WEBVTT
1
00:00:06.100 --> 00:00:08.520
Hello and welcome everyone.
2
00:00:08.520 --> 00:00:10.810
It's great to see you all streaming in
3
00:00:10.810 --> 00:00:15.370
from all over Australia and probably overseas as well.
4
00:00:15.370 --> 00:00:16.490
My name's Robert,
5
00:00:16.490 --> 00:00:20.440
I'm here at the National Portrait Gallery of Australia,
6
00:00:20.440 --> 00:00:24.810
by the banks of the beautiful Lake Burley Gryphon.
7
00:00:24.810 --> 00:00:26.390
It's my job to welcome you
8
00:00:26.390 --> 00:00:28.970
and to give you a few housekeeping tips
9
00:00:28.970 --> 00:00:31.820
before we get underway with our in conversation
10
00:00:31.820 --> 00:00:34.400
with photographer, Polly Borland.
11
00:00:34.400 --> 00:00:38.060
We're very excited Polly's online from LA.
12
00:00:38.060 --> 00:00:40.330
And just before we get started,
13
00:00:40.330 --> 00:00:43.170
if you'd like to be part of the conversation,
14
00:00:43.170 --> 00:00:44.920
why don't you use the chat function,
15
00:00:44.920 --> 00:00:47.830
which you can probably find at the bottom of your screen,
16
00:00:47.830 --> 00:00:52.550
if you're on a laptop, and if you wanna get started,
17
00:00:52.550 --> 00:00:54.920
why not put into the chat function
18
00:00:54.920 --> 00:00:56.570
where you're dialling in from today?
19
00:00:56.570 --> 00:00:58.120
'Cause we're always very excited
20
00:00:58.120 --> 00:00:59.943
to see our geographic reach.
21
00:01:01.090 --> 00:01:04.680
We have got live captions today, machine generated.
22
00:01:04.680 --> 00:01:07.300
So they're not always perfectly accurate,
23
00:01:07.300 --> 00:01:09.550
but if you'd like to access those,
24
00:01:09.550 --> 00:01:14.550
go to the live transcript button in your Zoom menu as well.
25
00:01:14.970 --> 00:01:16.920
We are recording today's session,
26
00:01:16.920 --> 00:01:19.740
it'll probably appear on our website at some stage,
27
00:01:19.740 --> 00:01:21.083
so just be aware of that.
28
00:01:24.100 --> 00:01:25.950
Today, we're broadcasting
29
00:01:25.950 --> 00:01:28.610
from the National Portrait Gallery itself,
30
00:01:28.610 --> 00:01:29.960
and we are on the lands
31
00:01:29.960 --> 00:01:32.490
of the and Ngunnawal and Namadgi peoples.
32
00:01:32.490 --> 00:01:36.850
And I'd like to acknowledge their elders past, present,
33
00:01:36.850 --> 00:01:40.850
and emerging and acknowledge their continuing connection
34
00:01:40.850 --> 00:01:42.770
to the lands and the waters and the communities
35
00:01:42.770 --> 00:01:45.683
and the skies of this beautiful Canberra region.
36
00:01:46.800 --> 00:01:48.530
So without any further ado,
37
00:01:48.530 --> 00:01:51.180
I'm going to cross over now to Gill,
38
00:01:51.180 --> 00:01:55.683
who's gonna be in conversation with Polly in Los Angeles.
39
00:01:57.100 --> 00:01:58.530
Thanks so much, Robert,
40
00:01:58.530 --> 00:02:00.730
thank you for that lovely introduction.
41
00:02:00.730 --> 00:02:03.730
And I would like to extend an extremely warm welcome.
42
00:02:03.730 --> 00:02:06.150
It's a bit warmer here than it is there, I'm afraid
43
00:02:06.150 --> 00:02:07.590
to see the wonderful Polly Borland
44
00:02:07.590 --> 00:02:10.500 line:15%
and Polly, thank you so much for joining us today.
45
00:02:10.500 --> 00:02:11.693 line:15%
Thanks for having me.
46
00:02:13.400 --> 00:02:16.660 line:15%
Polly, I think my love affair with your work
47
00:02:16.660 --> 00:02:19.760 line:15%
began all the way back in 2001,
48
00:02:19.760 --> 00:02:21.320 line:15%
when the National Portrait Gallery,
49
00:02:21.320 --> 00:02:23.900 line:15%
before it was in the building that you see behind me here,
50
00:02:23.900 --> 00:02:26.080 line:15%
we didn't have a purpose built building at that time
51
00:02:26.080 --> 00:02:30.270 line:15%
back in 2001, we were smushed in with old parliament house,
52
00:02:30.270 --> 00:02:32.940 line:15%
but we were known for our cutting-edge
53
00:02:32.940 --> 00:02:34.460 line:15%
and our exciting exhibitions.
54
00:02:34.460 --> 00:02:37.200 line:15%
And one of those exhibitions was called Australians
55
00:02:37.200 --> 00:02:41.740 line:15%
and it was a whole raft of portraits by Polly Borland.
56
00:02:41.740 --> 00:02:45.460 line:15%
So Polly, would you like to maybe give a little intro
57
00:02:45.460 --> 00:02:47.480 line:15%
to our audiences a little bit about yourself
58
00:02:47.480 --> 00:02:49.910 line:15%
and then we might jump into some of those images
59
00:02:49.910 --> 00:02:53.470 line:15%
that were featured in that Australians exhibition?
60
00:02:53.470 --> 00:02:55.203
Yeah, so, okay.
61
00:02:55.203 --> 00:02:59.190
Well, I studied in Melbourne Australia.
62
00:02:59.190 --> 00:03:03.860
My memory of dates and years is not brilliant,
63
00:03:03.860 --> 00:03:06.240
but it was the early eighties.
64
00:03:06.240 --> 00:03:11.157
And I was studying at Parang college, which is now the BCI.
65
00:03:12.010 --> 00:03:17.010
And I was an art college, which had fine art sculpture,
66
00:03:19.130 --> 00:03:22.420
printmaking, all sorts of different mediums
67
00:03:22.420 --> 00:03:23.800
and they had photography.
68
00:03:23.800 --> 00:03:28.800
So I studied there and in those days it was only a diploma.
69
00:03:30.090 --> 00:03:31.930
So I got a diploma of photography,
70
00:03:31.930 --> 00:03:35.780
but we had brilliant lecturers
71
00:03:35.780 --> 00:03:39.900
and they are all working in their various fields
72
00:03:39.900 --> 00:03:43.100
of photography and film.
73
00:03:43.100 --> 00:03:44.900
We had some filmmakers as well.
74
00:03:44.900 --> 00:03:46.730
So that's where I started.
75
00:03:46.730 --> 00:03:50.160
I actually, before that, I started in high school.
76
00:03:50.160 --> 00:03:55.160
I went to a school called Tenedon up in the hills
77
00:03:55.250 --> 00:03:58.940
and it was a hippie school and I loved art history
78
00:04:00.220 --> 00:04:03.235
but I felt that I couldn't draw paint.
79
00:04:03.235 --> 00:04:04.540
And in those days when you studied art history,
80
00:04:04.540 --> 00:04:07.280
you had to be able to do a practical subject as well
81
00:04:07.280 --> 00:04:09.440
at IHSC level.
82
00:04:09.440 --> 00:04:13.530
And so one day the teacher said to me, well,
83
00:04:13.530 --> 00:04:15.340
if you don't feel you can draw paint,
84
00:04:15.340 --> 00:04:17.220
why don't I set up a dark for you?
85
00:04:17.220 --> 00:04:19.310
So actually that's where it all started.
86
00:04:19.310 --> 00:04:21.970
At the end of my high school years,
87
00:04:21.970 --> 00:04:26.570
I started taking photos and I've been taking photos
88
00:04:26.570 --> 00:04:29.173
for probably about 40 years now.
89
00:04:30.450 --> 00:04:32.960
And I'm still shooting film.
90
00:04:32.960 --> 00:04:35.200
So that's really where I started.
91
00:04:35.200 --> 00:04:39.300
And portraits came first will fashion and portraits.
92
00:04:39.300 --> 00:04:44.230
I gave away the fashion when I moved to England
93
00:04:44.230 --> 00:04:47.350
and started doing mainly portraits
94
00:04:47.350 --> 00:04:50.750
and repertory for magazines.
95
00:04:50.750 --> 00:04:53.330
So I was sort of an editorial photographer,
96
00:04:53.330 --> 00:04:58.330
but my always my first blog or my first intention
97
00:04:59.140 --> 00:05:01.080
was really to exhibit my work,
98
00:05:01.080 --> 00:05:05.530
but people were always central to my practise.
99
00:05:05.530 --> 00:05:10.140
So that's really where I started.
100
00:05:10.140 --> 00:05:12.390
And the Australians came about
101
00:05:12.390 --> 00:05:15.320
because of the National Portrait Gallery in London
102
00:05:15.320 --> 00:05:18.960
used to buy some of my portraits and day.
103
00:05:18.960 --> 00:05:21.560
I had a very good relationship with Terrence Pepper,
104
00:05:21.560 --> 00:05:26.560
who was the curator of photography there.
105
00:05:27.580 --> 00:05:31.490
And one day I said to him, so how do you get a show here?
106
00:05:31.490 --> 00:05:33.910
And he went, well, you've got to come up with a good idea.
107
00:05:33.910 --> 00:05:36.520 line:15%
And I even think it was his idea
108
00:05:36.520 --> 00:05:41.520 line:15%
that I did prominent Australians in London
109
00:05:43.510 --> 00:05:45.350 line:15%
or in England that were living in England.
110
00:05:45.350 --> 00:05:48.950
So that's how that all came about.
