University Art Gallery
Two dental nurses waiting for customers, Shenzhen 2013 (ä¸¤ä¸ªç‰å¾…å®¢æˆ·çš„ç‰™ç§‘æŠ¤å£«åœ¨æ·±åœ³æ¢…æž— 2013)
Ten years ago they would have been at school in another uniform, here they have jobs, selling dental services at the front of the shop and they are good kids who wait patiently for centuries.
Six hairdressers of style in Meilin, Shenzhen 2013 (ç†å‘å¸ˆé£Žæ ¼åœ¨æ·±åœ³æ¢…æž— 2013)
Six hairstylists taking five, no customers but plenty of talk, all day.
Fujian and the old hakka woman, Fujian 2003 (ç¦å»ºçš„å®¢å®¶å¥³å, 2003 å¹´ç¦å»º)
She lived all her life in a four hundred year old Hakka village in the mountains of Fujian. Until, her skin became the same warm red timber of her home and clothes the cool grey of stone.
Bravado in Meilin, Shenzhen 2013 (2013 åœ¨æ·±åœ³æ¢…æž—çš„è™šå¼ å£°åŠ¿)
Bravado in Meilin, pointing a finger at the photographer and shooting back.
Cat and fresh port in Meilin, Shenzhen 2013 (çŒ«å’Œæ–°é²œçš„è‚‰ï¼Œæ·±åœ³ 2013)
A cat selling household goods and fresh pork in Meilin.
Tibet and Han, Sichuan 2000
This girl is part Tibetan part Han, in an ancient walled town to the north of Chengdu, Sichuan Province called Songpan. Her hair is parted and plaited for school.
Fujian and the old hakka woman, Fujian 2003 (ç¦å»ºçš„å®¢å®¶å¥³å, 2003 å¹´ç¦å»º)
She lived all her life in a four hundred year old Hakka village in the mountains of Fujian. Until, her skin became the same warm red of her home and clothes the cool grey of stone.
GOOD BOY ON A BICYCLE, MUSLIM DISTRICT XI' AN 2013
If only bad boys ride bicycles that are too small for them, then good boyts must ride bikes that are too large. This is a good boy of Xi' An in the Moslem district.
TEA IS FELICITUDE MUSLIM DISTRICT XI' AN 2013
In a quiet moment, in a dark corner along a very busy street, alone and with half a glass empty and half a glass full, tea is always felicitude.
FINGER ON THE WORLD, HEPING 2000
Within a temple for old generals a boy touches his finger with great sensitivity to a table that appears as the world turning before him. When this gentle finger stops the globe from spinning, where will he be? What will he know?
2004, the year that I first visited Fujian Nanjing Tulou, the ancient earth seemed to be like an old man living there.
In 2010 I visited Sanjiang Country, a Dong village. Hearing opera singing, I found a group of elderly, local men facing the anicent town theatre with no performers, listening intently to a radio broadcast of opera.
2012 å¹´9æœˆæ±‰ä¸ç¼ºé›¨ï¼ŒåŠ ä¸Šæ²¡æœ‰é’å£®å¹´åŠ³åŠ›ï¼Œä¸€å¯¹å¹´ä¹°
September 2012 there had been a severe lack of rain in Hanzhong, and, with no young people available to work, it is left to a husband and wife alone to sow their crop on dry land. 2012 HanZhong.
Traditional skills and simple equipment still service a small town with tasks and needs that are an indispensable part of people's lives. 2012 HanZhong.
Teahouse for the elderly. 2012 HanZhong
Below the Xian wall. 2012 HanZhong
Tea house. 2012 HanZhong
Lady and needles.
The Cane man.
- The UWS Art Gallery, Building AD, Werrington North Campus (View Map)
- 13 Jan - 14 Mar 2014
- Monday - Friday: 9.00 am - 5.00 pm.
Photographs by David Lai, Peter Steele and Dave Cubby
David Lai, Peter Steele and Dave Cubby share a passion for Chinese history, culture and contemporary life. Together their collective experience touring China over thirteen years helps deliver a unique photographic experience of China.
Since their initial venture in 2000 on the cusp of the millennium, David, Peter and Dave have travelled independently as well as together in China, on location and assignment as well as following their own projects.
They have sojourned to the east, into Hakka (KÄ“ jiÄ) villages, the largest, ancient mud brick dwellings in the world, still inhabited and way up in the mountains of Fújiàn. West to ChéngdÅ« the most exciting major city in SìchuÄn Province.
From the ancient walled town of SÅngpÄn visiting two thousand year old mountain village cave-houses all the way up to the tablelands of north-eastern Tibet and yak riding herdsmen of Aba. Thence to the north east of China and into everlasting Mongolian grasslands, tracking back down to the major cities of modern China BÄ›ijÄ«ng, Shényáng, HÄ’Ä›rbÄ«n and Dàlián, ShànghÄƒi.
