Rendering Self and Microagressions Visible Through the Shadow Image

Kim Snepvangers

doi:10.17742/IMAGE.MM.12.2.5

Authors

Kim Snepvangers University of New South Wales, Sydney

DOI:

https://doi.org/10.17742/IMAGE.MM.12.2.5

Abstract

This project, starting with Prompt 2 from the Massive Micro Sensemaking (MMS) led by Annette Markham and Anne Harris in May through June 2020, assisted me to move through the anxiety of COVID-19 lockdown. I set up four visual renderings—a series of photographs that, through a process of unfolding, make links to broader issues in my archival research in the context of settler colonial Sydney, Australia. Exploring lived experience through photography anticipates a creative a/r/tographic lens, focusing on rendering objects so that they take on a more-than-representational aspect, touching the materiality of objects as data. Adaptively layering the renderings moves beyond one dimensionality as a strict capturing of an observed phenomena. Here, an initial photograph has a latent, additional layer of shadow to build volume and re-cast semblances of the representational world through reflection.

Author Biography

Kim Snepvangers, University of New South Wales, Sydney

Kim Snepvangers is an Adjunct Associate Professor, School of Art & Design, The University of New South Wales, Sydney, and an Adjunct Professor, Faculty of Education, Southern Cross University, QLD, Australia. Kim is a Principal Fellow of the Higher Education Academy (PFHEA), and an award-winning educational leader in professional practice in creative ecologies across art, design, and media. Kim has co-edited three books and over 20 book chapters and journal publications that have been recognized in the wider professional context nationally and internationally. Working with Aboriginal and Torres Strait Islander collaborators and Cultural Mentors on exhibition projects engages her history with dissensus to challenge dominance of progress narratives in settler colonial contexts. Her research engages visualisation with creative ecologies, critically reflective frameworks, and embodied pedagogies. She has extensive research experience in developing transitional educative spaces between academic, creative, and professional practice.

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