The Teenager
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in an oak box frame with premium clear glass.
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in an oak box frame with premium clear glass.
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in an oak box frame with premium clear glass.
Artist - Guy Little
MA Photography MARPS
Photography Drawing Workshops
IAPP, RPS & IA Member
Professional Photographer for 40 years. Artist 15 years
Some recent awards
- Honourable mention for Graphis International Photography Annual 2022 Competition, New York
- Commended in Exposure Light & Shadow Theme International Exhibition, 2022, RPS, UK
- 3 Drawings accepted in the Linden New Art Postcard Exhibition 2021 - 2022, Melbourne
- Accepted in Windows of the World international Exhibition, 2021, RPS UK
- Shortlisted in Exposure Progress Theme International Exhibition, 2021, RPS UK
Professional Photographer for 39 years. Shooting advertising, architecture, food, editorial, sport, scientific, macro, commercial, industrial, corporate, theatre, annual reports & weddings.
A past AIPP member and ACMP member for 20 years and worked for 9 years as a Forensic and Scientific photographer for the Federal Police in Sydney, with qualifications in Small Business Management, Scientific Photography, Electron & Scanning Microscopy as well as a BA Degree, Diploma and Cert 1V all in Photography.
Teaching qualifications include a Grad Dip and Graduate Certificate and Cert 4 in Training and Assessment.
Past ACMP Federal President & Chairman. Been an Industry Judge at AIPP State & National Print Awards. Lectured at RMIT University in Photoimaging & creativity for the Certificate 1V & Diploma for 22 years.
Based in Melbourne, has shot for a diverse range of clients such as, National Foods, Dairy Farmers, HWE, Santos, BHP, Rabble Theatre, PWC, Hargreaves Associates (USA), Simon Carves, Moffat, Seido Karate, MECWA, VICTEC, ANZ International, Challenger Bank, Nova radio station, Vodafone, BBC (UK), AA Paper, Optus, Malthouse, MTC, Melbourne Festival, Financial Planning Association of Australia, & Peddlethorp.
Has also worked as Technical Director for Rabble Theatre Group on its 2012 production of "Room of Regret : A Picture of Dorian Gray," by Oscar Wilde at Theatreworks, St Kilda.
Numerous exhibitions, include ACMP Head On, Signature Collections, Fuji Salon in Tokyo, and at Sotheby’s New York.
Led the photography industry team that changed duration of copyright to Federal Parliament in 2000, which was successfully passed Feb 2005. Has contributed to the ACMP Better Business Bible 1st ed.
Enjoys shooting sport and theatre, covered events such as Sydney Olympics & Para Olympics, World Cup Soccer qualifiers, Melbourne Commonwealth Games, Australian Tennis Open, Australian Kendo Championships and numerous triathlons & cycling races.
Guy runs a 50 square metre hire studio in Bayside, Melbourne.