111
00:05:48.950 --> 00:05:51.740
And of course I snuck a few of my friends in as well.
112
00:05:51.740 --> 00:05:55.533
So yeah, which was great.
113
00:05:57.680 --> 00:05:59.453
So that's how that happened.
114
00:06:01.400 --> 00:06:03.725 line:15%
Should we have a little look through some of those images
115
00:06:03.725 --> 00:06:05.432 line:15%
because a lot of those actually ended up
116
00:06:05.432 --> 00:06:08.056 line:15%
in the National Portrait Gallery of Australia's collection.
117
00:06:08.056 --> 00:06:11.299 line:15%
So maybe we can that flick through to the next slide,
118
00:06:11.299 --> 00:06:12.132 line:15%
Robert and have a little look through
119
00:06:12.132 --> 00:06:13.370 line:15%
some of the selections.
120
00:06:13.370 --> 00:06:15.490
Oh, do you want to talk about Nick first Polly?
121
00:06:15.490 --> 00:06:17.910
Or should we go onto the Australians?
122
00:06:17.910 --> 00:06:22.063
Let's go onto the Australians and then Nick kind of, yeah.
123
00:06:22.920 --> 00:06:25.600
Well, this actually wasn't done for the Australians.
124
00:06:25.600 --> 00:06:29.280
This was done for a magazine in Australia
125
00:06:29.280 --> 00:06:31.420 line:15%
when I was back visiting once
126
00:06:31.420 --> 00:06:36.030 line:15%
and Australian Star magazine, I think it was.
127
00:06:36.030 --> 00:06:38.380 line:15%
And I hate, they asked me to do
128
00:06:38.380 --> 00:06:43.380 line:15%
various Australian music industry people,
129
00:06:43.790 --> 00:06:46.760 line:15%
and I managed to get John Farnham,
130
00:06:46.760 --> 00:06:51.023 line:15%
which actually I really enjoyed doing.
131
00:06:52.643 --> 00:06:54.990 line:15%
And so, yeah, this is one from that,
132
00:06:54.990 --> 00:06:57.440 line:15%
but it wasn't actually in the Australian show
133
00:06:57.440 --> 00:06:59.550 line:15%
because he never lived in England.
134
00:06:59.550 --> 00:07:03.260 line:15%
Although he might've been English by birth.
135
00:07:03.260 --> 00:07:04.093 line:15%
I don't know.
136
00:07:04.093 --> 00:07:05.373 line:15%
I don't remember that, but.
137
00:07:06.310 --> 00:07:08.330
It hasn't been really distinctive.
138
00:07:08.330 --> 00:07:10.790
I mean, obviously he's lying on a bed of some kind,
139
00:07:10.790 --> 00:07:13.100
so there's a sort of a duner or a bedspread,
140
00:07:13.100 --> 00:07:16.610
but your portraits actually have that distinctive backdrop,
141
00:07:16.610 --> 00:07:19.000
which is very carefully curated by yourself.
142
00:07:19.000 --> 00:07:21.210
Was this early in that kind of development
143
00:07:21.210 --> 00:07:23.863
of that amazing backdrop.
144
00:07:24.771 --> 00:07:29.549
It kind of, yeah, so probably was,
145
00:07:29.549 --> 00:07:34.440
and this we found the best location in Melbourne,
146
00:07:34.440 --> 00:07:37.040
but I cannot, it was like an old hotel,
147
00:07:37.040 --> 00:07:42.040
but it was all like original deco I was told.
148
00:07:42.160 --> 00:07:44.830
I mean, there's a whole lot of other photos from this series
149
00:07:44.830 --> 00:07:47.220 line:15%
and they're really like the setting.
150
00:07:47.220 --> 00:07:49.760 line:15%
The location was amazing.
151
00:07:49.760 --> 00:07:51.070 line:15%
So it was a hotel.
152
00:07:51.070 --> 00:07:53.567 line:15%
So this was probably a hotel bed
153
00:07:53.567 --> 00:07:55.650 line:15%
and this was probably the bedspread
154
00:07:55.650 --> 00:07:58.180 line:15%
on the bed in the hotels.
155
00:07:58.180 --> 00:08:02.110 line:15%
So, and I just don't remember the exact details,
156
00:08:02.110 --> 00:08:05.200 line:15%
which I'm afraid everyone's gonna have to bear with me.
157
00:08:05.200 --> 00:08:07.990 line:15%
'Cause there's not a lot I remember nowadays,
158
00:08:07.990 --> 00:08:10.900 line:15%
but this, I just remember it was art deco.
159
00:08:10.900 --> 00:08:14.280 line:15%
It was an incredible setting on of course
160
00:08:16.376 --> 00:08:18.010 line:15%
was this in the Australians show.
161
00:08:18.010 --> 00:08:21.410 line:15%
It maybe I took this to the Australian show.
162
00:08:21.410 --> 00:08:26.410 line:15%
And this was, I'd actually photographed Michael,
163
00:08:27.950 --> 00:08:31.770 line:15%
when he was in access, I'd done a music video
164
00:08:31.770 --> 00:08:36.770 line:15%
with somebody where it was all stills and I were animated.
165
00:08:36.900 --> 00:08:40.550 line:15%
It was, I'm not, yeah,
166
00:08:40.550 --> 00:08:41.740 line:15%
I can't remember the name,
167
00:08:41.740 --> 00:08:45.230 line:15%
but it was for their breakout hit for America,
168
00:08:45.230 --> 00:08:50.030 line:15%
which I think all you need or, something like that.
169
00:08:50.030 --> 00:08:53.860 line:15%
And anyways, so I knew Michael,
170
00:08:53.860 --> 00:08:56.810 line:15%
this was taken for the Australian.
171
00:08:56.810 --> 00:09:01.130 line:15%
Richard Lowenstein was the director of the video.
172
00:09:01.130 --> 00:09:03.510 line:15%
Anyway, this was taken for the Australian show
173
00:09:03.510 --> 00:09:07.740 line:15%
and I went, he was living with Paula Yachts,
174
00:09:07.740 --> 00:09:12.637 line:15%
their baby and all their kids in Bob Geldof's house.
175
00:09:15.090 --> 00:09:17.320
Somehow they'd ended up in Bob
176
00:09:17.320 --> 00:09:20.060
even though they are all with Bob Geldof,
177
00:09:20.060 --> 00:09:21.750
they'd ended up in Bob Geldof house.
178
00:09:21.750 --> 00:09:25.210
And he was in Michael's house.
179
00:09:25.210 --> 00:09:28.630
And I went there and took this photo.
180
00:09:28.630 --> 00:09:31.750
And this was not long before,
181
00:09:31.750 --> 00:09:34.030
he had that terrible accident.
182
00:09:34.030 --> 00:09:37.830
And then, well, we don't know how he really,
183
00:09:37.830 --> 00:09:40.620
we know how he died, but we don't know.
184
00:09:40.620 --> 00:09:43.910
I don't think we know exactly what happened,
185
00:09:43.910 --> 00:09:46.860
but he was lovely.
186
00:09:46.860 --> 00:09:48.400
That's all I can say about Michael.
187
00:09:48.400 --> 00:09:49.423 line:15%
He was lovely.
188
00:09:52.120 --> 00:09:54.870 line:15%
And this is quite a sort of,
189
00:09:54.870 --> 00:09:57.680 line:15%
it's a bit disturbing this portrait.
190
00:09:57.680 --> 00:10:02.680 line:15%
It's a little bit religious, I think,
191
00:10:04.090 --> 00:10:07.300
it's quite weird, but I'd kind of gotten into trying
192
00:10:07.300 --> 00:10:11.363
to contort my sitters at that point.
193
00:10:12.230 --> 00:10:14.550
It was sort of a development
194
00:10:14.550 --> 00:10:18.370
that came from make sort of not really
195
00:10:18.370 --> 00:10:22.070
been finding portraiture, creatively satisfying.
196
00:10:22.070 --> 00:10:24.970
So I used to try and get my sitters
197
00:10:24.970 --> 00:10:29.203
in interesting shapes with their bodies.
198
00:10:31.437 --> 00:10:33.760
And that's how this one came about.
199
00:10:34.910 --> 00:10:36.300
That's interesting paper should hold
200
00:10:36.300 --> 00:10:37.730
that thought in their mind too,
201
00:10:37.730 --> 00:10:40.810
because when we go on to look at some in your morph series
202
00:10:40.810 --> 00:10:42.600 line:15%
that sort of develops even further,
203
00:10:42.600 --> 00:10:46.690 line:15%
but let's have another look at some of the other portraits
204
00:10:46.690 --> 00:10:48.760 line:15%
that came out of the Australians exhibition.
205
00:10:48.760 --> 00:10:50.453 line:15%
This one is Robert May.
206
00:10:53.030 --> 00:10:56.440
I think he was the chief scientific advisor
207
00:10:56.440 --> 00:10:59.290
to the government at this point.
208
00:10:59.290 --> 00:11:04.290
And we took this in then Natural History Museum in London.
209
00:11:07.690 --> 00:11:12.690 line:15%
And this is an Tasmanian, what is it?
210
00:11:14.380 --> 00:11:16.557 line:15%
As many endeavour or a, thylacine
211
00:11:16.557 --> 00:11:19.250 line:15%
a thylacine says our resident expert on animals.
212
00:11:21.570 --> 00:11:25.220 line:15%
I'm not, everything was-
213
00:11:25.220 --> 00:11:30.220 line:15%
In those days it was before everything in museums,
214
00:11:31.107 --> 00:11:35.170 line:15%
to become a no-no, to, I mean,
215
00:11:35.170 --> 00:11:37.930 line:15%
I think I still do probably have stuffed animals.
