http://www.zanwimberley.com/still-life daily 0.75 2015-09-07 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441617363082-0EPCKCNX81PW0WY5ZV6C/stilllife-1.jpg still life - Still life, Firstdraft 2015 Still life is a series of photographs and stereoscopes, which straddles the divide between the heart breaking seriousness and the utter absurdity of mortality. Roland Barthes talks about the ‘perverse confusion’ in photography, that between two concepts: the real and the live, by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive. Artificial flowers share that same perverse confusion, and when they’re used to adorn graves and sites of mourning, which is where the flowers in the images were sourced, that perverse nature comes into sharper relief. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441617363082-0EPCKCNX81PW0WY5ZV6C/stilllife-1.jpg still life - Still life, Firstdraft 2015 Still life is a series of photographs and stereoscopes, which straddles the divide between the heart breaking seriousness and the utter absurdity of mortality. Roland Barthes talks about the ‘perverse confusion’ in photography, that between two concepts: the real and the live, by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive. Artificial flowers share that same perverse confusion, and when they’re used to adorn graves and sites of mourning, which is where the flowers in the images were sourced, that perverse nature comes into sharper relief. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441617697877-HP60EIG87VJWYZN1ZEFK/stilllife-2.jpg still life A nod, both aesthetically and symbolically, to the 17th century pronkenstilleven and vanitas paintings, these still life photographs and stereoscopes also explore the nature of vanity in the old sense - the meaninglessness of life and transient nature of all earthly goods and pursuits. In a more contemporary sense it also taps into the general mood of apathetic nihilism which currently permeates pop culture and is born from oversaturation of impending Armageddon - global warming, ISIS, persecution of asylum seekers and politics both nationally and internationally. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441617762748-RQWFOS5QH52PYFB52QJN/stilllife-3.jpg still life https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441617954885-9HB8WEP0ZUJRUCVBWXLL/stilllife-4.jpg still life https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441618063268-G4L0LOYBJT5QOWI19J95/stilllife-5.jpg still life https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441618177521-NRXVWF3L51P6B19CG07L/stilllife-6.jpg still life https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441618213861-VGG1JSLTUQP14G865US1/stilllife-7.jpg still life http://www.zanwimberley.com/alone-together daily 0.75 2015-08-19 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439888287458-YWLIP3EV3CYY920Z4MS4/image-asset.jpeg alone / together - alone | together install wide https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439888287458-YWLIP3EV3CYY920Z4MS4/image-asset.jpeg alone / together - alone | together install wide https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439946741279-STXXLOR4AMA9YECBFBMC/Alonetogether-001.jpg alone / together https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439945851551-5HLN0N9SUY0FWMBG06PA/Alonetogether-002.jpg alone / together https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439945982794-VJNIPNGQBQI1JN1JKJ0Q/Alonetogether-004.jpg alone / together https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439945912625-E6ETYFEIU9P7CNZ1FPH0/Alonetogether-003.jpg alone / together https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439946029033-46AW1O03SW80J9UYTWQ4/Alonetogether-005.jpg alone / together https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1439946044403-ZE1L0G8MM0MYGMF4RSGA/Alonetogether-006.jpg alone / together http://www.zanwimberley.com/interiors daily 0.75 2015-09-03 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244052800-PE716TAZE7DLPKWL1HKZ/SuzanneGorman-014.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244052800-PE716TAZE7DLPKWL1HKZ/SuzanneGorman-014.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244101592-RHBSCAZQACRMFIKUFT5Q/SuzanneGorman-028.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244284119-LU7YLCDOO2VAU6WZ7BCT/SuzanneGorman-039.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244410888-BTQ2CMRDCI53UJHBGIGG/SuzanneGorman-045.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244444364-K8NA0TGB4OJI5V7GDNV6/SuzanneGorman-260.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244564329-YP71S51PIIN35EXTVOHI/SuzanneGorman-296.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244613109-E3WNA8CW60SVIKHPC8JP/SuzanneGorman-313.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244676010-UEX7U34P78EIRP7IDZ2K/SuzanneGorman-317.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244783548-XG38DBIAJ9YWPUU5W5RH/SuzanneGorman-330.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244812660-JRQ0N2YF9OJRUTON6XWB/SuzanneGorman-114.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245156473-Y4G7I1XTOSL749118GW5/TaniaWursig-1.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245190851-OVJI00IZFDJL8VSODUTZ/TaniaWursig-007.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245217038-8ZSUFTZCD7AL717OPWOU/TaniaWursig-003.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244857567-0QAZ1OKZFDEOOM8I57KR/penelopeloorham-119.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244891161-46QNUBJC3M3GG8C1IAEO/penelopeloorham-112.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244934134-LEPG2NOQVGQJP6B6XWG3/penelopeloorham-117.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441244988017-AO3U47XQIODAN61QM28J/penelopeloorham-123.