by Bruce Weber that captured near physical perfection. Additionally, openly gay photographer Herb Ritts, who was HIV positive, also worked for Calvin Klein and sadly passed away from pneumonia in 2002. This information opens up possibilities for your story, as Jonathan and Matthew could have been involved in these shoots or had connections to the Calvin Klein account at their advertising agency.

 

Intriguing possibilities start to unfold as we consider Jonathan and Matthew's potential involvement in the Calvin Klein shoots featuring prominent photographers like Bruce Weber and Herb Ritts. Perhaps they were both present at these shoots. The allure of the fashion world, with its intimate connections to beauty and desire, may have drawn them in deeper.

 

As they navigate the opulent realm of advertising in 1980s Los Angeles, the names of legends like Bruce Weber, Herb Ritts, and even supermodel Kate Moss add an air of excitement to their world. Connections to the Calvin Klein account could have shaped their journeys, unveiling secrets and desire. The fragrance of Calvin Klein's Obsession for Men could become more than just a scent; it might symbolize the allure, the passion, and the complexity of their entwined destinies.

Finding Their Voice (PART1)

Welcome to "Finding Their Voice," in this instalment we delve further into the world of Jonathan. We will explore his monologue, delve into research about his appearance, and experiment with AI to develop mood board images.

 

We'll begin by uncovering the essence of Jonathan's thoughts and emotions through his monologue, gaining valuable insights into his motivations, desires, and dreams. Following that, we'll take a closer look at his appearance, fashion choices, and overall demeanour, painting a vivid picture.

 

Finally, we'll embark on an AI experiment to curate a collection of visuals that reflect Jonathan's personality, aspirations, and the essence of his monologue. This was a hit and miss exercise, some work is definitely needed to develop my AI skills. You’ll be familiar with the emerald-green shirt image…that was the highwater mark.

 

Based on the questions that established Jonathan’s character in the last blog post here is a brief outline that summarises the character, this is useful when starting to develop the monologue.

 

Full Name: Jonathan Parker

 

Jonathan Parker is a 54-year-old high-ranking executive at a prestigious advertising agency in Los Angeles. Born and raised in the affluent neighborhood of Bel Air, he exudes refined charm and possesses a discerning eye for aesthetics. Outside of work, Jonathan indulges in art collecting, fine dining, and has a passion for jazz and 80's pop music. He navigates social circles with ease but struggles with internal turmoil and decision-making. While he maintains a cordial relationship with his prominent family, emotional detachment lingers beneath the surface. His most treasured possession is a vintage Rolex watch passed down from his father. Jonathan dreams of personal liberation and contemplates the impact of suppressed desires on his life choices, cherishing the idea of becoming a partner in the future.

 

Drawing on the monologues I've experienced and shared in my last blog post, I began crafting Jonathan's monologue. Being a visual person, I had to start by imagining him at work, maybe just after leaving a meeting, and walking through the office. This internal monologue captures Jonathan's thoughts and emotions, addressing us with sincere honesty before shifting into his work-mode to interact with his colleagues.

 

An internal monologue is a literary device used to convey a character's inner thoughts, feelings, and reflections. It is a narrative technique that allows readers to access a character's mind, providing insights into their motivations, conflicts, and emotions. In a normal text or blog post, an internal monologue can be presented through the character's first-person perspective or in a more indirect manner, revealing their thoughts as they navigate situations, make decisions, or analyse events happening around them. This technique adds depth to the character and enhances the reader's understanding of their psyche and actions, for us, it used to further understand our character and how best to portray them and direct them.

 

Here we delve into Jonathan's inner world, giving us a glimpse of the complexities that lie beneath the surface as he navigates through his daily interactions. The monologue will enable readers to better understand Jonathan's character and the intricacies of his personal and professional life.

 

Jonathan, weary and contemplative, mused on the nature of their line of work. In this cutthroat industry, they were relentless peddlers of dreams, architects of beguiling facades that masked the truths they dared not confront. The allure of these fantasies proved seductive, and at times, they found themselves ensnared in their own intricate webs of make-believe, cowering from the harsh glare of their own raw realities.

 

JONATHAN

(haggard, introspective)

You know, in this business, we're always selling dreams. We create illusions, paint pictures of lives we wish we had. And sometimes, we get lost in those illusions, too afraid to face our own reality.

