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.
b.leideritz
capturing, developing and creatively translating your brand, your business and your image. translated through traditional graphic design principals and a photographic art practice that originated on film and transitioned through to digital commercial portrait photography.
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 before the end of january
#b #bleideritz #byou b.leideritz.com/you
model: Adam Malone
Jan 22
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
Jan 11
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
Jan 11
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
Jan 10
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: @soniabondarcevv
#b #bleideritz #bchallenged #RMITphoto #mastersofphotography
Jan 10
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
Jan 9
sharing some of the b.seen work from the end of 2022 pt 2.
b.seen is the combination of my photographic and design skillset that usually comes to play when trying to help fellow creatives be seen when they wish to be seen.
for those of you who will be in Adelaide for the 2023 fringe, get along to see Red District at Ukiyo at Gluttony from March 14-18 10pm. Produced by House of Hunter Productions.
https://adelaidefringe.com.au/fringetix/red-district-af2023?fbclid=PAAaaK-yo3wWM9ZspBRn3iNCDCouI5Cvqc1fPUYmtL4xC4T_szF6zhcfI5H80
SHOW description
If you crave a show that is sexy, provocative and enticing then come and indulge yourself in a night at the Red District. The show will transport you through a haze of devilish dancers and phenomenal aerial artistry sprinkled with a little skin and a lot of cheek. Indulge yourself in a world full of temptation, we guarantee you’ll leave you wanting more….
Expect a powerhouse of performances from a cast of impressive South Australian aerialists and dancers with resumes to boot.
Fb Page https://www.facebook.com/RedDistrictFringe?mibextid=LQQJ4d
Fb Event https://facebook.com/events/s/red-district/3259962560888342/
#b #bleideritz #bseen b.leideritz.com/seen
#reddistrict #ADLFringe
Jan 9
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
Jan 5
sharing some of the b.seen work from the end of 2022 pt 1.
b.seen is the combination of my photographic and design skillset that usually comes to play when trying to help fellow creatives be seen when they wish to be seen … not that moisty needs much help on that front 🙂
for those of you who will be in Adelaide for the 2023 fringe, Moisty Magic will be performing in their solo show 'How to make a Bimbo' on Wednesday 15 March to Saturday 18 March at 10pm at The Lark at Gluttony in Rymill Park. (tickets available at https://adelaidefringe.com.au/…/how-to-make-a-bimbo-af2023) produced by Big Clit Energy Productions.
the promo for the show is as follows …
Gender is performative, and Moisty Magic is here to steal the show! On a quest for quick cash, Moisty ended up discovering their true self. A politically charged story about unpacking internalised misogyny and coming to terms with identity. Be prepared to have your views of gender challenged by a bimbo in 8-inch heels and a tiny bikini. Academic by day, sex worker by night, and performance activist anytime they get the chance, Moisty brandishes opinions as loud as their hair and wit as sharp as their eyeliner. They don’t fit in a box and neither does this show – the perfect blend of cabaret, burlesque, drag, dance and sideshow.
Photography/design: Brent Leideritz
Performer/concept/show/makeup/styling: Moisty Magic aka Hoe Rogan
Shoot assistant: Lauren 'Lolly Dolly' Thiel
#b #bseen #bleideritz b.leidereritz.com
#moistymagic #howtomakeabimbo #gluttony #ADLFringe #adlfringe2023 #bigclitenergyproductions #bce!
Jan 4
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
Dec 24
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
Dec 24
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
Dec 24
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
Dec 24
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
Dec 24
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
Dec 24
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
Nov 18
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
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
Nov 8
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel four – The seen – Work in progress element
This panel was where this homage all started, inspired by Pieta by William-Adolphe Bouguereau. As with the rest of this homage, this image represents those of us who exist outside of the normative conservative world view and critiques the nature of such, as well as the multiple traumas the judeo/christian myth creates for others and typicals alike.
Thanks to all of you who helped bring this image to life (the final homage is coming soon) … Rebecca Castaldini @eva.somnolence Samael Allan Makay @signsliaison Nicola Nikki Sullivan @nikkisullivan26 Dakota Rae @dakotormon Layla McKay @laylaxmua Christopher Malthouse Ben Davenport @talliesin_grixti Ingrid Devi Letum @tired.gov.au Sonia Bondarcev @soniabondarcevv Jaqana Geraghty @jaqanabanana , and a raven courtesy of Katie Keast @katie.keast
Undertaken as part of Semester one, Photo one, Master of Photography at RMIT Photography @rmitphoto with Pia Johnson @piajohnsonphotography as supervisor and Torika Bolatagici @torika_b as lecturer.