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245036628-6KAH3O83K02PJJ3MYOB7/penelopeloorham-134.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245071389-8X25G27B92RQV1H9M7CX/penelopeloorham-137.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245119215-K4CIQA107MKWLK7DTXHA/penelopeloorham-152.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245278489-TIFAO42A7INK84KA7PFE/Piermarq-073.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245381853-OV91WIXMIDYEZOIMF4R6/Piermarq-068.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245419041-0LM7D8NVTUIRLXAKX2AW/Piermarq-082.jpg Interiors https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441245490874-XDYH6OSIXZ633AMKGH41/Piermarq-001.jpg Interiors http://www.zanwimberley.com/projects daily 1.0 2022-05-16 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1652687816919-OMX1JTJW49B8FRGQPVZC/ABCGeraldMurnanephotocreditZanWimberley-0008.jpg Commercial Practice - Gerald Murnane - Author https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441181289641-YGG4NP7ZARKTYPVZRK5R/NC1-021.jpg Commercial Practice - Nikhil Chopra Blackening IV: Bay 19 Commissioned by Carriageworks Costume design Louise Braganza https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1441008136098-B64GQE40B6XH5FEPT9EJ/RyojiIkeda-014.jpg Commercial Practice - Ryoji Ikeda, test pattern (number five) Work commissioned by Carriageworks & ISEA in collaboration with Vivid Sydney, 2013. http://www.zanwimberley.com/who-could-bear daily 0.75 2026-02-25 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484604449318-0L7RIO20RTJ1556EBDZE/Idreamt-I.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484604449318-0L7RIO20RTJ1556EBDZE/Idreamt-I.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605162031-S64W8NJQPJ7GJ0SR1MQ2/ZanWimberleyWhoCouldBear-011.jpg who could bear to look up at the night sky and know which stars are already dead - WHO COULD BEAR TO LOOK UP AT THE NIGHT SKY AND KNOW WHICH STARS ARE ALREADY DEAD Wimberley’s first solo exhibition at Artereal Gallery, Who could bear to look up at the night sky and know which stars are already dead, deals with the undercurrent of hedonistic nihilism so inherent in our contemporary culture, showcasing dramatic black and white photographs of exploding fireworks alongside a series of stereoscopic images of stars and constellations, both of which are used as metaphors for the transient nature of life and the ultimate fragility of our existence within the wider universe. The exhibition’s poetic title suggests a subtle comparison between death and the constellations, prompting the thought that the stars above us are perhaps already dead and it is just their last light that is still reaching us. Presented en masse as an installation, I dreamt about climbing into the night sky is a series of sixteen photographs of fireworks erupting against an impenetrably inky sky. At once strikingly beautiful and sublime, each image captures the thrilling sense of wonderment and awe, which fireworks never cease to evoke. And yet underlying these poignant imagesis a sense of loss, for every climactic explosion is fleeting, lighting up the sky and wowing the masses below before fading away into nothingness, leaving behind nothing but an empty void and a sense of melancholy. These bittersweet musings on life, death and passing time were inspired by a slightly bizarre moment of happenstance and an unlikely experience in the artist’s life. Stuck in peak-hour traffic, Wimberley found herself staring at an advertisement on the back of a car which encouraged people to consider having their cremated ashes turned into fireworks. Inspired by this slightly macabre concept, Wimberley has turned her attention to an examination of the broader existential and philosophical questions surrounding death – likening the momentary joy and celebration associated with fireworks to contemporary society’s hedonistic and glib approach to life and our ongoing struggle to find meaning within our existence. Complementing this series of photographs is a series of four stereoscopes which depict four fictional constellations – each of which references an artist or celebrity who has recently died. Titled Black Star, in reference to David Bowie’s last album and recent death, these stereoscopes offers a subtle commentary on the culture of melodramatic online breast-beating which now accompanies news of a celebrity’s death, a trend often seen on social media and via internet commentary. Heavily influenced by pop-culture and music, the Black Star series holds up a mirror to those sub-cultures within contemporary society that tend to canonise celebrities after their death – a bizarre phenomenon illustrated recently when Belgian astronomers collaborated with a group of hard-core Bowie fans to register a constellation shaped like a lightning bolt in honour of David Bowie. The creation of the constellation is part of the Stardust for Bowie tribute project, where fans can use Google Sky to add their favorite Bowie songs with a short note to a virtual version of the constellation. Responding to these currents within contemporary online culture, Wimberley’s stereoscopes maps of fictional constellations dedicated to recently deceased celebrities offer a light-hearted yet antagonistic look at the complex subject of mortality and its associated philosophical questions which have of course held a fascination for artists since time immemorial. On a more personal level, Who could bear to look up at the night sky and know which stars are already dead, acts as a moving tribute and poetic paean to the artist’s father, who passed away almost four years ago to the date of the exhibition’s opening. The significance of this is hinted at throughout the exhibition via numerous subtle but evocative gestures, with the fourth