216
00:11:37.930 --> 00:11:40.900 line:15%
Don't go in some museum, but anyway,
217
00:11:40.900 --> 00:11:42.780 line:15%
he really didn't want to do this.
218
00:11:42.780 --> 00:11:44.390 line:15%
And I managed to get him to do it.
219
00:11:44.390 --> 00:11:45.223 line:15%
And I love it.
220
00:11:46.090 --> 00:11:49.010 line:15%
He was again, another great person,
221
00:11:49.010 --> 00:11:50.860 line:15%
but he really didn't want to do this.
222
00:11:50.860 --> 00:11:53.723 line:15%
And somehow I managed to convince him
223
00:11:53.723 --> 00:11:55.180 line:15%
that it would be a good idea.
224
00:11:55.180 --> 00:11:56.450 line:15%
And so he did it.
225
00:11:56.450 --> 00:12:01.450 line:15%
And then of course this was totally Celez Patterson's idea
226
00:12:04.940 --> 00:12:08.675
and of course it is a brilliant photo.
227
00:12:08.675 --> 00:12:12.540 line:15%
And I think Barry Humphreys used it in one of his memoirs
228
00:12:13.906 --> 00:12:15.280 line:15%
after the fact.
229
00:12:15.280 --> 00:12:18.380 line:15%
And so, yeah, I love this photo and I loved him.
230
00:12:18.380 --> 00:12:23.380 line:15%
He is one of those people that is funny naturally.
231
00:12:26.920 --> 00:12:29.496 line:15%
Like you made a lot of funny people
232
00:12:29.496 --> 00:12:31.560 line:15%
that are funny as performers,
233
00:12:31.560 --> 00:12:33.440 line:15%
but they're not really funny in real life.
234
00:12:33.440 --> 00:12:36.590 line:15%
He was naturally funny in real life
235
00:12:36.590 --> 00:12:39.320 line:15%
and very charismatic and charming.
236
00:12:39.320 --> 00:12:43.150 line:15%
So, and he rang me personally to thank me for the photos
237
00:12:43.150 --> 00:12:45.820 line:15%
after every time he wanted to use one,
238
00:12:45.820 --> 00:12:49.260 line:15%
he rang me and asked me personally,
239
00:12:49.260 --> 00:12:50.893 line:15%
if he could use it,
240
00:12:50.893 --> 00:12:52.930 line:15%
I think he even ran me the night that I had the opening
241
00:12:52.930 --> 00:12:55.490 line:15%
at the National Portrait Gallery in London
242
00:12:55.490 --> 00:12:59.270 line:15%
to wish me luck and to say, sorry that he couldn't be there,
243
00:12:59.270 --> 00:13:00.333 line:15%
but he was touring.
244
00:13:01.756 --> 00:13:03.640 line:15%
He's just the most lovely person.
245
00:13:03.640 --> 00:13:05.290 line:15%
So yeah.
246
00:13:05.290 --> 00:13:08.560 line:15%
I look at those smooth legs compared to that,
247
00:13:08.560 --> 00:13:12.853 line:15%
to the visage it's he's known for is his legs.
248
00:13:14.640 --> 00:13:18.210 line:15%
Oh, he's more legs.
249
00:13:18.210 --> 00:13:22.100
And this has got a really interesting story
250
00:13:22.100 --> 00:13:27.100
to it because again, Jemine Christine this photo
251
00:13:27.740 --> 00:13:32.740
has accused, me of manipulating her to be naked
252
00:13:34.140 --> 00:13:35.992
and on the bed,
253
00:13:35.992 --> 00:13:39.350 line:15%
it was her idea to be on the bed and her idea
254
00:13:39.350 --> 00:13:40.640 line:15%
to be naked on the bed.
255
00:13:40.640 --> 00:13:43.470 line:15%
So let's get the record straight.
256
00:13:43.470 --> 00:13:47.120 line:15%
Of course, I thought all my Christmases had come once
257
00:13:47.120 --> 00:13:51.590 line:15%
at once when she offered to be photographed on the bed
258
00:13:51.590 --> 00:13:52.823 line:15%
and I could.
259
00:13:54.280 --> 00:13:59.040 line:15%
And then the Sun newspaper in London
260
00:13:59.040 --> 00:14:02.480 line:15%
who was known in those days for their page three girls
261
00:14:02.480 --> 00:14:06.390 line:15%
wanted to publish this as their page three girl,
262
00:14:06.390 --> 00:14:08.760 line:15%
this photo of just your mind Greer.
263
00:14:08.760 --> 00:14:10.310 line:15%
And she was really up for it.
264
00:14:10.310 --> 00:14:12.230 line:15%
But I said, no, we can't do that.
265
00:14:12.230 --> 00:14:15.460 line:15%
That's really demeaning of you and the photo.
266
00:14:15.460 --> 00:14:18.000 line:15%
So I refused to let them do it.
267
00:14:18.000 --> 00:14:21.040 line:15%
And I think there was another tabloid that did publish it
268
00:14:21.040 --> 00:14:26.040 line:15%
without permission, as in another instance.
269
00:14:26.940 --> 00:14:31.940 line:15%
But since she said that I, manipulated her,
270
00:14:32.620 --> 00:14:36.310 line:15%
but she also has been interviewed years and years ago
271
00:14:36.310 --> 00:14:39.010 line:15%
saying that I think Diane Arbus
272
00:14:39.010 --> 00:14:41.410
when Diane Arbus took her photo,
273
00:14:41.410 --> 00:14:43.500
Diane Arbus manipulated her too,
274
00:14:43.500 --> 00:14:45.550
into doing something that she didn't want to do.
275
00:14:45.550 --> 00:14:49.680
But anyway, this was total gold
276
00:14:51.128 --> 00:14:56.128
that a dream come through for Jemine agreeing to do that.
277
00:14:56.790 --> 00:14:58.440
And this is Elle McPherson.
278
00:14:58.440 --> 00:15:00.723
I had to go to the Elle in Switzerland.
279
00:15:04.080 --> 00:15:06.800
It was very stressful.
280
00:15:06.800 --> 00:15:11.800
But again, I really like this picture
281
00:15:12.330 --> 00:15:14.090
it's good to say.
282
00:15:14.090 --> 00:15:19.080
I really, she wanted to wear a cowboy hat
283
00:15:20.300 --> 00:15:24.020 line:15%
and I said, no, I really not.
284
00:15:24.020 --> 00:15:25.170 line:15%
That's not.
285
00:15:25.170 --> 00:15:27.173 line:15%
And she said, oh, I'm thinking.
286
00:15:30.170 --> 00:15:34.310 line:15%
She said, I was thinking of in pen.
287
00:15:34.310 --> 00:15:36.313 line:15%
And she was thinking,
288
00:15:38.120 --> 00:15:39.490 line:15%
who's the photographer that used
289
00:15:39.490 --> 00:15:41.573 line:15%
to use all his dogs in them.
290
00:15:43.040 --> 00:15:44.510 line:15%
And he used to anyway,
291
00:15:44.510 --> 00:15:46.560 line:15%
she was thinking of a totally different,
292
00:15:46.560 --> 00:15:47.490 line:15%
maybe even her Brits.
293
00:15:47.490 --> 00:15:48.630 line:15%
She was thinking over Brits,
294
00:15:48.630 --> 00:15:50.280 line:15%
And I was thinking over in pen,
295
00:15:50.280 --> 00:15:54.090
anyway, she came around to having, Penn in the end
296
00:15:54.090 --> 00:15:57.400 line:15%
And then all that contortion going on in there as well.
297
00:15:57.400 --> 00:15:59.663 line:15%
Exactly, she's got no arms.
298
00:16:03.580 --> 00:16:05.170 line:15%
This classic.
299
00:16:05.170 --> 00:16:07.973
Yeah, so, well, this is the queen
300
00:16:13.850 --> 00:16:18.030
weirdly came about through the Australians show
301
00:16:22.180 --> 00:16:25.630 line:15%
because there was a lot of Australians working
302
00:16:25.630 --> 00:16:30.630 line:15%
in the publicity department at the palace.
303
00:16:30.920 --> 00:16:32.760 line:15%
That's how you get into the palace.
304
00:16:32.760 --> 00:16:36.570 line:15%
Yeah, and I think even the head publicity person
305
00:16:36.570 --> 00:16:39.620 line:15%
who, again, the name, although he's actually
306
00:16:39.620 --> 00:16:43.490 line:15%
I photographed him for this collection actually,
307
00:16:43.490 --> 00:16:45.430 line:15%
but I can't remember his name.
308
00:16:45.430 --> 00:16:50.430 line:15%
He was also the head of the publicity department.
309
00:16:51.500 --> 00:16:55.700 line:15%
but it was a younger girl and the remit
310
00:16:55.700 --> 00:16:58.810 line:15%
for the golden Jubilee was let's get some younger people
311
00:16:58.810 --> 00:17:03.810 line:15%
in to photograph the coin women and also people
312
00:17:03.890 --> 00:17:04.920 line:15%
from the Commonwealth.
313
00:17:04.920 --> 00:17:07.149 line:15%
So I qualified on,
314
00:17:07.149 --> 00:17:08.930
I don't think I was particularly young at this point,
315
00:17:08.930 --> 00:17:12.270
but I qualified on two counts.
316
00:17:12.270 --> 00:17:15.490
I was Australian and I was a woman.
317
00:17:15.490 --> 00:17:18.340
And so that's how I got to take this photo.
318
00:17:18.340 --> 00:17:22.140
And probably, there's a lot of written accounts
319
00:17:22.140 --> 00:17:24.870
of what happened, but it was extremely stressful.
320
00:17:24.870 --> 00:17:27.960
I only had five minutes.
