creative translation through photography and traditional graphic design. seeking to capture and create a vision, a brand and an image; yours and his. b.leideritz.

“The effect of gender is produced through the stylization of the body and, hence, must be understood as the mundane way in which bodily gestures, movements, and styles of various kinds constitute the illusion of an abiding gendered self. This formulation moves the conception of gender off the ground of a substantial model of identity to one that requires a conception of gender as a constituted social temporality.”
– Judith Butler (Gender Trouble : Feminism and the Subversion of Identity. New York: Routledge, 2006.)

This photo is a self portrait, and a reminder to all out there that only you can define your gender. It is not just a binary choice. It is not anyone else's choice. It is not based on your anatomical assignment at birth.

(this photo was taken as a lighting test for this semesters MoP studio work.

#iamafreak #iamnotamanevenifilooklikeone #beardsdonotdefinegender #mygenderisperformative #genderisaconstruct #itstimetoeducateyourself #itstimetomakeastand #fuckthechurch #fuckthenazibullshit #fucktheterfs #fucktheconservative #fuckthosewhogavepermissionforsuchbullshitbytheirpoliticalpropoganda

the beast (hat) designed by myself, created artfully by Blake Canham-Bennett of Blakesby Hats

shot in front of our kab101 mural by Scott Kabuki

ADELAIDE FB HIVEMIND
Are any of you, or do you know anyone who is female presenting Trans or Drag in the overtly femme presentation (think Andreja Pejić and/or Courtney Act for reference) … and that would in interested in being a part of my semester two RMIT Master of Photography project … I need Mary's (another Madonna and another Magdelene)

Thanks in advance 🙂

#RMITphoto #b #bleideritz #bchallenged

As a start to the artistic side of myself this year, I thought I would do an edit of each of the others I shot for 'Do we forgive those who trespass against us' last year, taken on the same days as the main images, but edited in my more raw black and white style. I shall release them over the next while, here is another one 🙂

Subjects: @brad_boruch & @anathema.black
#b #bleideritz #bchallenged #RMITphoto #mastersofphotography

As a start to the artistic side of myself this year, I thought I would do an edit of each of the others I shot for 'Do we forgive those who trespass against us' last year, taken on the same days as the main images, but edited in my more raw black and white style. I shall release them over the next while 🙂

Subjects: Anthony Iggy B Santamaria

#b #bleideritz #bchallenged #RMITphoto #mastersofphotography

As a start to the artistic side of myself this year, I thought I would do an edit of each of the others I shot for 'Do we forgive those who trespass against us' last year, taken on the same days as the main images, but edited in my more raw black and white style. I shall release them over the next while 🙂

Subjects: Ben Davenport

#b #bleideritz #bchallenged #RMITphoto #mastersofphotography

As a start to the artistic side of myself this year, I thought I would do an edit of each of the others I shot for 'Do we forgive those who trespass against us' last year, taken on the same days as the main images, but edited in my more raw black and white style. I shall release them over the next while 🙂

Subjects: @nikkisullivan26

#b #bleideritz #bchallenged #RMITphoto #mastersofphotography

so, as i am continuing my masters of photography at RMIT Photography under the supervision of Pia Johnson and the team, i figure its time to see who is interested in being a subject for this year …
i am looking for those who consider themselves:
– queer
– trans
– neurovergent
– bipoc
– sw's
– others (alt subcultures for example)
my current working titles for semester one and two are
1 – gods, virgins, saviours & whores
2 – leviticus be damned
and i shall also have some other elective type projects which will be separate from the two main projects …
comment below so i can add you to the interested list 🙂
thanks in advance as always
#b #bleideritz #bchallenged b.leideritz.com
#RMIT #RMITphoto

for those of you who might have wanted to do a b.you shoot with me over the years, but haven't been able to perhaps this special will help 🙂

the b.you package is usually $500+gst so it's a 50% off kind of deal but will still include two edited files for use online (with unlimited personal usage rights) as well as two 8×12 fine art prints done by David Hobbs at Master of Prints.

this shoot special is for adelaide (or those who can be in adelaide during jan) however for those of you in melbourne, let me know if you are also interested as I may do this special once this year over your way as melbourne has always been my second creative home.

drop me a DM if you wish to make a booking.

#b #bleideritz #byou b.leideritz.com/you

model: @adam__malone

a collection of photographs by brent leideritz taken in the 90s/00s at the big day out in adelaide, south australia.