(censored for socials as is required in this puritanical age)
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
Oct 14
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel four – The seen – Work in progress element
Hoe Rogan @mxmoistymagic & Lauren 'Lolly Dolly' Thiel @laurenpaigethiel representing Baphomet & Mephistopheles in this homage'o'mine …
Undertaken as part of Semester one, Photo one, Master of Photography at RMIT Photography @rmitphoto with Pia Johnson @piajohnsonphotography as supervisor and Torika Bolatagici @torika_b as lecturer.
(censored for socials as is required in this puritanical age)
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
Oct 10
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel five/six – The seen – Work in progress element
The three graces … exist in this homage as opposition to the judeo/christian worldview … because there has to be something more than guilt before death 😉
Thankyou to, Felicity Boyd @sexandthechilli Laura Rose @laurarose_model & Emily Fogg @prim_brulee for doing all the classic posses, all of which would have worked a treat, prior to this dance shot that was full of the life needed for this panel 🙂
Undertaken as part of Semester one, Photo one, Master of Photography at RMIT Photography @rmitphoto with Pia Johnson @piajohnsonphotography as supervisor and Torika Bolatagici @torika_b as lecturer.
(censored for socials as is required in this puritanical age)
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
Oct 8
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
Oct 6
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel five/six – The seen – Work in progress element
As I did with my revelation 6 series a few years ago, I thought this series wouldnt be complete without death … so a call was made once again to Milly Ashlea @aceventura_vetdetective and Monty to reprise his role as the pale horse 😉
(as with the previous goat edit, this was madness .. have uploaded the before into comments for those who like to see where this began. One of these days ill shoot an animal in a black smooth room, it would make life much easier lol)
Undertaken as part of Semester one, Photo one, Master of Photography at RMIT Photography @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
Oct 5
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel two/three – The seen – Work in progress element
This shot is of Charlotte Kelly @my_equanimity as lucifer morningstar … the fallen, the supposed original sin proceeding Adam … but much like lilith, my interpretation is that of free thought and a refusal to follow blindly 😉
"All they that know thee among the people shall be astonished at thee: thou shalt be a terror, and never shalt thou be any more."
Ezekiel 28:19 KJV
(i have censored this for socials, for obvious reasons lol)
Undertaken as part of Semester one, Photo one, Master of Photography at RMIT Photography @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
Oct 4
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel two – The seen – Work in progress element
This shot of Courtney Bowey @anathema.black and Brad Boruch @brad_boruch represents, Adam, Even, Cain and Abel and the jealousy and volence that came from the first born Cain, nothing like a bit of toxic masculinity early on huh
(i have censored this for socials with a nod to lilith, for obvious reasons lol)
Undertaken as part of Semester one, Photo one, Master of Photography at @rmitphoto with @piajohnsonphotography as supervisor and @torika_b as lecturer.
This homage will be printed for assessment by David Hobbs at Master of Prints on stock from Daniela Barth of Spicers Paper AU
#b #bleideritz #bchallenged
b.leideritz.com #doweforgivethosewhotrespassagainstus RMIT Photography #RMITphoto
Oct 3
DO WE FORGIVE THOSE WHO TRESPASS AGAINST US?
Panel three – The seen – Work in progress element
For those who have been playing along at home, moonlight was as close to a black goat as I could find … and as goats and suburban photo studios don't really go together, to photoshop I went … needless to say, editing out grass behind the fur of moonlight was a rather tedious process … one i get to repeat again with a lamb and a pale horse …
Undertaken as part of Semester one, Photo one, Master of Photography at @rmitphoto with @piajohnsonphotography as supervisor and @torika_b as lecturer.
Thanks to Kym and the team at Freedom Hill Sanctuary @freedomhillsanctuary for allowing us to feature moonlight in this series.
This homage will be printed for assessment by David Hobbs at @master.of.prints on stock from Daniela Barth of Spicers Paper AU @spicerspaper
#b #bleideritz #bchallenged b.leideritz.com #doweforgivethosewhotrespassagainstus RMIT Photography #RMITphoto
Oct 1