321
00:17:27.960 --> 00:17:29.510
I did two set ups.
322
00:17:29.510 --> 00:17:33.360
I thought I'd get 10 rolls of film five on each
323
00:17:33.360 --> 00:17:38.360
and I only got two rolls of film on each background.
324
00:17:39.240 --> 00:17:43.750
And yeah.
325
00:17:43.750 --> 00:17:47.390 line:15%
And then this was a tapestry that was made from the photo,
326
00:17:47.390 --> 00:17:50.220 line:15%
but this is the wrong side of the tapestry.
327
00:17:50.220 --> 00:17:53.600 line:15%
And the tapestries were made years and years later
328
00:17:55.120 --> 00:17:56.260
from the photo.
329
00:17:56.260 --> 00:18:00.130
And this was shown in Los Angeles.
330
00:18:00.130 --> 00:18:02.490
There was a whole series of these
331
00:18:02.490 --> 00:18:05.750
and they all look different from the wrong side
332
00:18:05.750 --> 00:18:07.900
because they're all different stitches
333
00:18:07.900 --> 00:18:11.460
that had stitched them in the stitches of prisoners
334
00:18:11.460 --> 00:18:14.150
that work, they get paid,
335
00:18:14.150 --> 00:18:19.150 line:15%
they work stitching for charity called Fine Cell Work.
336
00:18:22.840 --> 00:18:25.530 line:15%
And they have been going into prisons,
337
00:18:25.530 --> 00:18:30.530 line:15%
teaching female and male prisoners to do stitching
338
00:18:31.260 --> 00:18:34.840 line:15%
tapestries as more of a therapeutic thing
339
00:18:34.840 --> 00:18:39.331 line:15%
that they do get paid and they're taught the craft.
340
00:18:39.331 --> 00:18:41.330
And then they do a lot of things like the cushions
341
00:18:41.330 --> 00:18:42.163
for the BNI.
342
00:18:43.256 --> 00:18:44.420
Like they actually work.
343
00:18:44.420 --> 00:18:47.480
And I think cushions for the Catholic church.
344
00:18:47.480 --> 00:18:50.180
Like they do a lot of work that is,
345
00:18:50.180 --> 00:18:52.910
and other artists use them as well.
346
00:18:52.910 --> 00:18:54.440
But anyway, the good news is they get paid
347
00:18:54.440 --> 00:18:56.700
and they get taught a craft
348
00:18:56.700 --> 00:19:00.023
and a lot of them come out of prison and continue to do it.
349
00:19:01.240 --> 00:19:04.673 line:15%
So, and then this was the other photo I did of the queen.
350
00:19:06.250 --> 00:19:08.193 line:15%
And this one she was quite shocked about
351
00:19:08.193 --> 00:19:13.130 line:15%
when she looked back, she went, oh, she was surprised
352
00:19:13.130 --> 00:19:15.470 line:15%
by the gold glitter,
353
00:19:15.470 --> 00:19:18.680 line:15%
but she was faced by the I think the kind
354
00:19:18.680 --> 00:19:21.720 line:15%
of modernist take of this.
355
00:19:21.720 --> 00:19:26.090
This is Marianne Mecca fabric and Martin Grant actually,
356
00:19:26.090 --> 00:19:27.650
who's a really good friend of mine.
357
00:19:27.650 --> 00:19:32.410
Who's a fashion designer who now lives in Paris,
358
00:19:32.410 --> 00:19:33.243
he's Australian.
359
00:19:33.243 --> 00:19:35.230
He suggested this fabric.
360
00:19:35.230 --> 00:19:38.130 line:15%
And I thought it was very fitting because it was a nod
361
00:19:42.550 --> 00:19:44.830 line:15%
to Cecil Beaton who used
362
00:19:44.830 --> 00:19:47.840 line:15%
to do a lot of floral painted backgrounds.
363
00:19:47.840 --> 00:19:51.395 line:15%
And he was obviously the Royal photographer for years
364
00:19:51.395 --> 00:19:53.123 line:15%
and years and years.
365
00:19:53.123 --> 00:19:56.300 line:15%
So it was kind of my updated version on his work.
366
00:19:56.300 --> 00:19:57.393 line:15%
So, yeah.
367
00:20:00.230 --> 00:20:05.230
Fantastic, and here's the gold Lamaze come out
368
00:20:05.770 --> 00:20:07.393
again for this one.
369
00:20:07.393 --> 00:20:11.580
Different gold lame but same idea.
370
00:20:11.580 --> 00:20:16.580
And this was taken just after everything happened to Monica
371
00:20:17.810 --> 00:20:22.810
and I was working with a journalist
372
00:20:22.960 --> 00:20:24.850 line:15%
who was the only person in England
373
00:20:24.850 --> 00:20:26.701 line:15%
to get an interview with her.
374
00:20:26.701 --> 00:20:28.653 line:15%
And I managed to get to do the photo.
375
00:20:30.000 --> 00:20:31.930 line:15%
What a cracker of a photo Polly?
376
00:20:31.930 --> 00:20:34.050
I mean that expression.
377
00:20:34.050 --> 00:20:35.880
Yeah, yeah.
378
00:20:35.880 --> 00:20:37.310
And she was on the stage.
379
00:20:37.310 --> 00:20:40.820
She'd arrived in England, and all the tabloid press
380
00:20:40.820 --> 00:20:43.090
were after her and calling her fat.
381
00:20:43.090 --> 00:20:44.173
And it was awful.
382
00:20:45.270 --> 00:20:46.990
We nearly didn't get to do it
383
00:20:46.990 --> 00:20:51.990
because she's so upset by the British press's treatment.
384
00:20:53.370 --> 00:20:56.660
Although, I mean, I don't know what they really liked now.
385
00:20:56.660 --> 00:20:58.240
I'm sure they're just as visual.
386
00:20:58.240 --> 00:21:02.443
They are as vicious it's Murdoch,
387
00:21:07.976 --> 00:21:09.770 line:15%
she was having a really hard time.
388
00:21:09.770 --> 00:21:11.500 line:15%
And also she'd just been through
389
00:21:11.500 --> 00:21:14.493 line:15%
what she'd been through, as well.
390
00:21:15.653 --> 00:21:18.563 line:15%
She was pretty upset, yeah.
391
00:21:22.230 --> 00:21:25.750 line:15%
Yeah, and so the backdrops by now
392
00:21:25.750 --> 00:21:27.950 line:15%
had family cemented themselves
393
00:21:27.950 --> 00:21:30.583 line:15%
as something that's integral to your work.
394
00:21:31.510 --> 00:21:34.080 line:15%
Is that something that's continued on into other series
395
00:21:34.080 --> 00:21:37.060 line:15%
or have you shifted now towards other ways
396
00:21:37.060 --> 00:21:40.863 line:15%
or other forms of photography, not just portraiture.
397
00:21:43.672 --> 00:21:47.073
So simultaneously as all of this was going on.
398
00:21:48.543 --> 00:21:50.328
When I was doing the Australians,
399
00:21:50.328 --> 00:21:51.161
I was doing the adult babies,
400
00:21:51.161 --> 00:21:53.130
which I think in the slide, seriously.
401
00:21:53.130 --> 00:21:54.650
Or should skip ahead to the adult babies
402
00:21:54.650 --> 00:21:56.600
and have a look at them now?
403
00:21:56.600 --> 00:21:57.433
Maybe we could do that.
404
00:21:57.433 --> 00:22:00.310
Yep, so we'll just give Robert a second
405
00:22:00.310 --> 00:22:03.100
to bring up the right slide.
406
00:22:03.100 --> 00:22:05.752
Thanks Robert, there we go.
407
00:22:05.752 --> 00:22:09.830
So the adult babies was taken simultaneously
408
00:22:12.536 --> 00:22:14.853 line:15%
as I was doing the Australians
409
00:22:19.790 --> 00:22:22.580 line:15%
and the book actually of the adult baby
410
00:22:22.580 --> 00:22:26.310 line:15%
work came at the same time as the same year
411
00:22:26.310 --> 00:22:29.493 line:15%
as the catalogue for the Australians show.
412
00:22:30.500 --> 00:22:32.790 line:15%
And this was more,
413
00:22:32.790 --> 00:22:35.520 line:15%
I considered more my personal work.
414
00:22:35.520 --> 00:22:40.520 line:15%
And so basically, this was more my repertoire Taj
415
00:22:41.280 --> 00:22:43.600
sort of portrait work more the darker side
416
00:22:43.600 --> 00:22:44.433
of what I was doing,
417
00:22:44.433 --> 00:22:46.830
but still very stylized because obviously
418
00:22:46.830 --> 00:22:51.420
it was a very surreal subject matter,
419
00:22:51.420 --> 00:22:54.290
that I was dealing with
420
00:22:55.480 --> 00:22:58.690
and then the next body of work kind,
421
00:22:58.690 --> 00:23:01.550
the portraiture started to page out.
422
00:23:01.550 --> 00:23:05.050
I had my son in 2001.
423
00:23:05.050 --> 00:23:09.260
And so the portrait work didn't really fit
424
00:23:11.490 --> 00:23:14.220
having a child 'cause I used to travel the world,
425
00:23:14.220 --> 00:23:19.220
doing the portrait work and travel a lot within England.
426
00:23:19.890 --> 00:23:22.160
And also I hadn't moved to digital
427
00:23:22.160 --> 00:23:24.240
and everything was going digital
428
00:23:24.240 --> 00:23:26.500
and I'd kind of gotten burnt out
429
00:23:26.500 --> 00:23:28.020
from all the editorial work.
