top of page

Concept to Portfolio 2023


After nine months of mentorship from local photographer Gabrielle Hall-Lomax, the participants have created new bodies of work showcasing their unique photographic styles. 

The artists explore their unique concepts of discovery, personal and planetary boundaries, transience, meaning, value, connection and renewal from diverse perspectives.

Scroll down to view each artist's  work.

Zoe Haynes-Smith, Toni Hicks, Natalie Finney, Leanne Joyce, Corin Rossouw, Roger Skinner, Martin Skrydstrup.

Image: Corin Rossouw, from the series 36 Degrees South, 2023

Zoe Haynes-Smith

We are Stardust


“We are Stardust” explores the notion that humans are essentially made from the dust of stars. This revelation of our cosmic connection dawned upon me during a time of personal loss and contemplation. After my father's passing, I found solace in observing and documenting the decomposition of flowers, witnessing the cycle of life and death. As I watched these once vibrant blooms wither away, I couldn't help but contemplate the impermanence of life and the intricate web of existence. Through documenting the natural process of decay, I experienced a profound sense of catharsis in dealing with my grief.

In these moments of reflection, I realised our physical bodies are not confined to this earthly realm but are intrinsically linked to the vast cosmos. We are part of a grand tapestry connected to everything around us. It is fascinating to consider the possibility that our individual atoms and elements are recycled and redistributed throughout the universe, giving rise to new life forms and experiences. At the core of this concept lies the understanding that every atom in our bodies was once part of a star.


Motivated by this and Intrigued constantly by the notions of transformation and the transient nature of time, I found myself drawn to the concepts of reincarnation and rebirth., guided by intuition, an exploration of understanding and unravelling of intricate biological systems that allow us to exist consumed me and I conclude In a very literal sense, we are made from the dust of stars.

Toni Hicks

The Ordinary


The subject is so ever-present it requires contemplation, insight, and uncommon awareness.

As I grow old, will I also become discarded with everyday life? Will I be passed by without a glance or a thought? Will my achievements be forgotten, superseded by the advancement of thinking, technology, and a new time? Will I lose my purpose and still be loved as I live on? Or placed on the shelf and overlooked like an everyday object?

Photographing a banal subject means seeing with an attentive and sensitive eye. As a viewer, my sensors can be woken and encouraged to a new understanding of what might otherwise be seen as ordinary and commonplace or forgotten. To do so, the object has the potential to return to a beautiful subjective height.

All photos were taken in 2023. The Mask and Cragos Flour Mill photos were taken with an iPhone 7, while all others were taken with a Nikon D5200.

Natalie Finney

Rising Tides

The period of development between childhood and teens is commonly referred to as the ‘tween’ years. It is typically defined as a preadolescent stage of significant change, whereby children begin to emotionally, physically and socially shift as they approach puberty. Much like a rising tide precedes the surge of a high tide, the tween years see drifts in behaviours that hint towards a more independent teenager. 


Both of my children will encounter this ‘in-between’ period almost simultaneously. I already detect the early signs of this stage creeping into our everyday. Less attachment to childhood comforts. A piqued interest in life beyond the immediate family unit. Small, but nonetheless significant changes to their physicality.


As a mother, it is a daunting phase to approach, with the loss of ‘my babies’ a fear that is ever present in my mind. Time ruthlessly threatens to replace my once adoring, cuddle-seeking, thumb-sucking, cherubs with moody, withdrawn, self-conscious versions of themselves.

Leanne Joyce

With a long-standing love of landscape photography, I was drawn to techniques that enabled my camera to be like a paintbrush in the impressionist or plein air painting style.


Having shed the auto function, I’ve been experimenting with multiple and long exposures and intentional camera movement to create these impressionistic photos. 


This series captures the impressions of the NSW south coast and local region, especially when the light is subdued or filtered and the seasons - or bushfires - bring new colours.


I always have my iPhone to hand, so I have primarily used this as a tool and canvas to capture fleeting moments of light, colour and movement.  The result is a painterly quality that seeks to evoke an ethereal and dreamlike atmosphere.

Corin Rossouw

36 Degrees South
Corin Rossouw's photography-based art immerses itself in an emotive connection while exploring life on the tranquil far south coast. Having transitioned from an energetic, urban backdrop to a serene coastal haven, her work encapsulates the essence of this shift. Her art juxtaposes memories of city life atop hazy coastal landscapes that interplay harmoniously with their familiar regional hues. Through her lens, viewers are welcomed to ponder the impact of profound visual bonds formed with the environments we inhabit, and how this dynamic shapes our sense of belonging.


Roger Skinner

Stuff in Boxes

For quite a few years now I have been making mixed media work and more often than not, for the last three to four years this has included placing photos in boxes and exhibiting them at the various local venues. This ranged from images of, two friends inside a Twinning’s tea tin, through to images of a nude in a forest with accompanying leaves to double printed studio images of the nude. Whilst being aware of Joseph Cornell’s works of stuff in boxes, but because the anchor of my art practice is in photography it dominates the content rather than random objects, but I doff my lid to him and return to first principles.

Alongside of the box making, is the contents which also refers heavily to my photograph of the fine art nude and with a particular note on men’s attitudes to women, more specifically to the male’s presumed “ownership” of women, to the extent that they could tell the woman how to behave. This set me firmly on a course of compartmentalisation or capture with no escape route for women… I think I will let the pictures of the boxes talk.

Martin Skrydstrup