Dr Cherine Fahd is an academic and artist working in the field of photography and video performance. Cherine’s recent work is focused on the role of the camera in creating intimate social relationships between photographer and subject. In turn, she is interested in photography as a social practice that builds connections between people.
Cherine’s current projects include commissions for new video, photo and performance works for Sydney Opera House, Carriageworks and Performance Space and Art Gallery of New South Wales in Sydney. And for Monash Gallery of Art in Melbourne. These works explore the dynamics between photographer and subject as a way of studying proximity and distance in the way humans interact. Other notable works include Apókryphos (2019), which was selected for The National: New Australian Art and in 2020 won the Australia New Zealand Photobook Award, and You Look Like A, which was exhibited at the Australian Centre for Contemporary Photography.
She has exhibited around the world, including at the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; the National Gallery of Victoria, Melbourne; the Haifa Museum of Art, Israel; Benaki Museum, Athens, Greece; and the Tokyo Metropolitan Museum of Photography in Japan, among others. Her photographic work is represented in significant public collections including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria, Museum of Photographic Arts San Diego and the Haifa Museum of Art in Israel.
Cherine is the author of two books, A Portrait is a Puzzle (2017) and Apókryphos (2019), both with M.33 Melbourne. She writes broadly on photography and videography and has produced several articles on the politics of appearance and cultural assimilation, themes that often appear in her creative practice. She also publishes widely across a range of news and media platforms, includingThe Conversation, ABC News and SBS, academic journals and in photographic and video art contexts.
She has been awarded prestigious Grants from the Australia Council for the Arts (2018, 2016, 2014, 2007, 2004, 2002, 1999), Create NSW (2020), along with art awards and residencies such as the NSW Women & Arts Fellowship from Arts NSW (2005), Josephine Ulrick and Win Schubert Foundation for the Arts Photography Award (2004), National Photography Prize (2010) and the Moya Dyring Studio from the Art Gallery of New South Wales (2003). In 2018, she was awarded the Asialink Creative Exchange residence to Varanasi, India. She is currently an artist in residence at The Clothing Store in Carriageworks, Sydney.
Can supervise: YES
Cherine Fahd's research focuses on the ways photgraohy can bring us together in a social encounter. Cherine is deeply committed to photography as a resource for enabling social affection, care, conversation, friendship and enjoyment in an ethical and participatory manner that embraces diversity without compromising aesethetic innovation.
Fahd also writes widely on image-based practices including:
- photographic portraiture;
- social media images and practice;
- feminist image practices;
- photography as a social practice;
- news images;
- gender, beauty and femininity in photography;
- performing for the camera;
- acts of concealment;
- family photography and the archive/album;
- visualising grief;
- the politics of appearance (particularly Middle Eastern appearance in Australia).
At UTS, Cherine is Director of Photography, and coordinator of photography Honours Program as well as supervising Masters and Phd research.
© 2019, © 2019 Informa UK Limited, trading as Taylor & Francis Group.
Family albums are filled with photographs celebrating the happy times. These represent the high points in life, such as birthdays, holidays, and weddings as well as ordinary moments of domestic life. But what of more difficult images? Rarely included in the family album are photographs of funerals, deaths, and expressions of grief. Consequently, the focus of this article is a private collection of difficult photographs, hidden from view and left out of the family archive; the images unmistakably depict a family deep in mourning. Taken in 1975 at a funeral and burial, the family is pictured grieving their loss in an unusually public way. These images offer a rare opportunity to examine the representation of intimate and difficult emotions in private photographs, while asking questions about the function of the family archive. Using Jacques Derrida's reflections on death, mourning, and the archive, as well as Roland Barthes' observations in Camera Lucida, I have argued for difficult images to be included and shared in the family album. Here I maintain that difficult images depicting difficult emotions offer an opportunity to enhance photography's storytelling capacity in the inter-generational experience of family. This examination is further contextualized alongside photography's longstanding connection to death.