           

 

 

AI generated drawing

He nods and smiles at a passing co-worker.

 

JONATHAN

(cheerful)

Hey, great job on the Grimes campaign. You knocked it out of the park!

 

The co-worker thanks him, and Jonathan continues down the hallway, his demeanour shifting as he resumes his monologue.

 

 

I like the jump from (haggard, introspective) to (cheerful). While I know we are not filming this I cant help thing how good it would be, maybe even with a split screen (see above)  both sides talking to the camera, then when we break to talk to the co-worker one side stays in internal monologue mode, staring directly to the camera, uneasy. The other chats cheerful to the co-worker, then re-joins…back to the internal monologue.

 

JONATHAN

(heavy-hearted)

But what about the dreams we can't sell? The ones that consume us, tearing at the seams of our carefully constructed lives? What happens when those dreams collide with the harsh light of day?

 

He stops briefly to congratulate another co-worker.

 

JONATHAN

(earnestly)

Congratulations on closing that deal, Sarah. You're a force to be reckoned with.

 

Sarah beams with pride, and Jonathan's expression darkens as he resumes his monologue.

 

JONATHAN

(resolute, yet melancholic)

We pretend it's all about success, about climbing the ladder, but sometimes the rungs start to crumble beneath our feet. We chase after something we can't name, something that feels like truth, even if it leads us down a treacherous path.

 

He passes by his office, glancing at the closed door.

 

JONATHAN

(whispered)

Home away from home.

 

Taking a deep breath, he continues down the hallway, his voice filled with despair.

 

JONATHAN

(whispered)

We make choices, each one carrying its own weight. Sacrifices made in the name of duty, loyalty, and love. But what happens when those choices eat away at our souls, leaving us hollow and broken?

 

A brief pause as he acknowledges another co-worker.

 

JONATHAN

(sincerely)

Hey, congrats on the promotion, Dave. Well-deserved.

 

Dave expresses gratitude, and Jonathan's eyes reflect a profound sadness.

 

JONATHAN

(resigned)

We wear masks, disguising our true selves, afraid of being seen, afraid of being known. And in those moments, we lose sight of who we really are. We become strangers in our own lives.

 

He continues walking, the weight of his words evident in his every step.

 

JONATHAN

(bitterly)

We tell ourselves it's temporary, that someday it'll all make sense. But deep down, we know the truth.

 

(Jonathan's voice cracks with emotion, his eyes welling up with unshed tears).

 

We're lost, adrift in a sea of missed opportunities and broken dreams.

 

 

Being overly specific about how Jonathan delivers these lines might seem excessive, but delving deeply into his character will help us understand him better. By providing more details about Jonathan, we will empower the actor chosen to portray him, enabling them to fully embody the role.

 

AI generated image

The monologue above was generated using Murf AI, this is the first time I have done this, part of the journey and part of the experiment I want to share. I experimented with several “voices” , I was able to add pauses, adjust the timing and the pitch. While its interesting, it breathes life into these characters, I’m not sure how I feel about it yet. I’m keen to have an actor try the lines…and maybe they are just meant to be read as a way of understanding who Jonathan is.

When delivering lines as Jonathan, it is crucial to set a very clear tone for the character. His emotions and demeanour are multifaceted, and these directives will help convey that complexity:

 

1. Heavy-hearted:  Jonathan carries a profound sadness within him, which should be evident in his voice and body language. There's a weight on his shoulders that he can't shake off.

 

2. Bitterly: At times, Jonathan's bitterness might surface, revealing a sense of resentment or disillusionment. His words may carry a sharp edge, reflecting his inner turmoil.

 

3. Resolute, yet melancholic: Despite facing hardships, Jonathan has an unwavering determination, but it's tinged with a touch of melancholy. This adds depth to his character as he navigates difficult situations.

 

4. Haggard, introspective: His weariness is visible, both physically and emotionally. When deep in thought, his introspection becomes apparent, and his voice may take on a contemplative quality.

 

Contrast these attributes with the lighter, more cheerful exchanges he has with his co-workers. This contrast will emphasise the duality of his character, showcasing the internal struggles he grapples with while putting on a facade of normalcy in front of others.

PART 2 - coming soon

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