To the north and central China, of the ancient walled city of Xi-an and Shaanxi Province. Central south-west into famous Guìlín amongst its fragrant osmanthus trees and graphic topology. To central-east HuángshÄn, Ä€nhuÄ« Province and the famed Yellow Mountains, all of these places and more and more, that inspired so much of traditional Chinese literature and painting.
All serve to carry the measure, grace and responsibility, indeed the everyday dignity, of the grandest of cultures constituting the soul of ordinary people, within and about the modernization of China.
David Lai is a leading Chinese photographer and educator. He has established the foremost metropolitan photography studio, process and finishing laboratory and specialist photography publishers in Shenzhen, one of the most dynamic cities in contemporary China. David has visited, on photographic location, over twenty of all twenty-seven Chinese provinces and covered more ground than most other professional photographers in China. As a result of his professional, administrative and educational attainments David maintains contacts across a wide network of metropolitan and regional administration, national and local media, major educational institutions as well as key photographic and cultural associations.
Since the year 2000 David has coordinated groundbreaking, imaginative international photographic visits into the heart of China, people and places off-the beaten track that other travellers just don’t get to. He has led Chinese and Western photographers through fascinating ‘untouched’ places, with sensitive and intelligent observation of people that, in many cases, may never have met foreigners before, including: to the north and west of Sichuan via Chengdu, Songpan, regional Tibet, to the eastern mountain villages in Fujian, and far north into Mongolia and Hebei, then Guazhou north west of Xi’An as well as the south from Shenzhen into Heping, northern Guangdong.
Peter Steele is a Sydney commercial and fashion Photographer working from his studio based in Alexandria, Sydney. Peter is also the owner and Director of Proexhibit, supplying high quality photographic display products to professional photographers throughout Australia.
Peter commenced his career in 1994 working as a portrait photographer before in 1997 starting a Diploma of Photography at Sydney Institute of Technology. In 1998 while still studying he started Studio 61 his first studio based in Redfern, Sydney that ran for over a decade.. From 2003, Peter has also taught in tutorial and workshops all aspects of photography, particularly location and studio lighting for photography. He has given guest workshops both in China at Shenzhen Senior Technical Institute and Shenzhen Polytechnic, and casual teaching in Australia at the University of Western Sydney. Most recently, in 2012 Peter curated the unique first full photographic digital photography exhibition titled "The Body" exhibiting twenty Australian photographers at the Proexhibit Studio in Sydney. Peter's work has appeared in many editorials including "Black and White Magazine" Culture Magazine, Vogue and now many Fashion online publications. His work has gained many AIPP and ACMP awards over the last 15 years.
As well as establishing himself as a successful commercial photographer Peter is a photographer who never lost the sensibility to simply look, observe and wonder at the world, without which it is not possible to make engaging photographs, as he does, tracing meaning, narrative and life measured in fractions of a second. Peter’s skill and passion for rendering distinct photographic ‘face’ to certain moments of character, tradition and everyday life of people is given full rein in his travel and reportage photography throughout Australia, Europe and Asia and, particularly over the past thirteen years, journeying by lens into the ever surprising, often hidden and remnant cultures within remote areas of China.
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Dr. Dave Cubby is an educator, artist and photographer and senior academic at the University of Western Sydney (UWS), Australia. He has taught photography, fine art, design and communication, theory and practice mainly at Australian universities including the University of New South Wales, College of Fine Art, The University of Newcastle, Charles Sturt University and UWS. Dave has a research focus on visuality and its impact on language and thinking, he has presented and published papers on photography at major international conferences. He is a past-president of the Australian Photo-Imaging Educators Association (PIEA). Dave Cubby has photographed in PR China, Asia, India, America and Europe. His photographic and film works have been exhibited at many international venues including the Sydney Biennale of Art and the Polish Biennale of Art and his work is widely published. His photographic works are held within the collection of the Art Gallery of New South Wales, Fuji ACMP, Powerhouse Museum, University of Western Sydney and private collections.
Photographing in China, it's not for photographers to intervene in community, but to approach people observantly with kindness and equanimity, being at home in unfamiliar places, and at ease with amazing people living out their modernity whilst maintaining tradition as an enormous resource. Dave Cubby’s enthusiasm for travel and reportage photography is conditioned by his notion that this mysterious and brilliant medium, photography, maps closer to chaos than all other forms of representation. Why? Because photographs preserve a natural microcosm of the real, light and its absence, and so, we are always photographing something. Also, knowing that chance is the ‘order of the day’ renders an opportunity to travel harmoniously with time through the flow of events and people - to see fast - ahead of schedule, with the realization that the end image will generously and poetically give more than anticipated. Getting the pace of it, means never ‘taking’ photographs but, retaining quiet confidence that meaningful images are always within reach and arrive in camera at precisely the right moment.
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Curated by UWS Art Curator, Monica McMahon. ( firstname.lastname@example.org )