anniversary of his passing informing the decision to create four stereoscopes and to make each photograph from the series I dreamt about climbing into the night sky an edition of four. A keen novice astronomer and a talented woodworker, the Artist’s father has likewise left an indelible mark on this series of works, as evidenced by the Victorian blackwood frames and the stereoscopes, which the Artist has painstakingly made by hand using tools inherited from her father and wood sourced entirely from one particular tree. Reminding us that we will all inevitably be touched by death at some point in our lives, Wimberley’s work is a powerful testament to the human spirit and our ability to find beauty and poetry in the face of the inescapable tragedy and melancholy which at time defines the human experience. Rhianna Walcott Curator https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605174247-PDMDWKO87ANS1LBR7HIF/ZanWimberleyWhoCouldBear-009.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605186834-7TE2UBW7UYZEVVRCSSEH/ZanWimberleyWhoCouldBear-014.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605212643-ACCOOWTSAIIUDR6CNF7H/ZanWimberleyWhoCouldBear-002.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605234022-SP01LX5XOVB539EOQ9WI/ZanWimberleyWhoCouldBear-003.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605257616-OPXJFARFPIGAU032TNHP/ZanWimberleyWhoCouldBear-015.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605278783-FJP61HEKJZL8KWSB2GOM/ZanWimberleyWhoCouldBear-006.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605306418-5D9EYBUIX32S4M4RWKLB/ZanWimberleyWhoCouldBear-007.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605332677-75AGU1B4WAY8CXM5847H/ZanWimberleyWhoCouldBear-005.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605358129-3JALK30D5IKTD1UZTDZG/ZanWimberleyWhoCouldBear-004.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605457163-5LAD37I0J21M97TZSRY6/Idreamt-I.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605483087-5Y19ACHO5BGCDGQLR1Z1/Idreamt-II.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605511254-SVHKGATOOON04GA1DMEX/Idreamt-IIII.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605539167-T2OWOJV9VZVXCRK7NUK8/Idreamt-V.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605566614-7QZJGZXL0FS39KV5O9V8/Idreamt-XVI.jpg who could bear to look up at the night sky and know which stars are already dead https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1484605592005-M8FRW8HLM1FN94KV39XP/Idreamt-XVII.jpg who could bear to look up at the night sky and know which stars are already dead http://www.zanwimberley.com/australia-council daily 0.75 2018-09-26 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003367840-W2AZ3ZODQ9BVCMQWX4AZ/APGinstall-018-1.jpg Australia Council Image 1: Installation view of ‘Light as Mass’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003367840-W2AZ3ZODQ9BVCMQWX4AZ/APGinstall-018-1.jpg Australia Council Image 1: Installation view of ‘Light as Mass’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003361707-F3S8EX1UHMNXRDR7Z1EX/AProfoundGravity-0156.jpg Australia Council Image 2: Installation view of ‘The Effects of Interaction Between Light and Matter’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003388785-S1P7H94L4PMO8WHB1VN7/ArterealSeptember2018-0005.jpg Australia Council Image 3: Installation view of ‘The Impact of the Relationship Between Light and Dark, 1 - 5’ in ‘A Profound Gravity’, at Artereal Gallery, 2018. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003412413-OMQV9F4IYEM81XN4M15Z/ArterealSeptember2018-0006.jpg Australia Council Image 4: Installation view of ‘The Impact of the Relationship Between Light and Dark, 6’ in ‘A Profound Gravity’, at Artereal Gallery, 2018. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003497347-FE6WPGKLQ3Q8VVCOOUYJ/TheBurntInstall-0052.jpg Australia Council Image 5: Installation View of ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003490450-R3QVNDM05V4D19RG3G5Q/TheBurntcopyphotog8213-2-3.jpg Australia Council Image 6: ‘Cosmic Outsideness’ Unique Silver Gelatin Photogram, 117 x 87 x 5cm in ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003421541-RGJSV1BA41CK61RJ2DSH/birefringence-comp.jpg Australia Council Image 7: Example of Scientific Photography technique Birefringence, showing stresses in transparent materials. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003462476-0GYENYDA0MAPNNQH0Y9N/SchlierenHand-2.jpg Australia Council Image 8: Example of Scientific Photo Technique Schlieren imaging for flow visualisation, showing the heat coming off a models hand. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003427640-I5NV50K0ONP90UKWQ55O/HighSpeed+light+globe+2.jpg Australia Council Image 9: Example of Scientific Photo Technique High Speed Photography, showing a light filament oxidising at 1/8000th of a second. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1538003481905-99QCQRUJ15BG0JKWSFU0/high+speed+bubble+splash.jpg Australia Council Image 10: Example of Scientific Photo Technique High Speed Photography, showing a drop passing through a bubble and splashing into a crown at 1/8000th of a second. http://www.zanwimberley.com/a-profound-gravity daily 0.75 2018-12-03 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816458366-G79AVXZ1X6PPH42DJOUM/APGinstall-002.jpg a profound gravity - A PROFOUND GRAVITY. Artereal Gallery, Sydney, September 2018 A Profound Gravity draws connections between Science and Art, considering the gravitas and levity of the fundamental issues of life, death and the universe. This latest series of works by Zan Wimberley is defined by a considered exploration of the intersection between photography as a process and the way in which it can be seen to metaphorically represent ideas surrounding