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Fragments

April 24, 2026

This is a test of what an image-centric entry may look like. I have a healthy amount of images from our travels last year. I sit with them for a while in disbelief, and then in awe, and then in full appreciation. Give or take, a six-month processing time.

I am inspired by the latest season of Shrinking. To break from the big, idealized, made-up scenarios in our heads. I am inspired by Annie MacDowell's line in Monte Carlo, "Honey, it's not gonna turn you into a whole different person." I am inspired by the fact that I could be wrong. 

This entry is dedicated to my photographs from Paris. The images seem to be fragmented. Although, as I write that, I don’t actually know what I’m asking for from the city or from myself. It’s just that I have built up this moment in my head for a very long time.

I started writing this in Melbourne, coincidentally, NGV is showing “Women Photographers 1900-1975.” It is humbling, wonderful, incredible, awe-strucking to be surrounded by the work of women photographers who walked in heels with their big cameras so I could run.

Germaine Krull’s “MÉTAL”, 1928. A photobook containing her images of iron structures across Paris, Amsterdam, Rotterdam, Marseille, and Saint-Malo. You can’t quite pin down what or where. The choices she made in these photographs paved a new way of seeing places and objects.

“These steel giants revealed something to me that made me love photography again. From this moment onward, I began to SEE things as the eye sees them, and it is at this moment that photography was born for me.” – Krull from her unpublished memoir. 

I thought these images were fragments finding their place in the idea of the city. But as I simmer, I am learning they’re breaking the ideals of what I imagine it to be. The city’s beauty does not rely solely on grandiosity; at least for me, it's what you come across in the 25,000 steps you take. Haha! All images were taken mid-walk. And so my body remembers, too.  

"The photograph is a subjective interpretation of the world: it can reveal as much about the personalised vision of the photographer as it does about the subject depicted. It can conceal as much as it reveals."

Barbara Hall, Melbourne, Aug 1986
A line from the introduction to the book Australian Women Photographers 1840-1960, State Library of Victoria, La Trobe Reading Room. Film & Cinema.

“When you give yourself to places, they give you yourself back” –Rebecca Solnit

“You pile up associations the way you pile up bricks. Memory itself is a form of architecture.” – Louise Bourgeois