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Wild Weather on the West Coast 4 August 2018 PERTH Photos Bohdan Warchomij August 5, 2018

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Photo Bohdan Warchomij

Photo Bohdan Warchomij

As the fourth most populous city in Australia, Perth is home to almost two million residents.  Perth is normally a centre of serenity with the coast the attraction.  The outdoor temperatures average around 13 degrees, while the sea water temperature at Scarborough Beach is considerably hotter with 19 degrees. A handful of surfers brave Cottesloe Groyne. On Saturday the city seems to have been abandoned to the rain and a handful of tourists. The howling coastal wind has the seabirds on Trigg Beach hiding on the unprotected rocks. The cargo ships in Gage Roads point into the offshore winds. The Panama listed New Frontier hovers on the horizon. Fishermen have ventured out but the fish are not biting. A boy and his father fly a kite on Cottesloe Beach.

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

MH17: former Perth journalist Ashlee Mullaney asks a direct question on behalf of the Maslin family about Russian responsibility for the attack. July 26, 2018

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Photo Bohdan Warchomij

Four years after the horrific downing of Malaysian Airliner MH17 with the loss of  of 298 lives near Torres in Ukraine the Maslin family has used the anniversary to attack US President Donald Trump and Russian President Vladimir Putin after their controversial summit in Finland.

Perth parents Anthony Maslin and Rin Norris, who lost their three children Otis, Evie and Mo and their grandfather Nick Norris in the MH17 disaster,  have the attention of US Secretary of State Mike Pompeo.

Pompeo was told of the ongoing pain families of victims as he said the US will continue to hold Russia accountable for the 298 people, including 38 Australians, killed when the aircraft was shot down over Ukraine by a Russian missile four years ago.

A letter from Mr Maslin was read by Seven News reporter Ashlee Mullaney to Pompeo at a press conference on Tuesday in California at the conclusion of the annual Australia-US Ministerial (AUSMIN) talks.

In a question asked on behalf of the family, whose children “Mo, Evie and Otis were murdered on flight MH17 along with their grandfather along with 294 other innocent people”, Seven’s US correspondent Ashlee Mullany described their ongoing devastation.

Photo Bohdan Warchomij

“This is a question on their behalf, in their words: That the plane was hit by a Russian missile has been proven to be an irrefutable fact,” Ms Mullany said.

“That this killed our three beautiful children and their grandfather, and destroyed our life and many other lives … is an irrefutable fact.

“Secretary Pompeo, will the United States, our friend and ally, help Australia hold Russia to account, and how?”

“We need the Russians to continue to be held accountable for that. We take this matter seriously. You have America’s support in that and will continue to do so. ” Mr Pompeo responded.

Pompeo, US Secretary of Defense James Mattis and Australian Foreign Affairs Minister Julie Bishop and Defence Minister Marise Payne spent the past two days at the AUSMIN talks, held at Stanford University.

Speaking  after the joint press conference with Mr Pompeo yesterday Ms Bishop said she had no concerns about the US commitment to finding justice for the victims of the MH17 atrocity. Ms Bishop said Mr Pompeo and Defence Secretary Jim Mattis gave repeated assurances the US would do everything it could to bring the perpetrators to justice.

Photo Bohdan Warchomij Metaphor Images


On Top of The World in the Moscow Rain July 16, 2018

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So often the World Cup is about the winners but  there were no losers in the 2018 World Cup in Moscow.

Russia is a winner for its conduct of the tournament. France finished with their nose in front, two of their goals were courtesy of the Croatian defence, and Croatia benefited from a goal keeping blunder from Hugo Lloris

but both teams deserve accolades for their positive play and for their contribution to the spirit of the World game.

Didier Deschamps’ favourites France accepted the World Cup with humility and all the players on the pitch accepted their role in destiny with generosity.

This World Cup was about hope and the “beautiful game” showed why sport is important in bringing people and nations and cultures together.

In a difficult world this World Cup seems to have had a unifying principal at its core.

Congratulations to SBS Australia for its massive commitment to the broadcast and to commentators Lucy Zelic and Craig Foster and Martin Tyler for their consummate professionalism and sensitive presentations over four weeks.

Their insight and knowledge and even handedness  has been a major contribution to the quality of the media coverage of this tournament.


Croatia’s Courage at the World Cup July 13, 2018

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Croatia’s courage to come from behind England’s first half goal was a spirited response by the tiny nation competing on a sea of heavyweights at the World Cup. The hurdle of Trippier’s free kick goal was overcome as Croatia rose in stature and outplayed a stoic England in the second half and extra time to get to the final against France in Moscow. Goals to Ivan Perisic, who cancelled out Kieran Trippier’s early goal with a fine effort of his own, admitted it was a difficult game but praised his team-mates’ perseverance for coming through a successive third knockout game after extra-time.

Defender Sime Vrsaljko was also critical of England’s attempts to find a way back into the game after they fell behind. “The all-round perception was that this is a new-look England who have changed their ways of punting long balls upfield but when we pressed them it turned out that they haven’t,” he said.

Croatia’s coach, Zlatko Dalic, said their extra-time victory was deserved and his players were not yet finished despite playing a lot of football in the past three rounds.

Luka Modric has accused English journalists and pundits of showing a lack of respect to Croatia’s players and admitted his teammates had used the criticism to motivate them to victory against England in their World Cup semi-final.

