Art Photography

“Ellöh“ is an artistic installation that explores the complex relationship between lifeand death. The reverse of the German word ‘Hölle‘ [‘Hell‘], ’Ellöh‘ captures thepervading nature of death into all forms of life. Not only that death has its special wayof insinuating itself in life manifestations and coexist with life, but it can engage lifeinto a mutual fostering relation. Thus, death and decay manifest their physicality andinsinuate themselves in various life forms, but also would coexist with life andsometimes even nurture reciprocally.

In Martin Heidegger’s philosophy, the significance that death holds upon humanexistence becomes central to elucidate the ontological question. According to theGerman thinker, when facing his own death, the individual faces his authentic self. It isonly in the presence of death that the human existence would reveal itself in itswholeness and the concept of being can be fully understood.

But how facing death can take place in a world in which death follows and shades anythrill of life, grows on life and makes life growing on itself? If redemption can lead yourexit way from hell, is there any exit from the hell overturned into our daily lives? How can we escape “Ellöh“?


The exhibition runs 13 August – 08 September 2014 at Outer Space/ Verge Gallery.

Gallery address and hours:
Jane Foss Russell Plaza,
City Road, DarlingtonT (02) 9563 6218
Opening hours: 10am – 5pm weekdays.

2_Bridge To Nowhere

“Bridge to Nowhere is part of my On Walking Dreams series, which is the first installment in the trilogy Within Shadows. This body of work explores the fleeting moments between dreaming and waking – the blurred seconds in which imagination and reality collide.

This image was shot in 2006, midpoint in the series On Waking Dreams. The images in this first part of the trilogy focus on my own dreams, which I journal as I wake, then shoot that very same day. To create the images, I recall a significant metaphor, contemplative moment, or pathway into the unknown from a dream the night before. I then capture the fading memory on film using details from my own imaginings to tap into the collective unconscious.

What is particularly remarkable about Bridge to Nowhere is that the final image is the exact vision I awoke with – not a metaphor or an interpretation. And it was captured only an hour after waking. The location where this was shot is a 30-minute drive from my home. So basically, I got out of bed, grabbed three of my cameras, put my dog Blue in the car, and drove (virtually half asleeep) to Santa Monica. A large part of my process is that I remain in somewhat of a dream state when shooting, so my best advice is never to be a passenger in my car when I go out to shoot in the morning.”

Susan Burnstine