In this paper I explore the significance of the breath in contemporary art. While breathing operates at the margins of perception, its symbolic possibilities are frequently visualized in photography, video and performance-based works. I catalyse Allan Kaprow's instructive breathing piece, Performing Life (1979), to open up a perspective on the corporeal, creative and inter-subjective dimension of the breath in the work of Australian artists Julie Rrap, Daniel Mudie Cunningham and the late Australian/Italian artist Katthy Cavaliere. These artists, via a diversity of means, perform breathing and inadvertently achieve Kaprow's intention of drawing attention to what is overlooked in everyday life. I examine how Rrap, Cunningham and Cavaliere's works induce a consciousness of the breath in the viewer. Further, I have undertaken this examination by reflecting on the unavoidable connection between breathing and death. This discussion brings important detail to embodied spectatorship whereby 'breath work' is viewed as engendering an awareness of embodied subjectivity, creativity and community.
Fahd, C 2019, 'Contemporary Australian Artists from the Middle Eastern Diaspora', Mashriq & Mahjar Journal of Middle East and North African Migration Studies, vol. 6, no. 1, pp. 24-59.View/Download from: Publisher's site
For nearly two decades contemporary artists from the Middle East diaspora have enjoyed international acclaim with significant representation across major international exhibitions in the Western art centres. This success can be attributed in part to the strong socio-political concerns that characterise their practices. Like their international counterparts, Australian artists from the Middle East diaspora contribute to the enduring relationship between art and politics and yet despite this, the practice of contemporary Australian artists from the diaspora is scarcely known internationally. This article seeks to offer some redress by introducing seven contemporary Australian artists from the Middle East diaspora, who for the past decade have achieved institutional recognition in Australia.
Fahd, CR 2014, '"It is not me it is the subject" - Divided Orientations in Self-Portraiture' in Garnons-Williams, V (ed), Photography & Fictions: locating dynamics of practice, Queensland Centre for Photography (QCP), Brisbane, pp. 68-73.
When a photographer turns the camera on him or herself one assumes they are willing to be the subject. This willingness is clearly indicated in the self-portraits of Finnish photographer Elina Brotherus. In this paper I suggest Brotherus's willingness is evoked through the private disclosures she presents to the camera both physically and emotionally. I will examine Brotherus's self-portraits for their revelational strength in order to critically reflect on my own 'guarded' and highly staged approach. I will use the idea of cohesion in the photographer/subject relationship reflected in Brotherus's oeuvre to examine the dislocation of these roles in my own undertakings.
Fahd, CR 2016, 'From photographer & subject to photographer with subject', Contemphoto '16/iii. International Visual Culture and Contemporary Photography Cnference, International Visual Culture and Contemporary Photography Conference, Dakam Publishing, Istanbul, Turkey, pp. 120-130.
Photographing people activates a number of photographic nuances related to the act of 'self-presentation' and the pose. Discomfort, unease, self-consciousness and intent are just a few. In this paper I critically reflect on these through the encounter of portraiture. Considering two distinct approaches to photographing people, awareness and unawareness, my aim is to shed light on the dynamic between photographer and subject in the process of making portraits. At the center of this dynamic is the act of pointing a camera at another person with or without their knowledge. Through a detailed comparative analysis, I discuss the distribution of power between photographer and subject in terms of a distinction between my past method of photographing people covertly, and my current approach of joining my subject 'in the picture' to ease their discomfort and in turn my own.
Fahd, CR 2016, 'The Politics of Appearing', Peer Reviewed Proceedings of the 7th Annual Conference, Popular Culture Association of Australia and New Zealand Annual International Conference, Popular Culture Association of Australia and New Zealand (PopCAANZ), University of Sydney Village, pp. 127-138.
Whilst addressing a series of photographic portraits, this article photography, examines the status of Arabic appearance in a predominantly portraiture, Anglo culture like Australia. In 2016 young bearded men of appearance, race Arabic 'appearance' were invited to pose for a series titled You
Look Like a Terrorist. The young men wore beards not due to religious or cultural requirements nor as a statement of political allegiance but rather as a style choice. It is interesting to consider this style choice in terms of visual appearance. This article contextually analyses these portraits alongside those of 'jihadis' represented in the media and the contemporary 'hipster' amongst others. I ask whether young Arabic men in the West can enjoy the same style choices as their Anglo counterparts when in today's 'terrorized' society they represent the foreign and terrifying Other.
Fahd, CR 2013, 'Private Disclosures, Public Space', Contemphoto '13 Contemporary Photography Conference. Visualisation & Urban History in Contemporary Photography, Contemphoto '13 Contemporary Photography Conference, Dakam Publishing, Istanbul, Turkey, pp. 54-62.