430
00:23:28.020 --> 00:23:31.170
So I started exclusively more and more
431
00:23:31.170 --> 00:23:33.393
just doing my own work and then came,
432
00:23:34.977 --> 00:23:35.910
what we were at before,
433
00:23:35.910 --> 00:23:38.660
which is that the bunny series, which is the red
434
00:23:40.000 --> 00:23:43.850
Robert, if you don't mind going back to the red ones.
435
00:23:43.850 --> 00:23:46.090
Yes, so this,
436
00:23:46.090 --> 00:23:49.970 line:15%
I seen Gwendoline Christie who was Brienne of Tarth
437
00:23:49.970 --> 00:23:51.613 line:15%
in Game of Thrones.
438
00:23:52.952 --> 00:23:55.710 line:15%
I realised make that connection
439
00:23:55.710 --> 00:24:00.710 line:15%
She lived in Brighton, England, and she was six foot four.
440
00:24:01.170 --> 00:24:03.070 line:15%
And I used to say walking down the street
441
00:24:03.070 --> 00:24:05.870 line:15%
and I used to think, oh my God, she's so fascinating.
442
00:24:05.870 --> 00:24:07.210 line:15%
She looks incredible.
443
00:24:07.210 --> 00:24:11.740 line:15%
And she looked in those days, like a 1950 starlet.
444
00:24:11.740 --> 00:24:16.740 line:15%
And so one day I'd had my son, I was thinking, well,
445
00:24:17.123 --> 00:24:18.040
I don't want to travel the world.
446
00:24:18.040 --> 00:24:21.110
I want to be able to fit my work around him.
447
00:24:21.110 --> 00:24:25.230
And so then one day I just sort of got the courage up
448
00:24:25.230 --> 00:24:28.050
and marched into where I figured out where she worked,
449
00:24:28.050 --> 00:24:29.410
because she was very-
450
00:24:29.410 --> 00:24:31.560
Brighton's a small town
451
00:24:31.560 --> 00:24:33.480
and that's where I lived at the time.
452
00:24:33.480 --> 00:24:35.570
And I figured out where she worked,
453
00:24:35.570 --> 00:24:37.870
I'd kind of tracked her down.
454
00:24:37.870 --> 00:24:42.120
And I went in and I said, would you like to be photographed?
455
00:24:42.120 --> 00:24:43.080
I'd love to photograph you
456
00:24:43.080 --> 00:24:44.560
anyway she agreed to it.
457
00:24:44.560 --> 00:24:46.900
And this body I'm in the babies.
458
00:24:46.900 --> 00:24:49.480
I did seven years of work on.
459
00:24:49.480 --> 00:24:50.450
Wow.
460
00:24:50.450 --> 00:24:53.680
And then this body of worked with me five years
461
00:24:53.680 --> 00:24:56.913
and this common I didn't the bunny book,
462
00:24:58.070 --> 00:25:00.950 line:15%
50 images, other criteria,
463
00:25:00.950 --> 00:25:04.010 line:15%
which was Damien Hirst company published it.
464
00:25:04.010 --> 00:25:08.720 line:15%
And Damien Hirst actually ended up acquiring
465
00:25:09.590 --> 00:25:12.373 line:15%
all 50 images for his series.
466
00:25:13.940 --> 00:25:16.670 line:15%
And this is sort of like the he always mentioned
467
00:25:16.670 --> 00:25:20.500 line:15%
really what we did when, and we ended up,
468
00:25:20.500 --> 00:25:24.110 line:15%
I was exploring sort of 1950s pinups at the beginning,
469
00:25:24.110 --> 00:25:26.010
but by the end of it,
470
00:25:26.010 --> 00:25:29.630
we were kind of dressing her up in all different
471
00:25:29.630 --> 00:25:34.333
sort of archetype, the way women are sort of identified,
472
00:25:35.190 --> 00:25:40.150
sort of there my dogs, by the way everyone
473
00:25:40.150 --> 00:25:43.523
I don't quite know what I'm gonna do to keep them quiet.
474
00:25:43.523 --> 00:25:46.143
That's okay, we don't mind having the dogs at all.
475
00:25:47.420 --> 00:25:50.650
And so things like a bunny costume,
476
00:25:50.650 --> 00:25:54.080
there was a pony costume.
477
00:25:54.080 --> 00:25:59.080
There are all different costumes that she moved into.
478
00:25:59.380 --> 00:26:03.060
It became quite experimental in some moments as well.
479
00:26:03.060 --> 00:26:08.060
So that's sort of the whole book and yeah.
480
00:26:08.770 --> 00:26:11.160
Anyway, so that came first.
481
00:26:11.160 --> 00:26:13.600
And then, I mean, we weren't necessarily,
482
00:26:13.600 --> 00:26:17.890
we don't need to go chronological really necessarily next
483
00:26:17.890 --> 00:26:22.890
this work time later, but this is my son, Louise,
484
00:26:23.890 --> 00:26:27.063 line:15%
and this was called not good at human.
485
00:26:29.783 --> 00:26:30.740 line:15%
I love that.
486
00:26:30.740 --> 00:26:34.893 line:15%
Yeah, and this was shown at Sullivan Strunk in Sydney.
487
00:26:36.728 --> 00:26:38.687 line:15%
And these also some of these
488
00:26:38.687 --> 00:26:41.283 line:15%
who made into tapestries as well.
489
00:26:43.060 --> 00:26:46.570 line:15%
And they are also shown at the NGV
490
00:26:47.828 --> 00:26:49.360 line:15%
as part of my show in 2018.
491
00:26:53.140 --> 00:26:58.020 line:15%
My son is incredible person,
492
00:26:58.020 --> 00:27:03.020 line:15%
but he's very unusual and I mean, this is a long time ago
493
00:27:04.760 --> 00:27:07.790 line:15%
now he's 20 years old now.
494
00:27:07.790 --> 00:27:08.810 line:15%
I can't even remember.
495
00:27:08.810 --> 00:27:11.950 line:15%
It would have been maybe 14, 13,
496
00:27:11.950 --> 00:27:14.303 line:15%
maybe here 13 probably.
497
00:27:16.180 --> 00:27:18.620 line:15%
And the idea was I was gonna sort of photograph him
498
00:27:18.620 --> 00:27:21.020 line:15%
through his whole teen years, but that didn't pan out.
499
00:27:21.020 --> 00:27:23.620 line:15%
He got bored very quickly.
500
00:27:23.620 --> 00:27:25.500 line:15%
He was like, no, I'm not into this.
501
00:27:25.500 --> 00:27:30.500 line:15%
So it's sort of only lasted maybe sporadically over a year.
502
00:27:32.400 --> 00:27:37.400
And when that one's really sort of evokes a lot, really.
503
00:27:40.290 --> 00:27:42.860
So, and this was, was this we'll know
504
00:27:43.864 --> 00:27:48.200
when really was the beginning of the use of stockings work?
505
00:27:48.200 --> 00:27:53.200
And then when we get to, I don't know what's next?
506
00:27:53.640 --> 00:27:54.630
What do have we got?
507
00:27:54.630 --> 00:27:58.053
Oh yeah, this is still not good at human.
508
00:27:59.690 --> 00:28:04.163 line:15%
So we sort of moving into morph after not good at human.
509
00:28:05.630 --> 00:28:09.500
All right, the babies, that's the instant.
510
00:28:09.500 --> 00:28:13.830 line:15%
That was the show in London, by the way
511
00:28:13.830 --> 00:28:18.830 line:15%
was I think, no, if we go that's morph,
512
00:28:20.360 --> 00:28:21.710 line:15%
I mean, I can go into morph
513
00:28:21.710 --> 00:28:26.620 line:15%
Now this was the 2018 work that I produced specifically
514
00:28:26.620 --> 00:28:31.620 line:15%
for the NGV and yeah, NGV in Melbourne.
515
00:28:31.960 --> 00:28:33.510 line:15%
And this is called morph
516
00:28:33.510 --> 00:28:37.053 line:15%
and this was sort of the penultimate stocking use.
517
00:28:38.051 --> 00:28:41.813 line:15%
And this came about because I really wanted to reduce
518
00:28:43.740 --> 00:28:45.330 line:15%
the visual language.
519
00:28:45.330 --> 00:28:49.163 line:15%
So I sort of even though you can see a figure in there,
520
00:28:50.160 --> 00:28:51.980 line:15%
if we keep going Robert,
521
00:28:51.980 --> 00:28:56.500 line:15%
a lot of the, and you can see a figure in that one,
522
00:28:56.500 --> 00:28:58.770 line:15%
but a lot of them, you can't really tell
523
00:28:58.770 --> 00:29:03.110 line:15%
what there's a human in them in the costumes.
524
00:29:03.110 --> 00:29:07.100 line:15%
And basically I'm creating soft sculpture on the spot
525
00:29:07.100 --> 00:29:09.330 line:15%
around a live model.
526
00:29:09.330 --> 00:29:12.240 line:15%
And for instance, there's a person in there.
527
00:29:12.240 --> 00:29:16.450 line:15%
So this was a whole book guy in about 50 photos.
528
00:29:16.450 --> 00:29:18.453 line:15%
There's a person in there as well.
529
00:29:20.220 --> 00:29:21.683 line:15%
And so that was morph.
530
00:29:23.555 --> 00:29:25.870 line:15%
And that was commissioned for the Polybius exhibition.
531
00:29:25.870 --> 00:29:28.810
Was it Polly at the NGV? .
532
00:29:28.810 --> 00:29:30.290
It wasn't really commissioned,
533
00:29:30.290 --> 00:29:35.290
but I did it to kind of be the main body
534
00:29:35.790 --> 00:29:37.510
of the exhibition.
535
00:29:37.510 --> 00:29:41.590
I did also a morph film, which was done
536
00:29:41.590 --> 00:29:44.443
and then the other work was sort of,
537
00:29:45.290 --> 00:29:46.940
we didn't have babies in there,
538
00:29:46.940 --> 00:29:50.870
but we had all Bonnie, we had not good at human.