210mm minimum width (a4) open edition prints available – dm if you are interested

shirley manson (garbage) circa 2002

shot on the x700 using ilford xp2 and adjusted in the digital darkroom … this was the first two shots of the roll

Shirley Manson #garbage #BDO #b #bstill b.leideritz.com

shirley manson (garbage) circa 2002

shot on the x700 using agfa vista 800 and converted to black and white for this series …

#shirleymanson #garbage #BDO #b

shirley manson (garbage) circa 2002

shot on the x700 using agfa vista 800 and converted to black and white for this series …

#shirleymanson #garbage #BDO #b #bstill b.leideritz.com

perry farrell (jane's addiction) circa 2003

this was shot using my trusty old minolta x700 with kodak gold max film from the pit … and then converted to black and white for today

#perryfarrell #janesaddiction #bigdayout #b #bstill b.leideritz.c

dave navarro (jane's addiction) circa 2003

this was shot using my trusty old minolta x700 with kodak gold max film from the pit … and then converted to black and white for today

#davenavarro #janesaddiction #bigdayout #b #bstill b.leideritz.com

For those of you in MELB, if you are interested in booking a b.creative or b.you shoot in early December, for promo, prints or fun, drop me a DM … I am taking bookings while over for a quick trip and need to know in the next week or so to make arrangements 🙂

#b #bleideritz #bcreative #byou b.leideritz.com

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Suspension for RMIT Master of Photography Semester 1 Studio 1
Each panel is 1.1m x 1.65m in scale
Photo by @piajohnsonphotography

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 1
The seers
Eyes wide open

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 2
The seen
Adam, Eve, Cain & Abel

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 3
The seen
Lucifer, THE Devil, Baphomet & Mephistopheles

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 5
The seen
Iggy & the three Graces

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 6
The seen
The pale horse

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 7
The seen
Death

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

Panel 8
The unseen
The Martyr Paradoxx

In the words of @alison.paradoxx (Thankyou is not enough)

"
The ideas of suffering, and martyrdom is often affiliated with the depiction of the Jesus embodiment, yet the assumptions of gender, colour of skin, culture, and age are qualities that seem fixed in trope, and visually-accessible folklore. This Jesus, however, is androgynous. Confrontional, frail … yet simultaneously powerful in its imagery. This Jesus is a social outcast, an apt depiction of suffering, a subversive entity. But most importantly, to me on a personal level, this Jesus image was created against all the odds. This shoot was incredibly important, and especially fragile to me on many levels, as it was taken against all the odds. I also was uncertain as to how the image would be digested by a viewing audience. Having been hospitalised for almost three months, weighing 24kgs, and suffering from hypothermia, Chronic kidney disease, Hypermobile Ehlers Danlos Syndrome, chronic pain from scoliosis, and severe anorexia, we were vastly limited in the scope of what we could do during a shoot. The results you see were shot as an “escaped patient geurilla shoot”… from a disabled toilet… on the third floor of a busy public hospital. This shoot is truly an example of the passion in art, and illustrates to the viewer that even when faced with tremendous obstacles, powerful works can often be created best. Created to confront, to discomfort the viewer, to disrupt the narrative, and be subversive. This is not a celebration of what life should be – this is a raw, and candid depiction of pain, and life being stripped away. As a chronically disabled person, I am othered by society. The suffering, and persecution of Jesus is symbolic to this experience. "
This homage has been printed for RMIT Master of Photography studio one assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to Pia Johnson for the supervision and installation assist, and Torika B for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one @rmitphoto assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to @piajohnsonphotography for the supervision and installation assist, and @torika_b for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?

As a self-identified freak or ‘other’, ‘Do we forgive those who trespass against us’ sets out to question and challenge the normative society in which we have been engulfed by. The nature of ‘self’ is communicated through performativity and difference, which enables those wishing to retain power of conservative structuralist ideologies, to categorise us in the same way that they mis-contextualise scripture to re-enforce their self-serving needs. We become ‘representations of wrong in the eyes of (their) god’, condemned to their mythological hell, because their narrative requires us to be ‘evil’ in their binary make believe, of which they see themselves as ‘good’. Giving space for gender performance and representation to our community of ‘other’ allowed for a communal deconstruction and reinterpretation of the symbolism, myth and narrative of the church’s ideologies. By post structuralist deconstruction, and by contrasting the religious and mythological representations of judeo/christian constructs and its foundational imagery, I present within this homage, the alternative reality and strength of difference that the ideologies of the church continue to demonise to this day. In the creation of this homage, I see the potential for a wider audience of the invisible ‘other’, and normative personal alike, to appreciate that a conservative structuralist reality isn’t the only ‘truth’, but simply a singular dated and restrictive viewpoint in an ongoing and ever-changing reality of a post-structuralist society where truth is relative, and personal.

This homage has been printed for RMIT Master of Photography studio one @rmitphoto assessment by David Hobbs at Master of Prints @master.of.prints on stock Bauhaus Tru Rag Etching from Daniela Barth of Spicers Paper AU. Thanks to @piajohnsonphotography for the supervision and installation assist, and @torika_b for the subject lecturing.

#doweforgivethosewhotrespassagainstus #b #bleideritz #bchallenged b.leideritz.com
RMITPhotography #RMITphoto

DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel four/five – The seen – Work in progress element

The one and only IggyB @iggy.blackthorne who will be turning his back on jesus and moving towards grace 😉

Undertaken as part of Semester one, Photo one, Master of Photography at @rmitphoto  with Pia Johnson @piajohnsonphotography as supervisor and Torika Bolatagici @torika_b as lecturer.

This homage will be printed for assessment by David Hobbs at Master of Prints @master.of.prints  on stock from Daniela Barth of Spicers Paper AU

#b #bleideritz #bchallenged
b.leideritz.com #doweforgivethosewhotrespassagainstus RMIT Photography #RMITphoto