This paper critically reflects on two distinct approaches to portraiture employed in my practice. While outwardly different, each shares with the other an identical conceptual constraint: to disclose something private in public. In doing this I differentiate between the covert methods of candid photography, giving details of its ethical and artistic complexities, and the participatory process of a posed portrait. I discuss both methods comparatively and point to what they promise as methods for revealing something private.
Fahd, C 2020, 'Apókryphos', Apókryphos, M.33, Centre for Contemporary Photography Melbourne.
Apókryphos (2018–19) presents a series of 24 photographs reproduced from Cherine Fahd's family archive, depicting her Grandfather's funeral and burial in 1975, when the artist was only two years old. Taken by an unknown photographer, Fahd overlays these images with a numerical system of annotations and footnotes, forensically yet intimately speculating upon the mysteries of the event.
Derived from the Ancient Greek term apókryphos, meaning 'hidden, concealed or obscure', Fahd renders public that which is generally kept private: the grief of losing a loved one, and the transgressive act of documenting those who gather to mourn. Offering a visual and literary response to the ritual of mourning, Apókryphos considers the physical ways in which human emotions are visualised, experienced and witnessed. As the artist states:
There is an unwritten contract that grief is private, unphotographable. Even in the family album, it is kept hidden. Family albums celebrate our moments of togetherness; birthdays, holidays and weddings as well as ordinary moments of domestic life. But what of death? What of images of grief and loss?
— Cherine Fahd, 2019
This exhibition is accompanied by the Apókryphos publication, featuring texts by Daniel Mudie Cunningham and Cherine Fahd and published by M.33, Melbourne in 2019.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Fahd, C 2019, 'Apòkryphos', The National 2019: New Australian Art, Carriageworks.
Apókryphos is a deeply moving study of the ways in which grief and mourning are visualised, experienced and witnessed. Using image and text Fahd reproduces 24 photographs taken in 1975 of her grandfather's funeral and burial. Nine of which were included in The National: New Australian Art.
The National 2019: New Australian Art is a celebration of contemporary Australian art. The second of three biennial survey exhibitions, it showcases work being made across the country by artists of different generations and cultural backgrounds. Through ambitious new and commissioned projects, the 70 artists featured across three venues respond to the times in which they live, presenting observations that are provocative, political and poetic. The National is a partnership between the Art Gallery of New South Wales (AGNSW), Carriageworks and the Museum of Contemporary Art Australia (MCA). This year, it has been curated by Isobel Parker Philip (AGNSW), Daniel Mudie Cunningham (Carriageworks), and Clothilde Bullen (MCA) and Anna Davis (MCA). Working in close dialogue, they have developed three distinct presentations of new Australian art that together highlight many of the ideas and concerns motivating artists in Australia today.
Fahd, C 2019, 'Fear of', On Vulnerability and Doubt, ACCA, ACCA - Australian Centre for Contemporary Art.
Fear of was commissioned by ACCA for the exhibition On Vulnerability and Doubt. The exhibition brings together artists whose works variously engage with questions of vulnerability and doubt, intimacy and desire, shame, love and awkwardness, through mediums including painting, printmaking, sculpture, performative photography and video. Exploring the role of doubt, and the story of the Doubting Thomas, the exhibition also considers the significance of feeling over or alongside the visual, and the critical role of humour, 'the minor' and 'otherwise' in relation to figures of authority. On Vulnerability and Doubt also embraces the complex nature of artists putting themselves and their work on display and bringing down one's guard in the face of vulnerability and humour.
Questions of vulnerability and doubt – aligned with a sceptical attitude to patriarchy, state power and institutions – have seen widespread expression and affect recently in public and academic contexts. On Vulnerability and Doubt also engages with what might be understood as the realm of feelings, emotions and an affective dimension in the production and appreciation of contemporary art practice. These subjective terms not only relate to the position of the artist, but equally to the spectator, the reception of the work, and the capacity that art has to touch, move, motivate and mobilise us as viewers.
Featuring new work, alongside significant existing projects, the exhibition is curated by ACCA's Artistic Director Max Delany and features Australian and international artists Andrea Büttner, Cherine Fahd, Brent Harris, Tala Madani, Linda Marrinon, Archie Moore, Charlie Sofo and Ambera Wellmann.
