Flight of the Rubrick
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in a black frame with premium clear glass.
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in a black frame with premium clear glass.
Photography’s Shadow
“The unexamined life is not worth living.” Socrates (Stokes :2007: 228)
In my project Photography’s Shadow, I have adopted a multidisciplinary approach, using both photography and drawing to explore my themes.
My work is very much a reflection of my upbringing and a response to childhood trauma and I use the meditative act of drawing in particular to face my themes, It’s my therapy.
In Paul Cox’s 1983 film, Man of Flowers, the actor Norman Kaye says that “sculpture should be something that you want to touch. This is something I feel about my own work too, and about drawing and photography specifically. Touch is important. I have always been struck by this film quote and its significance to my life. For me is about a direct relationship with the object and the subject. Often the intellect and technology, (camera & photoshop) can get in the way of that direct experiential connection. Drawing is knowing by touching the paper, by looking then seeing, a direct line transmission from eye, brain, arm, hand, paper. It is experiential.
My work then is about trying to build a bridge between light and touch to heal the child (drawing self to my adult (photograph self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light.
To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
My work is about trying to build a bridge with light between the touch (drawing child self) I sought as a child to gain approval from my architect / artist father and the conceptual (photograph, my adult self) world my parents lived in. Growing up affectionless I became fascinated by how light touched things, as a small child this became affection to me. Lying on the floor being held by a pool of warm light. To me, it’s to touch something by lighting it, to create a new expression of the two mediums that I love, to reintegrate the two parts of myself and to reunite photography with its shadow, drawing.
Framed print by Guy Little
Image size 60cm x 40cm printed on sihl texture cotton rag paper mounted with a white matboard and framed in a black frame with premium clear glass.
Artist - Guy Little
Professional Photographer for 40 years shooting advertising, architecture, food, editorial, sport, scientific, macro, commercial, industrial, corporate, theatre, annual reports & weddings. 9 years as a Forensic and Scientific Photographer for the Federal Policy in Sydney and 22 years of experience as a Lecturer at RMIT University (Melbourne) in VET / TAFE Photo Imaging & Creativity (Certificate IV & Diploma levels). With current educational TAE teaching qualifications including 2 Cert IV’s a Graduate Certificate and Graduate Diploma.
• Finalist The Independent Photographer UK, 2024 People Award judged by Steve McCurry, Jan 2025
• Featured in an article in Forbes US online, as Finalist in The Independent Photographer, 2024
People Award judged by Steve McCurry, Jan 2025
• Masters of Photography MA, Falmouth University, UK 2024
Qualifications in Small Business Management, Scientific Photography, Electron & Scanning Microscopy as well as a BA Degree, Diploma and Certificate IV all in Photography.
A prior AIPP member and an ACMP member for 20 years. Past ACMP Federal President & Chairman and led the photography industry team that changed duration of copyright to Federal Parliament in 2000, which was successfully passed Feb 2005. Contributed to the ACMP Better Business Bible 1st ed. An Industry Judge at AIPP State & National Print Awards.
Currently Melbourne-based, with a diverse range of clients including National Foods, Dairy Farmers, HWE, Santos, BHP, Rabble Theatre, PWC, Hargreaves Associates (USA), Simon Carves, Moffat, Seido Karate, MecwaCare, VICTEC, ANZ International, Challenger Bank, Nova radio station, Vodafone, BBC (UK), AA Paper, Optus, Malthouse, Melbourne Theatre Company, Melbourne Festival, Financial Planning Association of Australia, & Peddlethorp.
Worked as Technical Director for Rabble Theatre Group on its 2012 production of "Room of Regret : A Picture of Dorian Gray," by Oscar Wilde at Theatreworks, St Kilda.
Numerous exhibitions, including ACMP Head On, Signature Collections, Fuji Salon in Tokyo, Sotheby’s New York.
Enjoys shooting sport and theatre and has covered events such as Sydney Olympics & Para Olympics, World Cup Soccer qualifiers, Melbourne Commonwealth Games, Australian Tennis Open, Australian Kendo Championships and numerous triathlons & cycling races.