mortality. Drawing on her knowledge as a trained scientific photographer, Wimberley breaks down and distils the elements that make up the photographic process to transmute lived emotional realities into poignant meditations on the human condition. The exhibition marries together two sides of photography - the physics (optics, light and mass) with the conceptual - the mortality inherent within photography, best described by Roland Barthes as that which ‘produces death while trying to preserve life’. And so photography goes from being the medium to the subject matter as Wimberley uses photography (as both a construction and deconstruction) to illuminate the similarities, double meanings and gravitas of life, death and the photographic process. Illustrative of this idea are a series of photographic images of exploding fireworks - fireworks having become something of a repeat motif within Wimberley’s practice over the last few years. Within the context of Wimberley’s images they are a beautiful metaphor of the fleeting nature of life, a metaphor also inherent in the nature of photography. And like photography – the magic of fireworks is conjured by nothing more than simple light and shadow. At once strikingly beautiful and sublime, the photographs have been conceptualised as an experiment. The photographs are of the same subject matter, taken under the same conditions, with the same exposure, they have been striped back to black and white, and by removing these variables, it is to possible to look at photography and to understand the effect that light and dark can have on emotion. Some images capture the thrilling sense of wonderment and awe, some emulate how we imagine the start of the universe, others conjure a more poignant sense of loss, for every climactic explosion is fleeting, each image is different and no two people looking at the works will have the same experience. In creating artworks in which the medium of photography becomes the subject Wimberley has also turned to neon and installation to explore the elements essential to photography. Using neon light and photographs printed onto silk, Wimberley invites us to consider the interplay between light and shadow through the way that the light bends around the folds of the silk and transmits through the tones of the material. “A Profound Gravity is a show that is about photography. When people start talking about photography, they immediately start talking about something else. Typically, the photograph acts as a signifier - here’s a photo of XYZ – leading to an ensuing conversation about that particular topic. Instead, my latest body of work aims to get people to think about photography. Photography as a discipline, not as a tool. And so I have chosen to present photographs of fireworks, because fireworks are only energy, light and dark, and the arrangement that they happen to form at any given moment can create a different kind of emotion, which I find endlessly fascinating. So along side traditional, framed photographs, I’ve made a series of works with the images printed on silk, and hung over neons, really as an invitation to look at photography not just as two dimensional framed works, but also as the light falling on and through materials, the emotions that that can provoke, while still thinking about all of the things contained within a photograph, time, life, death, the passing of a moment, the studium and the punctum.” - Zan Wimberley (2018) By creating artworks which negotiate the space between the heavy and almost incomprehensible reality of our fleeting time on earth and the mortality inherently implied by the photographic process, Wimberley’s work offers a poignant look at the complex subject of our own mortality. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816458366-G79AVXZ1X6PPH42DJOUM/APGinstall-002.jpg a profound gravity - A PROFOUND GRAVITY. Artereal Gallery, Sydney, September 2018 A Profound Gravity draws connections between Science and Art, considering the gravitas and levity of the fundamental issues of life, death and the universe. This latest series of works by Zan Wimberley is defined by a considered exploration of the intersection between photography as a process and the way in which it can be seen to metaphorically represent ideas surrounding mortality. Drawing on her knowledge as a trained scientific photographer, Wimberley breaks down and distils the elements that make up the photographic process to transmute lived emotional realities into poignant meditations on the human condition. The exhibition marries together two sides of photography - the physics (optics, light and mass) with the conceptual - the mortality inherent within photography, best described by Roland Barthes as that which ‘produces death while trying to preserve life’. And so photography goes from being the medium to the subject matter as Wimberley uses photography (as both a construction and deconstruction) to illuminate the similarities, double meanings and gravitas of life, death and the photographic process. Illustrative of this idea are a series of photographic images of exploding fireworks - fireworks having become something of a repeat motif within Wimberley’s practice over the last few years. Within the context of Wimberley’s images they are a beautiful metaphor of the fleeting nature of life, a metaphor also inherent in the nature of photography. And like photography – the magic of fireworks is conjured by nothing more than simple light and shadow. At once strikingly beautiful and sublime, the photographs have been conceptualised as an experiment. The photographs are of the same subject matter, taken under the same conditions, with the same exposure, they have been striped back to black and white, and by removing these variables, it is to possible to