539
00:29:50.870 --> 00:29:52.410
We had a lot of the tapestries.
540
00:29:52.410 --> 00:29:54.523
We had the Nick blue.
541
00:29:58.000 --> 00:30:03.000
So we had the tapestries and these were double sided
542
00:30:03.770 --> 00:30:05.140 line:15%
in the exhibition.
543
00:30:05.140 --> 00:30:09.367 line:15%
So there was the right side and the wrong side.
544
00:30:14.150 --> 00:30:16.250 line:15%
Whereas the queen ones,
545
00:30:16.250 --> 00:30:18.760 line:15%
you can see maybe different in texture
546
00:30:20.561 --> 00:30:23.210 line:15%
and they're like the patterns made from a photograph.
547
00:30:23.210 --> 00:30:25.033 line:15%
So they're originally a photo.
548
00:30:26.421 --> 00:30:30.700
And I just, someone found in a crop shop years ago, for me,
549
00:30:30.700 --> 00:30:32.910
stitch your photo, it's called.
550
00:30:32.910 --> 00:30:35.230
So a lot of people get their portraits made
551
00:30:35.230 --> 00:30:39.480
or they get a pattern from their little family portraits
552
00:30:39.480 --> 00:30:42.340
and they do stitching to create the portrait,
553
00:30:42.340 --> 00:30:44.490
but in tapestry form.
554
00:30:44.490 --> 00:30:47.610
And I thought, well, I'll apply that to my own work.
555
00:30:47.610 --> 00:30:52.610
So I don't know if we jumping too much all over the place.
556
00:30:52.640 --> 00:30:54.690
I mean, I can follow,
557
00:30:54.690 --> 00:30:58.443
but I've just hope everyone else can, are you following?
558
00:30:59.680 --> 00:31:01.820
Yeah, well, I think we're all following along.
559
00:31:01.820 --> 00:31:04.360
I haven't got any questions yet, through on the chat Polly,
560
00:31:04.360 --> 00:31:07.700
but if anyone out there, either in Zoom or on Facebook
561
00:31:07.700 --> 00:31:09.670 line:15%
would like to ask Polly a question,
562
00:31:09.670 --> 00:31:12.340 line:15%
please do shoot them through on the chat function.
563
00:31:12.340 --> 00:31:16.830 line:15%
And I'll make sure that I get those questions to Polly.
564
00:31:16.830 --> 00:31:19.800 line:15%
Polly, there was a, a lovely quote.
565
00:31:19.800 --> 00:31:23.350
And I usually don't like digging up old quotes
566
00:31:23.350 --> 00:31:26.710
from the past, but I will this time
567
00:31:26.710 --> 00:31:28.080
just because it seemed so,
568
00:31:28.080 --> 00:31:32.300
but when you had your work at the Australians exhibition
569
00:31:32.300 --> 00:31:34.070
at the National Portrait Gallery in Canberra,
570
00:31:34.070 --> 00:31:36.810
there was a quote that we got from you at that time
571
00:31:36.810 --> 00:31:39.670
back in 2001 saying "the best portraiture
572
00:31:39.670 --> 00:31:41.830
is when you get beneath the skin of someone
573
00:31:41.830 --> 00:31:44.510
and you penetrate beneath the surface".
574
00:31:44.510 --> 00:31:47.613
And it just seemed to me that those morph works,
575
00:31:48.600 --> 00:31:51.310
or that morph series is very kind of visceral
576
00:31:52.896 --> 00:31:55.725
it's almost as though the body has been removed of the skin
577
00:31:55.725 --> 00:31:57.690 line:15%
and you're seeing the internal organs moving around.
578
00:31:57.690 --> 00:31:59.780 line:15%
You could almost imagine that.
579
00:31:59.780 --> 00:32:02.680 line:15%
I was just wondering if you had any comments on that shift
580
00:32:04.479 --> 00:32:05.979
below the surface?
581
00:32:06.910 --> 00:32:09.800
Yeah, I think that was probably done subconsciously,
582
00:32:09.800 --> 00:32:14.170
but I do think that I became less interested
583
00:32:14.170 --> 00:32:19.170
in the external sort of identifying marks of a human
584
00:32:20.570 --> 00:32:25.280
or an animal, for instance, like this rabbit
585
00:32:25.280 --> 00:32:27.680
was done for smudge,
586
00:32:27.680 --> 00:32:32.420
which came directly after the bunny series
587
00:32:33.400 --> 00:32:36.790
and smudge, I started trying to sort
588
00:32:36.790 --> 00:32:41.790 line:15%
of subvert animal forms,
589
00:32:42.730 --> 00:32:46.630 line:15%
and then it very quickly grew into something like this.
590
00:32:46.630 --> 00:32:48.740 line:15%
So this is part of the same series,
591
00:32:48.740 --> 00:32:53.170 line:15%
but then I started to create my own creatures.
592
00:32:53.170 --> 00:32:55.650 line:15%
So that was and again identifiable,
593
00:32:55.650 --> 00:32:58.900 line:15%
but it's almost like there's a pig nose here
594
00:32:58.900 --> 00:33:00.740 line:15%
this sort of ware wolf will mask.
595
00:33:01.890 --> 00:33:04.397
And then there's this sort of,
596
00:33:04.397 --> 00:33:06.940
I don't even know if it's a dog or a dog costume.
597
00:33:06.940 --> 00:33:10.020
I used to go to the costume houses and hard costumes
598
00:33:10.020 --> 00:33:12.600
and then I'd make up whatever I wanted,
599
00:33:12.600 --> 00:33:15.430
but quickly that became quite limiting.
600
00:33:15.430 --> 00:33:18.370
So then I went into the realms of the imagination,
601
00:33:18.370 --> 00:33:21.493
which became the next steps.
602
00:33:26.360 --> 00:33:29.583
So, which if we keep going on this series.
603
00:33:32.870 --> 00:33:34.797
I think they're the only ones
604
00:33:34.797 --> 00:33:36.803
that we have from that series in there.
605
00:33:36.803 --> 00:33:37.636
Really?
606
00:33:38.670 --> 00:33:41.150 line:15%
We were just wondering whether we had a question
607
00:33:41.150 --> 00:33:44.150 line:15%
from Facebook asking about the Nick cave images
608
00:33:44.150 --> 00:33:46.400 line:15%
that we sort of skipped over a little bit earlier
609
00:33:46.400 --> 00:33:47.430 line:15%
in the presentation.
610
00:33:47.430 --> 00:33:49.890 line:15%
Would you mind touching on those a little bit?
611
00:33:49.890 --> 00:33:54.553 line:15%
There was Nick cave in a blue wig and then yeah.
612
00:33:55.650 --> 00:33:59.180
It's nice to see everything, yeah, again.
613
00:33:59.180 --> 00:34:01.770
So this came around the same time smudge,
614
00:34:01.770 --> 00:34:04.160
which were the ones we were just looking at,
615
00:34:04.160 --> 00:34:06.933
and this was done as a special commission.
616
00:34:09.390 --> 00:34:14.367
He did a, collab with the band and it was very sort of a bit
617
00:34:15.240 --> 00:34:19.460 line:15%
disco, kind of a bit glam rocky.
618
00:34:19.460 --> 00:34:21.750 line:15%
And so I decided to dress him like this,
619
00:34:21.750 --> 00:34:26.750 line:15%
and simultaneously he had offered to pose
620
00:34:27.360 --> 00:34:29.570 line:15%
for the smudge work for me.
621
00:34:29.570 --> 00:34:33.100 line:15%
So he gave me two days of his time and I dressed him
622
00:34:33.100 --> 00:34:34.510 line:15%
on always weird costumes.
623
00:34:34.510 --> 00:34:36.700 line:15%
And if we go to the image,
624
00:34:36.700 --> 00:34:41.643 line:15%
either directly after this one, I think with the clown nose,
625
00:34:42.830 --> 00:34:44.730
so after this of before this.
626
00:34:44.730 --> 00:34:46.340
It is there.
627
00:34:46.340 --> 00:34:47.633
This was from smudge.
628
00:34:50.751 --> 00:34:52.450
And I dressed him like this,
629
00:34:54.560 --> 00:34:57.770
and that was from the smudge series,
630
00:34:57.770 --> 00:34:59.190
but there were all these others,
631
00:34:59.190 --> 00:35:01.350
like people should just Google smudge
632
00:35:02.328 --> 00:35:03.890 line:15%
and you'll see all these other images,
633
00:35:03.890 --> 00:35:06.220 line:15%
which should basically, I use three models.
634
00:35:06.220 --> 00:35:08.280 line:15%
Nick is one of the models,
635
00:35:08.280 --> 00:35:11.100 line:15%
there was another model that I'd spent more time with.
636
00:35:11.100 --> 00:35:13.200 line:15%
And then there was a female model.
637
00:35:13.200 --> 00:35:16.933 line:15%
So, friends basically.
638
00:35:19.774 --> 00:35:21.783 line:15%
So Nick kindly offered,
639
00:35:24.067 --> 00:35:25.470 line:15%
and this was also made into a tapestry,
640
00:35:25.470 --> 00:35:28.560 line:15%
which I kept 'cause I love it so much.
641
00:35:28.560 --> 00:35:29.883 line:15%
So yeah.
642
00:35:31.230 --> 00:35:34.628 line:15%
So I mean, what else do they,
643
00:35:34.628 --> 00:35:38.810 line:15%
I suppose that's really all I can say,
644
00:35:38.810 --> 00:35:43.790 line:15%
the blue Nick cave week has been bought and it can be seen
645
00:35:43.790 --> 00:35:46.860
sometimes at the NGV.