Fahd, C 2019, 'Visible Mothers', In her words, Horsham Regional Art Gallery, Horsham Regional Art Gallery & Touring.
Visible Mothers is a series of 20 photographs commissioned for the touring exhibition In her Words.
In Her Words is a photographic exhibition focusing on women behind and in front of the camera. Women who are in control of their own story; whether they are speaking their own truth or re-enacting the accounts of others. In this exhibition we hear from women who are bold in the telling of their flaws, uncertainties and strengths; aiming to get to the core of the female experience, rights and challenges.
It toured to multiple venues
Horsham Regional Art Gallery
02 March - 19 May 2019
Deakin University Art Gallery
11 September - 18 October 2019
Wangaratta Art Gallery
02 November - 15 December 2019
Swan Hill Regional Art Gallery
16 May - 12 July 2020
Logan Art Gallery
31 July - 05 September 2020
Fahd, C & Cunningham, DM 2019, 'Apókryphos', Apókryphos, M.33, Melbourne, pp. 1-126.
Apókryphos is a deeply moving study of the ways in which grief and mourning are visualised, experienced and witnessed. Using image and text Fahd reproduces 24 photographs taken in 1975 of her grandfather's funeral and burial. Through annotations, footnotes and redacted text she forensically yet intimately guides the reader through the mysteries of the event captured, offering a literary response to the photographs and to the unknown status of the photographer. Apókryphos continues Fahd's interest in the book as artwork. This new publication is a unique response to rare photographs of grief and mourning. The publication includes two creative texts as a 'call and response' between Cherine Fahd and Daniel Mudie Cunningham, Director of Programs, Carriageworks, Australia.
Fahd, CR 2019, 'You Look Like a...', Cherine Fahd: A Portrait is a Puzzle, M.33, Australian Centre for Photography Sydney.
A series of twelve photographic portraits featuring bearded men who appear to be Middle-Eastern in appearance.
Fahd, C & French, B 2017, 'A Portrait Is a Puzzle', M.33 Melbourne, Melbourne.
This "paired volume", beautifully designed by Elliott Bryce Foulkes, features Cherine Fahd's photographic studies, 'Shadowing Portraits' (2014-2016) and 'You Look Like a...' (2016-2017). It includes a critical essay by Blair French – Director Curatorial and Digital, Museum of Contemporary Art Australia, contributions from the 'Shadowing' participants, as well as Fahd's own notations on the processes of making portraits.
A 'Portrait is a Puzzle' is in itself an artwork; a pairing of two photographic series that invites the reader to turn the book over and around, to reach two endings in the middle and to interrogate the function of a portrait and the people it depicts, as an infinite and unsolvable puzzle.
Fahd, CR 2015, 'The Sleeper and Trafalgar Square', The Culture of Photography in Public Space, Intellect Books, UK, pp. 100-109.
This book is a collection of essays and photo essays "that offer a new response to the restrictions imposed on photography in recent years by analysing the events and the anxieties that have given rise to them."
Fahd, CR 2014, 'Fantasy is a place', Mono Nuovo, Kylie Banyard, Galerie Pompom, Sydney, pp. 10-13.
Fantasy is a Place is a catalogue essay on the work of Kylie Banyard. It featured in the exhibition catalogue for her work Mono Nuovo.
Fahd, CR 2014, 'Plinth Piece PORTFOLIO', Plinth Piece, Galerie Pompom, Sydney.
Fahd, C & Elizabeth, M, 'Landless Bodies', Landless Bodies, Casula Powerhouse Arts Centre.
I exhibited You Look Like a...with Matthew; You Look Like a...with Kristan; You Look Like a...with Rami; You Look Like a... with Jason; You Look Like a...with Luis; You Look Like a...with Thomas; You Look Like a...with Mark; You Look Like a... with Mac; You Look Like a...with Ahmed; You Look Like a...with Bruno; You Look Like a...with George; You Look Like a... with Mark M in the curated exhibition Landless Bodies.
This exhibition explores contemporary diasporic Arab women artists' experiences of gender without fixed locales. Invited artists from Morocco and Australia create a rich cultural experience that reflect the role of women as leaders in the private and public realm. Exploring the relationship of situating the self in past, present and future the exhibition presents an urgency of place and representation of culture.