look at photography and to understand the effect that light and dark can have on emotion. Some images capture the thrilling sense of wonderment and awe, some emulate how we imagine the start of the universe, others conjure a more poignant sense of loss, for every climactic explosion is fleeting, each image is different and no two people looking at the works will have the same experience. In creating artworks in which the medium of photography becomes the subject Wimberley has also turned to neon and installation to explore the elements essential to photography. Using neon light and photographs printed onto silk, Wimberley invites us to consider the interplay between light and shadow through the way that the light bends around the folds of the silk and transmits through the tones of the material. “A Profound Gravity is a show that is about photography. When people start talking about photography, they immediately start talking about something else. Typically, the photograph acts as a signifier - here’s a photo of XYZ – leading to an ensuing conversation about that particular topic. Instead, my latest body of work aims to get people to think about photography. Photography as a discipline, not as a tool. And so I have chosen to present photographs of fireworks, because fireworks are only energy, light and dark, and the arrangement that they happen to form at any given moment can create a different kind of emotion, which I find endlessly fascinating. So along side traditional, framed photographs, I’ve made a series of works with the images printed on silk, and hung over neons, really as an invitation to look at photography not just as two dimensional framed works, but also as the light falling on and through materials, the emotions that that can provoke, while still thinking about all of the things contained within a photograph, time, life, death, the passing of a moment, the studium and the punctum.” - Zan Wimberley (2018) By creating artworks which negotiate the space between the heavy and almost incomprehensible reality of our fleeting time on earth and the mortality inherently implied by the photographic process, Wimberley’s work offers a poignant look at the complex subject of our own mortality. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816609844-B2BVAC6M30Z9TTVUYXZ7/APGinstall-004.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816309355-CZHYAFJ8L2GEN16MWNO1/APGinstall-001.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816492864-EY5J62AA25NFF2AKPBUO/APGinstall-003.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816823332-DEXNP3FZ3U87SCOIFCBZ/APGinstall-006.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816831882-2V1AQI99R0UHLP8W0Y52/APGinstall-007.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816642937-R7K4CQNAF0Z9ZAOCM46V/APGinstall-005.jpg a profound gravity https://static1.squarespace.com/static/55d2e30ae4b0a6ed87689ef5/5c04c053cd83660cfbc1b2f2/5c04c2a8352f53c27695db44/1543815848669/ a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816018218-7DW4L7PAI5OC35SE4I6K/APG6-0001.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816002627-HXE5EQFNPJ9MBFY7080G/APG6-0002.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816105601-ZP9K9Y4OIGTV0DA32763/APG6-0003.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816130982-X9M29535ASYYSD7G1HPP/APG6-0004.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816249428-6Y3Y0QC4I12Q579D9Y86/APG6-0005.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816967298-NGBUNJC94A9KLCOBQRF5/APGLARGE.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817554449-4L3FREQDO5R4U4AZ19D9/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatterInstall-0001.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543816966458-ZSZWFO9HROBNZ3EIDCUW/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-01-1.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817109996-A1OBK6X7AXV8XYK6ACVD/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-01-2.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817083252-LV8V3O8425TVRKFU1SD7/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-02-1.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817262061-2QRS7HN9DW4K34ESGEIP/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-03-1.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817282384-H9AL5NVXFNFEE4SG9OMV/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-03-2.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817453030-GFGGN4AKWROXPTQTY70I/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-04-1.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817380524-B7X0WBT3ZLG3N4AAXN63/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-04-2.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817514596-F8PDWGUTETC8TBGAU14F/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-05-1.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817527540-FJSCPIMY9JPYYL177FWL/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-05-2.jpg a profound gravity https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543817544602-ONS5QBPKC7BBVI0HI36V/APGZanWimberley-TheEffectsOfInteractionBetweenLightAndMatter-05-3.jpg a profound gravity http://www.zanwimberley.com/the-burnt daily 0.75 2018-12-03 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823294237-A4W6ETG419S0X377QAKH/TheBurntInstall-0052.jpg the burnt - THE BURNT. Fort Delta, Melbourne, 2017. In her first exhibition The Burnt at Fort Delta, Zan Wimberley presents a wry meditation on human creation and demise. Over the past fours years her practice has traversed the photographic medium, focusing on still life photography, portraiture and hyper-real photographic works; her exhibitions operating through conceptual and documentary modes. Her new exhibition announces our awareness of dire political and