646
00:35:46.860 --> 00:35:48.563
So they acquired that.
647
00:35:52.220 --> 00:35:54.100 line:15%
You mentioned very early on in the talk
648
00:35:54.100 --> 00:35:57.020 line:15%
that you started studying at school art history,
649
00:35:57.020 --> 00:36:00.840 line:15%
and I can definitely see a few references to other artists.
650
00:36:00.840 --> 00:36:02.010 line:15%
Would you be able to let us know
651
00:36:02.010 --> 00:36:04.620 line:15%
maybe some of your big influences
652
00:36:04.620 --> 00:36:06.960 line:15%
who have influenced your career over the time?
653
00:36:06.960 --> 00:36:09.790
Well, Diane Arbus was my first love
654
00:36:13.060 --> 00:36:18.060
and Weegee, Larry Clark, early Cindy Sherman and I love,
655
00:36:25.800 --> 00:36:29.610
but there was sort of the modernist painters
656
00:36:29.610 --> 00:36:33.030
like a Castro, Paul Clay,
657
00:36:33.030 --> 00:36:37.163
there was a lot of painting that I loved.
658
00:36:38.510 --> 00:36:43.510
And now my favourite photography is repertory.
659
00:36:43.890 --> 00:36:47.700
Actually, it's sort of documentary photography now,
660
00:36:47.700 --> 00:36:50.860
which in a way Diane Arbus was portraiture,
661
00:36:50.860 --> 00:36:54.660
but it was also very much from a documentary
662
00:36:54.660 --> 00:36:58.620
kind of point of view, I think she was documenting,
663
00:36:58.620 --> 00:37:01.290
I never felt that I was really using the camera
664
00:37:01.290 --> 00:37:03.710
to document the baby's is a document
665
00:37:04.845 --> 00:37:06.943
but portraits were more,
666
00:37:08.530 --> 00:37:10.810
I don't really know what the portraits were,
667
00:37:10.810 --> 00:37:13.270
even though that was something that kind
668
00:37:13.270 --> 00:37:15.750
of came really easily to me.
669
00:37:15.750 --> 00:37:20.580 line:15%
I think that I don't know about now,
670
00:37:20.580 --> 00:37:24.450 line:15%
but back in the day I was good with people.
671
00:37:24.450 --> 00:37:26.700 line:15%
I was good at making people feel relaxed.
672
00:37:26.700 --> 00:37:31.660
And I think, again, over time for me,
673
00:37:31.660 --> 00:37:34.970
it's not really the outsides, it's more, the insides.
674
00:37:34.970 --> 00:37:39.933
Like the morph work is very much like the of interiors
675
00:37:43.587 --> 00:37:45.120
of people with the guts,
676
00:37:45.120 --> 00:37:48.643
or however you want to describe it,
677
00:37:48.643 --> 00:37:53.643
but it was also, supposed to be not human as well.
678
00:37:53.660 --> 00:37:56.770
So there's a lot of non-human things
679
00:37:56.770 --> 00:38:01.270
that I've arrived at which weed wise, very human.
680
00:38:01.270 --> 00:38:03.543
I don't know if that makes any sense,
681
00:38:07.180 --> 00:38:11.300
I think we all feel at some point, not maybe all of us,
682
00:38:11.300 --> 00:38:14.040
but I definitely felt very dislocated
683
00:38:19.981 --> 00:38:24.148
from my surroundings and I do think there are sort
684
00:38:28.200 --> 00:38:30.180
of other realms to be explored.
685
00:38:30.180 --> 00:38:31.570
I think there are other paradigms.
686
00:38:31.570 --> 00:38:36.290
I think I was very married to sort of a psychological
687
00:38:36.290 --> 00:38:38.937
kind of analysis of the world.
688
00:38:43.820 --> 00:38:48.820
And I think things are a little bit more brutal
689
00:38:48.880 --> 00:38:53.880
and less a little bit more, kind of base in my analysis
690
00:38:57.340 --> 00:38:58.340
I think at the end of the day,
691
00:38:58.340 --> 00:39:01.420
we're kind of animals let's face it.
692
00:39:01.420 --> 00:39:06.420
And some of us behave better than others.
693
00:39:09.320 --> 00:39:10.153 line:15%
That's true.
694
00:39:10.990 --> 00:39:15.990 line:15%
So I became less interested in what it is to be human
695
00:39:16.100 --> 00:39:20.260 line:15%
or not human and more interested in something else.
696
00:39:20.260 --> 00:39:24.190 line:15%
And the morph work I do love,
697
00:39:24.190 --> 00:39:29.117
and this is just a little snake kind of spoiler alert,
698
00:39:32.860 --> 00:39:37.860
I'm now starting to work in a sculptural realm.
699
00:39:39.149 --> 00:39:40.020
Oh, sorry.
700
00:39:40.020 --> 00:39:45.020
Yeah, and nudity is probably the penultimate
701
00:39:48.900 --> 00:39:53.900
revealing after a while, I realised
702
00:39:56.240 --> 00:39:58.783 line:15%
that with the morph work,
703
00:39:59.636 --> 00:40:04.636 line:15%
I use one model and right from the get go, I said to her,
704
00:40:05.060 --> 00:40:07.885 line:15%
you're gonna have to take your clothes off.
705
00:40:07.885 --> 00:40:11.080 line:15%
So if you want to work for me, you're going to need to,
706
00:40:11.080 --> 00:40:12.880 line:15%
even though you can bail,
707
00:40:12.880 --> 00:40:17.010 line:15%
sometimes you can sort of see her nakedness, but not often.
708
00:40:17.010 --> 00:40:22.010 line:15%
And I think for me, the nudity is the penultimate
709
00:40:22.200 --> 00:40:24.633 line:15%
of my photographic work.
710
00:40:26.360 --> 00:40:29.833
And basically these are all iPhone,
711
00:40:30.904 --> 00:40:33.690
and again, I've never done digital until this moment.
712
00:40:33.690 --> 00:40:36.700 line:15%
Wow, I was gonna ask you if you shifted away from films.
713
00:40:36.700 --> 00:40:38.776 line:15%
So this is it, this series.
714
00:40:38.776 --> 00:40:41.500 line:15%
So this is iPhone selfies.
715
00:40:41.500 --> 00:40:43.830 line:15%
So, and this is work's gonna be shown
716
00:40:43.830 --> 00:40:45.230 line:15%
in Australia next year.
717
00:40:45.230 --> 00:40:50.230 line:15%
And it's the most unflattering, horrible photos of myself,
718
00:40:50.870 --> 00:40:55.780 line:15%
but I decided it was time to put myself on the line
719
00:40:57.420 --> 00:41:00.140 line:15%
because I'd spent years photographing other people
720
00:41:00.140 --> 00:41:01.530 line:15%
and years photographing other people naked
721
00:41:03.651 --> 00:41:08.420 line:15%
or kind of in pretty vulnerable positions.
722
00:41:08.420 --> 00:41:12.640 line:15%
And so I decided to put myself in the frame
723
00:41:13.800 --> 00:41:18.800
and it's almost like the end of something,
724
00:41:20.510 --> 00:41:25.113
but also again, another, another jumping off point for me.
725
00:41:29.970 --> 00:41:31.980
And that work, as I said, will be shown
726
00:41:31.980 --> 00:41:33.430
in Australia next year.
727
00:41:33.430 --> 00:41:38.290
And it was shown this year in Los Angeles,
728
00:41:38.290 --> 00:41:41.010
in my gallery, in Los Angeles.
729
00:41:41.010 --> 00:41:45.510
So yeah, so that's, and there's about,
730
00:41:45.510 --> 00:41:49.130
I think 20 images in that series.
731
00:41:49.130 --> 00:41:51.420
Yeah, maybe a few more.
732
00:41:51.420 --> 00:41:55.260
So that was me deciding to reveal myself,
733
00:41:55.260 --> 00:41:58.720
'cause I've always been a fairly, a contrary
734
00:42:01.810 --> 00:42:04.353
what my photos might convey about myself.
735
00:42:04.353 --> 00:42:09.353
I've been quite self-conscious and shy
736
00:42:10.630 --> 00:42:15.340
and quite sort of prudish in my own life.
737
00:42:15.340 --> 00:42:20.340
So it really was a big thing for me to be able to do
738
00:42:21.490 --> 00:42:23.140
and then not flattering.
739
00:42:23.140 --> 00:42:25.530
And a lot of them were taken in COVID
740
00:42:25.530 --> 00:42:30.430
and where I'd just basically spent time eating,
741
00:42:30.430 --> 00:42:34.100
comforting my wife through COVID.
742
00:42:34.100 --> 00:42:39.010 line:15%
And so, yeah, that's sort of.
743
00:42:39.010 --> 00:42:42.860 line:15%
Is there any other images that we've missed out
744
00:42:42.860 --> 00:42:45.000 line:15%
on or did we cover all of them?
745
00:42:45.000 --> 00:42:47.110 line:15%
No, I think we've covered all of them.
746
00:42:47.110 --> 00:42:48.990 line:15%
We do have one question though,
747
00:42:48.990 --> 00:42:52.600 line:15%
about working in LA the US and how that might differ
748
00:42:52.600 --> 00:42:54.353 line:15%
to the UK and Australia.
749
00:43:08.387 --> 00:43:13.387
Well, I'm not a working photographer anymore,
750
00:43:14.420 --> 00:43:18.307
so I don't know what that question pertains two,
751
00:43:21.820 --> 00:43:24.870
I've done a couple of portraits in more recent years,
752
00:43:24.870 --> 00:43:29.870
one in Australia and one for English Vogue
753
00:43:31.410 --> 00:43:34.783
shot here with Nick Cave and Suzy Cave.