Curated by Lizzy Marshall
Featuring: Safaa Erruas (Morocco), Cherine Fahd (Australia), Fatima Killeen (Morocco/Australia), Fatima Mazmouz (Morroco/France), Ms Saffaa (Saudi Arabia/Australia) and Batoul Shimi (Morocco)This exhibition brings together the different practices to present a familiarity of concerns that are not bound by geographic, social contexts or time. What these artist share through their individual practice are concerns of female identity and body politics within the domestic realm and public space.
Fahd, C & Holland, A, 'A Portrait is a Puzzle', Australian centre for photography.
A Portrait is a Puzzle was a significant curated solo exhibition at the Australian centre for photography, Sydney. It consisted of eleven new animation works titled I was Half French Half Australian, the series You Look Like a... and the series Shadowing Portraits. The project received Australia Council funding and was accompanied by a publication published by M.33 Melbourne.
Fahd, C & Rrap, J, 'Critical Bodies', Verge Gallery.
Georgia Boe, David C. Collins, Tayla Jay, Danica Knezevic, Blake Lawrence, Pamela Pirovic, and Yiorgo Yiannopoulos
Curated by Cherine Fahd and Julie Rrap
Critical Bodies is an exhibition co-curated by artists Julie Rrap and Cherine Fahd. It included a series of associated events such as panel discussion at the University of Sydney titled, "The pervasiveness of the body in art", in collaboration with UTS and USYD academics as well as photo/video practitioners.
Fahd, CR, 'Blown-Up', The Sceptical image, Sydney College of the Arts, SCA Galleries.
Blown-Up was featured in a group exhibition accompanied with the publication The Sceptical Image and affiliated with the conference The Image in Question.
Fahd, CR, 'Camouflage (nose) Camouflage(chroma blue/red) Camouflage(chroma pink/red) Camouflage (chroma blue/yellow) Camouflage (chroma inny) Camouflage (chroma eye) Camouflage (chroma nail) Camouflage (chroma hair) Camouflage (chroma hand) Camouflage (chroma nip) Camouflage (eye closed)', Camouflage, Sutton Gallery Projects.
Camouflage is a series of eleven photographs that present a subject hiding for and from the camera.
Fahd, CR, 'Camouflage (nose) Camouflage(chroma blue/red) Camouflage(chroma pink/red) Camouflage (chroma blue/yellow) Camouflage (chroma inny) Camouflage (chroma eye) Camouflage (chroma nail) Camouflage (chroma hair) Camouflage (chroma hand) Camouflage (chroma nip) Camouflage (eye closed)', Camouflage, Arterial Gallery.
Camouflage is a series of eleven photographs that present a subject hiding for and from the camera.
Fahd, CR, 'Camouflage (nose) Camouflage(chroma blue/red) Camouflage(chroma pink/red) Camouflage (chroma blue/yellow) Camouflage (chroma inny) Camouflage (chroma eye) Camouflage (chroma nail) Camouflage (chroma hair) Camouflage (chroma hand) Camouflage (chroma nip) Camouflage (eye closed)', Crossing Paths with Vivian Maier, Centre for Contemporary Photography.
Camouflage series was included in a curated exhibition: "Crossing Paths with Vivian Maier, Maier's photography—printed well after her death—is presented with contemporary Australian artists working in still, moving and found photography and who also document the street and themselves in an equally obsessive manner.
Against the gritty street life captured by her probing lens, Patrick Pound responds with second-hand images gleaned from junk shops and the Internet, while Debra Phillips and David Wadelton make an inventory of the city and its quirky features. Maier's self-portraits reverberate with Australian women artists who turn the camera on themselves in performative ways, in the work of Cherine Fahd, Gabriella Mangano and Silvana Mangano, Clare Rae, Simone Slee and Kellie Wells."
Fahd, CR, 'Camouflage (nose)Camouflage(chroma blue/red)Camouflage(chroma pink/red)Camouflage (chroma blue/yellow) Camouflage (chroma inny)Camouflage (chroma eye)Camouflage (chroma nail)Camouflage (chroma hair)Camouflage (chroma hand)Camouflage (chroma nip) Camouflage (eye closed)', Camouflage, Queensland Centre for Photography.
Camouflage is a series of eleven photographs that presents a subject hiding for and from the camera.