scientific climates synchronized with an increasingly difficult zeitgeist to experience, history telling of such times as ages of endarkenment. Though, Wimberley pushes our current endarkenment closer to a scenario of end game. Her political stoic for coercive terms such as ‘climate change’ employed by right-wing major powers for over half a century, and her position on the reluctance for accountability or major action from Governments in the wake of irreversible damage upon the earth is the seething here and now for humanity. Sensitive, scathing and enigmatically luring in a darkened room, the conceptual equations Wimberley’s new works draw out and conclude are poetic as outlets and also operate as traps. Her new large suite of unique black and white photograms feature predominately in the show. Using fire as a medium to summon absolution, the works form images through a difficult and volatile employment of pyrotechnics, rolling flames and flash powder - scorching destruction as factual reality. Forged with risk and chance as unfathomable apparitions of sorcery - appearing hellish, celestial and meditative all at once – they mimic great powers of a destroyed world as ones who play with fire in the dark. Starkly contrasting these impressions is a range of neon works. Driven by powerful semiotics, which in the context Wimberley has framed them in, take on frightful characteristics as myth-turned-realities. Using neon to communicate messages from the hype-space of the Internet and the dooms-day frenzy she has observed playing out there, Wimberley addresses a linkage between this superfluous and reduced form of spectacle and how it forms a twisted politics of apathy in the actual spaces of ourmworld, which are torn. Scientific and phenomenological; one elegant, open triangle neon work, it’s axis positioned at 15 degrees, comes to recall the recent movement of The Bulletin of the Atomic Scientists ‘Doomsday Clock’. Kept since 1947, the device was set to record the likelihood of a manmade catastrophe; it’s recent movement to two and a half minutes to midnight extremely alarming to scientists; circulating the Internet with a buzz and disconcerting sense of fodder. Perhaps Wimberley’s most sensitive ploy in The Burnt and for what she articulates to us through her art is also the exhibition’s most diabolical. A neon forming the ‘shrug’ emoticon; born from the stuff of the Internet and possibly nihilism’s definitive contemporary moment is installed at a height of religious piety. Appearing seemingly harmless and resigned, Wimberley’s context reveals it’s devout apathy – one that haunts long, long after you leave it’s presence – to carry deeper subtexts all too incomprehensible and incredibly close. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823294237-A4W6ETG419S0X377QAKH/TheBurntInstall-0052.jpg the burnt - THE BURNT. Fort Delta, Melbourne, 2017. In her first exhibition The Burnt at Fort Delta, Zan Wimberley presents a wry meditation on human creation and demise. Over the past fours years her practice has traversed the photographic medium, focusing on still life photography, portraiture and hyper-real photographic works; her exhibitions operating through conceptual and documentary modes. Her new exhibition announces our awareness of dire political and scientific climates synchronized with an increasingly difficult zeitgeist to experience, history telling of such times as ages of endarkenment. Though, Wimberley pushes our current endarkenment closer to a scenario of end game. Her political stoic for coercive terms such as ‘climate change’ employed by right-wing major powers for over half a century, and her position on the reluctance for accountability or major action from Governments in the wake of irreversible damage upon the earth is the seething here and now for humanity. Sensitive, scathing and enigmatically luring in a darkened room, the conceptual equations Wimberley’s new works draw out and conclude are poetic as outlets and also operate as traps. Her new large suite of unique black and white photograms feature predominately in the show. Using fire as a medium to summon absolution, the works form images through a difficult and volatile employment of pyrotechnics, rolling flames and flash powder - scorching destruction as factual reality. Forged with risk and chance as unfathomable apparitions of sorcery - appearing hellish, celestial and meditative all at once – they mimic great powers of a destroyed world as ones who play with fire in the dark. Starkly contrasting these impressions is a range of neon works. Driven by powerful semiotics, which in the context Wimberley has framed them in, take on frightful characteristics as myth-turned-realities. Using neon to communicate messages from the hype-space of the Internet and the dooms-day frenzy she has observed playing out there, Wimberley addresses a linkage between this superfluous and reduced form of spectacle and how it forms a twisted politics of apathy in the actual spaces of ourmworld, which are torn. Scientific and phenomenological; one elegant, open triangle neon work, it’s axis positioned at 15 degrees, comes to recall the recent movement of The Bulletin of the Atomic Scientists ‘Doomsday Clock’. Kept since 1947, the device was set to record the likelihood of a manmade catastrophe; it’s recent movement to two and a half minutes to midnight extremely alarming to scientists; circulating the Internet with a buzz and disconcerting sense of fodder. Perhaps Wimberley’s most sensitive ploy in The Burnt and for what she articulates to us through her art is also the exhibition’s most diabolical. A neon forming the ‘shrug’ emoticon; born from the stuff of the Internet and possibly nihilism’s definitive contemporary moment is installed at a height of religious piety. Appearing seemingly harmless and resigned, Wimberley’s context reveals it’s devout apathy – one that haunts long, long after you leave it’s presence – to carry deeper subtexts all too incomprehensible and incredibly close. