photographic art. seeking to subvert an established system, to challenge expectations and to confront ideals. a collection of images to trigger thought and discussion.



What determines when an image of the human form is considered art, nude, erotic or pornographic? Is a ‘pornographic’ classification determined by the naked body alone? Or, by intent of the image maker? Or, does personal bias dictate where you place the line between art nude and porn? In what circumstances does that bias get to decide where the line is for all? We have all been exposed to differing circumstances, experiences and influences during our personal development, thus colouring our perception of where lines may or should exist. #thehardline is a photographic series that presents a range of images, placing the human form within various circumstances; some with sexual intent, some without, some clothed, some naked, some clothed with sexual intent and some naked but void of sexual intent. This work is intended to trigger discourse on the subject of nudity, pornography, intent and consent. Does nudity automatically equal pornography? Or, does intent and action have to be considered when classifying the image? If something that is considered ‘pornography’ is created and shared among consent adults why is it so heavily controlled and censored?

in the nude, all that is not beautiful is obscene – robert bresson


emma hack art prize - group shows

The Emma Hack Art Prize is aa acquisitive art prize with a People's Choice Prize. The competition is for all South Australian based artists from any discipline, with a yearly theme.


a visual exploration of emotion, How would you feel at the end of days, would you rise up to fight, remember times gone by, or stand in silence and observe the end times?

in red lipstick we trust - in beards we trust

Society has been known to judge and label its people based on their choice of appearance. This collection explores two of these aesthetic choices – men forgoing shaving to establish a mighty beard and women forgoing a subtle natural look for a striking red lipstick.

skrambled eggs - group shows

Just as the frying pan doesn’t make the chef, the camera does not make the photographer … it’s not what you’ve got, it’s the way you use it.


in today’s highly visual society, one has to ask, what exactly makes for a real woman?

questioning: the words of king lemû’ēl

how do you treat those around you?, how have you been taught to treat them? can you think for yourself? can you be someone other than your history?

artist bio

brent leideritz is an independent artist with a photographic art practice that originated on film in the 1990s and transitioned through to the digital present. images suspended in binary pixilation. images that seek to challenge, to subvert and to confront. a created collection of pixels to trigger thought and discussion.

artist cv

2019  Netherworld art show – group
2018  Skrambled eggs VIII – group
2018  Emma Hack Art Prize – group
Emma Hack Art Prize – group
  Skrambled eggs VII – group
2016  Revelation6 – solo
2015  In Red Lipstick we Trust/In Beards we Trust – solo
2015  Skrambled eggs VI – group
2014  AIPP Contemporary Photographic Art show – group
2014  Skrambled eggs V – group
2013  AIPP Contemporary Photographic Art show – group
2013  Skrambled eggs IV – group
2012  Transmogrification trilogy – solo
2012  Skrambled eggs III – group
2012  AIPP Contemporary Photographic Art show – group
2011  Day & Night – group
2009  Realwomen – solo
2002  Questioning: the words of King Lemû’el – solo
1998  TAFE SA graduation exhibition – group
1994  ACSA graduation exhibition – group