Fahd, CR, 'Camouflage PORTFOLIO', Camouflage, Queensland Centre for Photography; Centre for Contemporary Photography; Monash Gallery of Art.
Fahd, CR, 'Camouflage, chroma blue/red', 2013 Bowness Photography Prize, Monash Gallery of Art.
Camouflage, chroma blue/red selected as finalist in the MGA Bowness Prize and exhibition. Awarded honourable mention prize.
Fahd, CR, 'Camouflage, Chroma HairCamouflage, Chroma EyeCamouflage, Chroma Nail', Colour on the Concrete, UTS Art, UTS Art.
Camouflage was curated into: "Colour on the Concrete' brings together major works from the UTS Art Collection and a rare first edition copy of Josef Albers' 'Interaction of Color' in an exhibition and interactive Art Walk on campus. The exhibition explores different approaches and uses of colour and abstraction linking art, design and architecture from the late 1960s to contemporary art practice."
Fahd, CR, 'Fear of crossing the Westgate Bridge, Fear of making a fool of myself Fear of people saying what I imagine them to be saying, Fear of humiliationFear of the future, Fear of my own negativity Fear of commitment, Fear of being addicted to porn Fear of never having sex again, Fear of being boring Fear of awkward goodbye hugs, Fear of dementia.', Everyday Fear/Fear of, Transit Gallery, The Substation, Melbourne.
Everyday Fear/Fear of is a public text based project that generates street posters and large scale billboards. The poster text is derived from anonymous fears entered by members of the public into an online survey.
Fahd, CR, 'Homage to a Rectangle PORTFOLIO', Homage to a Rectangle.
Fahd, CR, 'Homage to a Rectangle, faceHomage to a Rectangle, mouth', MAMA Foundation National photography Prize, Murray Art Museum Albury.
A series of photographs that combine abstraction with figuration.
Fahd, CR, 'Homage to a Rectangle, inny Homage to a Rectangle, breathHomage to a Rectangle, armHomage to a Rectangle, hipHomage to a Rectangle, faceHomage to a Rectangle, noseHomage to a Rectangle, mouthHomage to a Rectangle, outtyHomage to a Rectangle, hairHomage to a Rectangle, shoulderHomage to a Rectangle, back', Homage to a Rectangle, William Wright Projects.
A series of photographs that combine abstraction with figuration.
Fahd, CR, 'Homage to a Rectangle, inny Homage to a Rectangle, breathHomage to a Rectangle, armHomage to a Rectangle, hipHomage to a Rectangle, faceHomage to a Rectangle, noseHomage to a Rectangle, mouthHomage to a Rectangle, outtyHomage to a Rectangle, hairHomage to a Rectangle, shoulderHomage to a Rectangle, back', Homage to a Rectangle, THIS IS NO FANTASY + Dianne Tanzer Gallery.
A series of photographs that combine abstraction with figuration.
Fahd, CR, 'National Types of Beauty', An Unorthodox Flow of Images, Centre for Contemporary Photography, Centre for Contemporary Photography Melbourne.
National Types of Beauty included in An unorthodox flow of images. The curators note: The exhibition commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.
This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.
Fahd, CR, 'National Types of Beauty 2017', National Types of Beauty, Artereal Gallery.
A series of 36 subversive portraits developed from a set of English cigarette cards produced in 1928 depicting images and loaded texts descriptive of the national types of female beauty.
Fahd, CR, 'Plinth Piece, Kouros study Plinth Piece, animalia studyPlinth Piece, Nike victory studyPlinth Piece, shadow studyPlinth Piece, study for reclining nudePlinth Piece, study for the water carrierPlinth Piece, study for woman bitten by a snake Plinth Piece, study for Zeus (or possibly Poseidon)', Plinth Piece, Galerie Pompom, Galerie Pompom.
A series of eight implausible photographic self-portraits of the body covered in children's Play Dough.
Fahd, CR, 'Plinth Piece, Kouros study Plinth Piece, animalia study Plinth Piece, Nike victory study Plinth Piece, shadow study Plinth Piece, study for reclining nude Plinth Piece, study for the water carrier Plinth Piece, study for woman bitten by a snake Plinth Piece, study for Zeus (or possibly Poseidon)', Plinth Piece, Diane Tanzer + THIS IS NO FANTASY.
A series of eight implausible photographic self-portraits of the body covered in children's Play Dough.