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823302901-E1M3ASDUN7DWZQGE08EN/TheBurntInstall-0061.jpg the burnt https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823482574-GT33JNJ0HTVIFCWWT555/TheBurntInstall-0110.jpg the burnt https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823518978-6A6RLID6F78Z0W10L0AI/TheBurntInstall-0125.jpg the burnt https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1543823737146-Y17DI09IGYSPNQG9GZF2/TheBurntInstall-0132.jpg the burnt http://www.zanwimberley.com/ian-potter daily 0.75 2019-01-12 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275916851-M02VLSFBXDY5IOSEVP2E/APGinstall-018-1.jpg Ian Potter Image 1: Installation view of ‘Light as Mass’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275916851-M02VLSFBXDY5IOSEVP2E/APGinstall-018-1.jpg Ian Potter Image 1: Installation view of ‘Light as Mass’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275910694-LFCQEQKRLY40KRD24HFE/AProfoundGravity-0156.jpg Ian Potter Image 2: Installation view of ‘The Effects of Interaction Between Light and Matter’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276258760-3WGZWMDYOSXEF2RJ40T4/ArterealSeptember2018-0008.jpg Ian Potter Image 3: Installation view of ‘A Profound Gravity’, at Artereal Gallery, 2018. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275939525-92U3W3MDAPIY3NLVV2ER/ArterealSeptember2018-0005.jpg Ian Potter Image 4: Installation view of ‘The Impact of the Relationship Between Light and Dark, 1 - 5’ in ‘A Profound Gravity’, at Artereal Gallery, 2018. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275964608-6OVRLBD0IGEYJ13B2EX1/ArterealSeptember2018-0006.jpg Ian Potter Image 5: Installation view of ‘The Impact of the Relationship Between Light and Dark, 6’ in ‘A Profound Gravity’, at Artereal Gallery, 2018. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547275934258-L5JBC6T6MJPAMVMLCQ41/ArterealSeptember2018-0004.jpg Ian Potter Image 6: Installation view of ‘Light as Mass’ in ‘A Profound Gravity’, at Artereal Gallery, 2018 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276191591-DOGR0TMMH549XSU56W7W/TheBurntInstall-0052.jpg Ian Potter Image 7: Installation View of ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276159819-2YZMIYD3YW8IA0V9O0B8/TheBurntcopyphotog8213-2-3.jpg Ian Potter Image 8: ‘Cosmic Outsideness’ Unique Silver Gelatin Photogram, 117 x 87 x 5cm in ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276358584-IVL1TX4WXMC8HPAXH8PO/TheBurntInstall-0061.jpg Ian Potter Image 9: Installation View of ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276415668-2L8F7QENKFJWXJPUG662/TheBurntInstall-0125.jpg Ian Potter Image 10: Installation View of ‘The Burnt’ at Fort Delta, 2017. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276387737-VPAT8YDPEZKVASKYR9CO/ZanWimberleyWhoCouldBear-011.jpg Ian Potter Image 11: Installation View of ‘Who Could Bear To Look Up At The Night Sky And Know Which Stars Are Already Dead’ at Artereal, 2016. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276444990-BTY2K0UGGWFP1I0SFS3I/ZanWimberleyWhoCouldBear-009.jpg Ian Potter Image 12: Installation View of ‘I Dreamed About Climbing Into The Night Sky’ from ‘Who Could Bear To Look Up At The Night Sky And Know Which Stars Are Already Dead’ at Artereal, 2016. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276421198-M2OPYGW5J83QTP2H5HK0/ZanWimberleyWhoCouldBear-014.jpg Ian Potter Image 13: Installation View of ‘Who Could Bear To Look Up At The Night Sky And Know Which Stars Are Already Dead’ at Artereal, 2016. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276419912-7KNUB2DTXGKBMQT5TZ40/ZanWimberleyWhoCouldBear-003.jpg Ian Potter Image 14: ‘ZAHA’ unique stereoscope for displaying 3D images from ‘Who Could Bear To Look Up At The Night Sky And Know Which Stars Are Already Dead’ at Artereal, 2016. (front) https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276426827-E6CWVQKRP0WJ6TP7DIQG/ZanWimberleyWhoCouldBear-005.jpg Ian Potter Image 15: ‘ZAHA’ unique stereoscope for displaying 3D images from ‘Who Could Bear To Look Up At The Night Sky And Know Which Stars Are Already Dead’ at Artereal, 2016. (side) https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276003812-LPWU9ST7RYIL5C6584PM/birefringence-comp.jpg Ian Potter Image 16: Example of Scientific Photography technique Birefringence, showing stresses in transparent materials. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276015147-N58TD0HKSXQJI809UE0K/Hair+for+Peggie.jpg Ian Potter Image 17: Example of Scientific Photo Technique Schlieren imaging for flow visualisation, showing the heat plume from a hairdryer. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276125567-RQNORV76HNL1M4B5OFL4/SchlierenHand-2.jpg Ian Potter Image 18: Example of Scientific Photo Technique Schlieren imaging for flow visualisation, showing the heat coming off a models hand. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276081622-FBBJ7992BPS7IBU2H5V1/high+speed+bubble+splash.jpg Ian Potter Image 19: Example of Scientific Photo Technique High Speed Photography, showing a drop passing through a bubble and splashing into a crown at 1/8000th of a second. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1547276087591-ZZVHRQ4LNAK78T2ECYPX/HighSpeed+light+globe+2.jpg Ian Potter Image 20: Example of Scientific Photo Technique High Speed Photography, showing a light filament oxidising at 1/8000th of a second. http://www.zanwimberley.com/carriageworks-x-zan-wimberley daily 0.75 2019-09-03 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567551981614-1VS8P0EHJR8O2DWENCBO/ZWxCWset1-0001.