754
00:43:35.680 --> 00:43:40.203
And that was for English Vogue and yeah.
755
00:43:44.040 --> 00:43:47.270
So, but in terms of my own work,
756
00:43:47.270 --> 00:43:52.270
I think it took me a long time here to find my feet
757
00:43:53.230 --> 00:43:58.230
because I was very culture shocked coming to America.
758
00:43:58.350 --> 00:44:03.200
I mean, I was culture shock going from Australia to England,
759
00:44:03.200 --> 00:44:05.820
but because when I grew up in Australia,
760
00:44:05.820 --> 00:44:08.800
a lot of it was sort of endless fault.
761
00:44:08.800 --> 00:44:11.850
It kind of was an easier transition,
762
00:44:11.850 --> 00:44:14.813
but America is really something
763
00:44:17.700 --> 00:44:20.620
that I still can't really get my head around,
764
00:44:20.620 --> 00:44:23.350
so I was very culture shocked.
765
00:44:23.350 --> 00:44:28.350
So it really took a long time for me
766
00:44:28.480 --> 00:44:31.653
to be able to relax into myself.
767
00:44:32.660 --> 00:44:34.860
And I think I'm the kind of person
768
00:44:34.860 --> 00:44:39.860
that needs to feel fairly relaxed in order
769
00:44:40.050 --> 00:44:41.143
to be able to work.
770
00:44:42.400 --> 00:44:45.210
So it was a big jump
771
00:44:45.210 --> 00:44:47.440
and I'm still not really used to America.
772
00:44:47.440 --> 00:44:52.440
And I spent a year and a half back in Australia
773
00:44:52.930 --> 00:44:55.220
after 30 years of not being in Australia
774
00:44:56.500 --> 00:44:59.550
cause I just happened I went
775
00:44:59.550 --> 00:45:01.063
back to get an American visas.
776
00:45:02.243 --> 00:45:03.950
Our family went back to get American visas
777
00:45:03.950 --> 00:45:05.993
and we got caught in lockdown.
778
00:45:07.780 --> 00:45:10.790
And then after a while we realised we were probably
779
00:45:10.790 --> 00:45:15.790
very lucky and it was really interesting to reconnect
780
00:45:15.960 --> 00:45:19.890
with Australia and I really loved it
781
00:45:23.751 --> 00:45:28.090
and I felt very comfortable with it even though
782
00:45:28.090 --> 00:45:30.700
on a political level I think there's a lot of issues,
783
00:45:30.700 --> 00:45:34.263
but there's a lot of issues everywhere.
784
00:45:36.360 --> 00:45:38.280
I found it interesting in Australia
785
00:45:38.280 --> 00:45:43.280
that there's not more people aren't more vocal
786
00:45:44.200 --> 00:45:49.200 line:15%
about things that are wrong with the system
787
00:45:50.310 --> 00:45:54.173 line:15%
and the prejudices and yeah.
788
00:45:55.410 --> 00:45:59.050 line:15%
I mean, I find that really disturbing
789
00:46:00.160 --> 00:46:02.630 line:15%
and to me a a while again to sort of really understand
790
00:46:02.630 --> 00:46:04.550 line:15%
what was going on because I hadn't lived
791
00:46:04.550 --> 00:46:08.280
there for so long and not missed out on 30 years
792
00:46:10.013 --> 00:46:13.740
of growth and change because there has been a lot
793
00:46:13.740 --> 00:46:16.680
of growth in change since I left.
794
00:46:16.680 --> 00:46:17.930
But there's also a lot of things
795
00:46:17.930 --> 00:46:19.650
that have really stayed the same.
796
00:46:19.650 --> 00:46:24.650
So yeah, and the whole climate change thing
797
00:46:27.650 --> 00:46:29.500
and it's just mind boggling,
798
00:46:29.500 --> 00:46:32.780
but anyway, if you want to get me on politics,
799
00:46:32.780 --> 00:46:37.733 line:15%
I'm happy to talk about it for two hours.
800
00:46:40.099 --> 00:46:41.190 line:15%
I would love to get you started on politics,
801
00:46:41.190 --> 00:46:44.536 line:15%
but we literally have just run out of time.
802
00:46:44.536 --> 00:46:45.580 line:15%
I'm so sorry, Polly.
803
00:46:45.580 --> 00:46:48.130 line:15%
I could actually sit and listen to your stories all day.
804
00:46:48.130 --> 00:46:51.520 line:15%
I am such a big fan of your work as I'm sure most
805
00:46:51.520 --> 00:46:53.190 line:15%
of the people in our audience are as well.
806
00:46:53.190 --> 00:46:56.160 line:15%
If they weren't before there definitely will be now.
807
00:46:56.160 --> 00:46:59.210 line:15%
So thank you so much, Polly.
808
00:46:59.210 --> 00:47:01.220 line:15%
I hope it was informative and not too much
809
00:47:01.220 --> 00:47:02.530 line:15%
all over the place.
810
00:47:02.530 --> 00:47:03.363 line:15%
It was brilliant.
811
00:47:03.363 --> 00:47:06.870 line:15%
And I cannot wait until I see what's next for Polly Borland.
812
00:47:06.870 --> 00:47:10.170 line:15%
And because I just think your concepts and the things
813
00:47:10.170 --> 00:47:12.480 line:15%
that you tackle in your work are just so fascinating
814
00:47:12.480 --> 00:47:14.860 line:15%
and intriguing and interesting.
815
00:47:14.860 --> 00:47:17.530 line:15%
So I'm looking forward to seeing nudie
816
00:47:17.530 --> 00:47:18.880 line:15%
in Australia next year,
817
00:47:18.880 --> 00:47:21.080 line:15%
but I'm also looking forward to seeing the hint
818
00:47:21.080 --> 00:47:22.210 line:15%
of the sculptural work
819
00:47:22.210 --> 00:47:26.400 line:15%
because I just think that will be absolutely brilliant.
820
00:47:26.400 --> 00:47:28.020 line:15%
So thank you so much, Polly.
821
00:47:28.020 --> 00:47:30.170
And thank you much to everybody else.
822
00:47:30.170 --> 00:47:34.030
I'll throw it back to Robert to say farewell.
823
00:47:34.030 --> 00:47:35.393
Thanks everyone.
824
00:47:36.440 --> 00:47:37.320
Thanks so much, Gill.
825
00:47:37.320 --> 00:47:38.690
Thank you so much, Polly.
826
00:47:38.690 --> 00:47:41.060
That was a fascinating discussion.
827
00:47:41.060 --> 00:47:42.680
And to tell you the truth,
828
00:47:42.680 --> 00:47:44.760
I feel that I've missed out on hearing
829
00:47:44.760 --> 00:47:47.663
the next political discussion, maybe next year.
830
00:47:50.100 --> 00:47:51.740
Thank you everyone for dialling in.
831
00:47:51.740 --> 00:47:56.020
This is our last virtual programme for 2021.
832
00:47:56.020 --> 00:47:58.670
What an amazing and interesting year,
833
00:47:58.670 --> 00:48:01.990
this has been full of travails and triumphs.
834
00:48:01.990 --> 00:48:05.640
We have pumped out a lot of digital content for you.
835
00:48:05.640 --> 00:48:10.010
I would like to extend a personal debt of gratitude
836
00:48:10.010 --> 00:48:12.740
to all of our content providers,
837
00:48:12.740 --> 00:48:15.070
all the people that we've been in conversation
838
00:48:15.070 --> 00:48:17.260
with all of our curators,
839
00:48:17.260 --> 00:48:19.340
our learning facilitators and our other staff
840
00:48:19.340 --> 00:48:21.600
who have created content
841
00:48:21.600 --> 00:48:24.590
for getting the national portrait gallery collection
842
00:48:24.590 --> 00:48:26.690
and programmes out to the people of Australia
843
00:48:26.690 --> 00:48:28.520
and also around the world.
844
00:48:28.520 --> 00:48:32.470
And also extending thanks to all of the people
845
00:48:32.470 --> 00:48:34.290
behind the scenes and the digital team,
846
00:48:34.290 --> 00:48:38.190
the Hectors, Alanas, Matts, Jules
847
00:48:38.190 --> 00:48:40.640
who have wrangled the technology
848
00:48:40.640 --> 00:48:44.740
to make all of this virtual programming possible.
849
00:48:44.740 --> 00:48:47.450
If you would like to catch up on some of our programming
850
00:48:47.450 --> 00:48:51.047
from 2021, go to our website, portrait.gov.au.
851
00:48:52.040 --> 00:48:54.300
And under the watch section,
852
00:48:54.300 --> 00:48:57.180
you can find a lot of our in conversations
853
00:48:57.180 --> 00:49:02.050
and watch them in your own time, over the summer break.
854
00:49:02.050 --> 00:49:04.870
And you can go to our what's on section
855
00:49:04.870 --> 00:49:08.410
to find out what is coming up in 2022.
856
00:49:08.410 --> 00:49:11.300
We start our digital programming on the 20th of January,
857
00:49:11.300 --> 00:49:13.810
but we get right back into the swing of it
858
00:49:13.810 --> 00:49:14.880
at the beginning of February
859
00:49:14.880 --> 00:49:19.360
with our regular Tuesday virtual highlights tours.
860
00:49:19.360 --> 00:49:21.260
All right, that's enough for me.
861
00:49:21.260 --> 00:49:22.630
Season's greetings to you all.
862
00:49:22.630 --> 00:49:25.990
I hope you have great break over the summer period
863
00:49:25.990 --> 00:49:27.810
and we'll catch you next year.
864
00:49:27.810 --> 00:49:29.083
See you later, bye-bye.