Fahd, CR, 'Plinth Piece, Shadow Study', Bowness Photography Prize, Monash Gallery of Art, Monash Gallery of Art Melbourne.
"Plinth Piece, Shadow Study" selected as finalist in the MGA Bowness Prize and exhibition.
Fahd, CR, 'Plinth Piece, Shadow StudyPlinth Piece, Reclining NudePlinth Piece, Nike victory study', Constructed Worlds: Zahalka, Stacey, Rrap, Ferran, Fahd, Grace Cossington Smith Gallery.
"Constructed Worlds is an exhibition exploring the shifting framework of contemporary Australian photo-media. Five important photographers, Anne Ferran, Anne Zahalka, Cherine Fahd, Julie Rrap and Robyn Stacey expand material and cultural ideas about photography and respond to the relationship between image, object and the viewer."
Fahd, CR, 'Plinth Piece, Study for Woman Bitten by a Snake, 2014', New Matter: Recent Forms of Photography, Art Gallery of New South Wales.
Plinth Piece, Study for Woman Bitten By a Snake exhibited and acquired by the Art Gallery of New South Wales.
"New matter: recent forms of photography showcases work by early career Australian and international artists who are challenging preconceptions about photographic representation.
An Art Gallery of New South Wales collection exhibition, New matter: recent forms of photography is the first opportunity to view new acquisitions by fourteen contemporary photographers.
Whether they explore the expressive possibilities offered by digital technology or retain a commitment to analogue processes, the works in New matter: recent forms of photography investigate what a photograph is, not simply what it depicts."
Fahd, CR, 'Shadowing Portraits', CCP Declares: On the Social Contract, Centre for Contemporary Photography, Centre for Contemporary Photography.
Shadowing Portraits is a series of 20 portraits/self-portraits exhibited in the curated exhibition "CCP Declares: On the Social Contract". This exhibition "examined and extended the idea of social contract theory; the idea that moral and political obligations and rights are bound upon an intrinsic agreement amongst the various constituents of a society."
Fahd, CR, 'The Dancers', Street View in Anonymx, The End of the Privacy Era, Haifa Museum of Art, Haifa Museum of Art, Israel.
The Dancers is a photographic series emerging from the genre of documentary photography. Specifically, the series addresses the complex nature of looking and the 'voyeurism' inherent in the viewing of material uploaded to online video platforms such as Youtube in this case. Traditionally, domestic space was considered private space. Its recording was usually saved for the intimate sphere of family photo and video archives. Today the private dimension of the 'home' is complicated when for instance young girls video themselves dancing in their bedrooms, living rooms and even kitchens. This material when uploaded to Youtube attracts a faceless audience of 'lookers'. In making this work I am implicated in the act of 'voyeurism'; I sit in my kitchen trawling through videos of girls dancing, making screen grabs or photographing my laptop screen in order to freeze their frenetic moves and portray a snippet of the dance. This research asks a speculative somewhat ethical question: "who else may be watching these young girls and is there a darker social problem here?" Further, the series captures the micro details of each dancer's domicile; family photographs on the walls, laundry baskets filled with unfolded washing, wardrobes ajar revealing clothing, notes on the fridge. All the detritus of everyday domestic life is made public to millions of anonymous lookers.
Fahd, CR, 'The Sleepers', In Camera In Public, Centre for Contemporary Photography, Centre for Contemporary Photography.
The Sleepers is a series of twenty black and white photographs of people asleep in a park. Taken from a birds eye view they appear as surveillance footage.
Fahd, CR, 'The Sleepers and Everyday Fear Portfolio', The Sleepers, Centre for Contemporary Photography.
Fahd, CR, Jolly, M & Buljan, S, 'The Alchemists: Rediscovering photography in the age of the jpeg', Australian Centre for Photography, Sydney College of the Arts.
This project considers the resurgent interest in experimental darkroom processes within contemporary photography with a particular focus on the Asia-Pacific region. A project by the Australian Centre for Photography, The Australian National University and The University of Sydney, Sydney College of the Arts.
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The Alchemists: Rediscovering Photography in the Age of the Jpeg is a collaboration between the Australian Centre for Photography, The Australian National University and The University of Sydney, Sydney College of the Arts involving an exhibition, symposium, masterclass and publication.