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567551981614-1VS8P0EHJR8O2DWENCBO/ZWxCWset1-0001.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552723322-QXS4KP9GVYGDOLSKA23L/ZWxCWset1-0002.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552742481-7O74P74QCWDO5JQ5QXQZ/ZWxCWset1-0003.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552752043-DXP9BSGORSAIXGAHMBP9/ZWxCWset1-0004.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552760568-IZIHJMPBILZ6UFQUV4CG/ZWxCWset1-0005.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552772237-8UX5QMXFU8BHJO4WB3VA/ZWxCWset1-0006.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552781159-9Y98A6EOID5L6YVOQXE4/ZWxCWset1-0007.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552793208-FMGGL2279WQX631LR7Y3/ZWxCWset1-0008.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552800320-A2UVT2EQMK5ILSEJCLQ6/ZWxCWset1-0009.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552808862-N00UA5O6AY48SBNDZEM0/ZWxCWset1-0010.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552820552-ZG1M9GZW9WVN8AEPRX7H/ZWxCWset1-0011.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552836431-RRP48K5S46CNTG4WNEHD/ZWxCWset1-0012.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552845678-M2IU2LHTPTRYHAC0C4IX/ZWxCWset1-0013.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552859784-D0JMDUJDH7JWR1YY9LLT/ZWxCWset1-0014.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552873058-RUV889J9H088MTNDV9N1/ZWxCWset1-0015.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552879825-7B6O2MCJ2BZ9VN0US9CB/ZWxCWset1-0016.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552889755-QO7CXZ6I0RQX4G198K70/ZWxCWset1-0017.jpg carriageworks x zan wimberley https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1567552909839-A3P77AOUM3AT6CK4TH0L/ZWxCWset1-0018.jpg carriageworks x zan wimberley http://www.zanwimberley.com/coal-and-ice daily 0.75 2026-02-25 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1588405414275-5BNCJ1XV9IYWKR1QI3HF/VergeFeb2020-0023.jpg coal and ice Coal and Ice and Cascade were presented as a part of group show Photomechanical at Verge Gallery, Sydney in February 2019. The series centers around that idea that as the visual manifestation of physics, the study of light, space and time, photography, or expanded photography, is uniquely positioned to be the medium to help us visualise and understand climate change. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1588405414275-5BNCJ1XV9IYWKR1QI3HF/VergeFeb2020-0023.jpg coal and ice Coal and Ice and Cascade were presented as a part of group show Photomechanical at Verge Gallery, Sydney in February 2019. The series centers around that idea that as the visual manifestation of physics, the study of light, space and time, photography, or expanded photography, is uniquely positioned to be the medium to help us visualise and understand climate change. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1588405747846-H85PTF4P6Q59PUIJ3VY1/image-asset.jpeg coal and ice - Cascade Breaking down the fundamental mechanics of photography, light source - subject - image, as an installation, Wimberley makes cognitively understood and physically felt but invisible heat - visible in real time with Cascade. In this artwork, the vortices and currents from the heat created by the flame in the candle are activated by the movement of bodies of the audience as they disrupt the air patterns, walking around, breathing and manually manipulating the stream of heat from the flame, showing the invisible effect that humans have on the world around that for the most part, remains invisible to us. Cascade transgresses photography to become physics as installation and performance. Cascade, 2020, light installation, black painted steel, light, candle. https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/1588404554178-6K87ZSVQ0EBO91M9GQYU/image-asset.jpeg coal and ice - Coal and Ice Using more refined version of the obscura installation to manipulate light in order to visualise Co2, this two channel video work, Coal and Ice addresses the Climate Crisis by drawing a line directly between the burning of coal and the melting of glaciers and arctic ice. Sourcing Glacial Ice from Icelandic Glaciers while on residency with Studio Olafur Eliasson in Berlin, and Black Coal from a mine in Queensland, Wimberley has recorded two beautiful, inverted videos, one showing Co2 falling slowly and beautifully from a chunk of glacial ice as it melts, the other showing the heat rising furiously as a lump of coal burns. Coal and Ice visualises and brings together the abstract, hyper object concept of Climate Change and its consequences. Coal and Ice, 2020, Two channel HD video, 18:31 min. http://www.zanwimberley.com/about daily 0.75 2025-10-28 http://www.zanwimberley.com/pagecv daily 0.75 2019-09-04 http://www.zanwimberley.com/read-me-forte daily 0.75 2025-05-12 https://images.squarespace-cdn.com/content/v1/51e6b9c9e4b050adffbe392c/1377616053602-SMX7MP0YBIW91I0BIW2R/MECO+%2820130827%29.jpg Read Me https://images.squarespace-cdn.com/content/v1/51e6b9c9e4b050adffbe392c/1377616058866-XDBA3BE26TPEK3SCRT9J/Screen+Shot+2013-08-27+at+11.06.39+AM.jpg Read Me http://www.zanwimberley.com/prints daily 0.75 2025-11-04 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/796d6fb1-0c96-46e7-9540-f34ad1a9c5d1/ZWimberley2025-MFH-HarbourPrint-001.jpg Prints http://www.zanwimberley.com/prints/marchforhumanity monthly 0.5 2025-12-16 https://images.squarespace-cdn.com/content/v1/55d2e30ae4b0a6ed87689ef5/796d6fb1-0c96-46e7-9540-f34ad1a9c5d1/ZWimberley2025-MFH-HarbourPrint-001.jpg Prints - 03 08 2025 - March for Humanity to save Gaza, Sydney Harbour Bridge edition print (Fundraiser for MSF) - ZWimberley2025-MFH-HarbourPrint-001.jpg (Copy)