Modric impressed as Croatia came from behind to win after extra time in Moscow but the Real Madrid midfielder was scathing in his reaction towards sections of the English media, some of whom had predicted an easy win for Gareth Southgate’s side.

“People were talking … English journalists, pundits from television,” he told ITV. “They underestimated Croatia tonight and that was a huge mistake. All these words from them we take, we were reading and we were saying: ‘OK, today we will see who will be tired.’ They should be more humble and respect their opponents more.

“We showed again that we were not tired – we dominated the game mentally and physically.

“We should have killed the game even before extra time. This is an amazing achievement for us – it’s a dream come true after such a long time. We are in the final and that is the biggest success in Croatia history. We have to be proud.”

The Croation team’s spirit and desire to achieve the impossible was a revelation on the road to face a powerful French side that will not make the same mistake as England did.

The final looms as a huge challenge for both teams but further surprises from this Russia based World Cup seem likely as Sundays clash approaches.

It has been an amazing tournament.



Revelation Film Festival opens in Perth July 8, 2018

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Revelation Perth International Film Festival has announced its 2018 program. On its opening night it attracted the stars of local cinema and film critics, producers and fans of an important event in the Australian cinema calendar. It attracted Ben Young director of Hounds of Love, Emma Booth the star of Hounds of Love and Underbelly and her husband Dominick Lunar from Los Angeles, film critic Mark Naglazas, producer Lauren Brunswick and movers in the local industry.

Emma Booth and Dominick Lunar Photo Bohdan Warchomij

Curated by Jack Sargeant, The Revelation Perth International Film Festival sees a diverse selection of films drawn from across the world.

Revelation Curator Jack Sargeant Photo Bohdan Warchomij


 Boasting Revelation’s commitment to signature works, independent cinema, genre film, world cinema, and unique breathtaking movies, this year is no exception with a program drawn from Australia, Belgium, Canada, France, Mexico, Hungary, Japan and all points in between.

Featuring award-winning movies, world, international and local premieres, new Australian works and live performances, Revelation is a celebration of the strength of all aspects of screen culture.

Director Ben Young and actor Emma Booth Photo Bohdan Warchomij

Festival Director Richard Sowada Photo Bohdan Warchomij

Festival Director and founder Richard Sowada said he was very proud of this year’s event.

“We simply can’t stand still,” said Richard. “For 2018, we’re delivering in areas of art and culture that takes Rev right to the very front of the exploration of what a film festival can be.”

“It’s very exciting for us and we hope for audiences.”

Expanding across the city and wider community, Revelation plays a central role not just in the Perth calendar but also nationally and internationally.

Featuring a break-out Revelation Music Days program with a line-up of international, national and local musicians playing venues across the city, a specially curated Webfest, Virtual Reality works that lead from the front and the WA premiere of the controversial Terror Nullius, once again Revelation will entertain and inspire audiences, while Industrial Revelations will feature some of the festival’s guests exploring key aspects of the industry at dedicated panels and workshops.

Revelation Academic meanwhile sees scholars – from academic institutions and independent researchers – delivering papers and exploring cinema and visual culture, in the seventh instalment of this critical platform that remains utterly unique to any Australian film festival.

Actor Cara McCarthy The Heights Photo Bohdan Warchomij

Revelation is acclaimed as Western Australia’s leading international film festival and annual screen culture event and is firmly established as Australia’s filmmakers’ festival. It is dedicated to presenting independent cinema from around the globe in a context that explores film’s great traditions, its contemporary movements and its future directions.

Highlights of Revelation 2018 will also include:

The 49th Arles Festival of Photography started yesterday July 4, 2018

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Photo by William Wegman

The Stamp of Approval July 4, 2018

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Dunsborough photographer Christian Fletcher is best known for his stunning landscape photography that show off locations across the world, but his latest venture will see his images take a different form — as Australian postage stamps.

Three of Fletcher’s photographs have been featured in the Art in Nature stamp series by Australia Post.

Designed by Andrew Hogg Design and presenting four aerial photographs of the Australian landscape, the images include one by fellow photographer Richard Woldendorp. The images taken by Fletcher depict Wyadup Rocks, Shark Bay and Lake MacDonnell and show off the vibrant colours of each location.

“They are abstract nature scenery from both WA and South Australia, with the aerial shots all about showing off the colours of these places,” he said.

Australia Post philatelic manager Michael Zsolt said the series of stamps illustrated the “exquisite beauty” found in Australia’s natural landforms, which he said were akin to art.

“To showcase these abstracted landscapes and their painterly quality, these stamps are in double-definitive size, giving a larger-than-usual ‘canvas’,” he said.

Fletcher said he was honoured to have his images featured on stamps that would be used across the country. “It’s nice to be recognised and to have my work be put onto stamps that are going out nationally,” he said.

The Art in Nature special stamp issue is now available at Australia Post Offices.

Story and photo by Pierra Willix Busselton Dunsborough Times


‘DON’T LOOK DOWN’ BRAD RIMMER in the Swiss Alps: A series of new works by the 2017 Global City Residency Basel Recipient June 2, 2018

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It was like a reunion from the days of Foto Freo. They all turned up. David Dare Parker, Graham Miller, Kevin Cooper from FUJI in Sydney, Bob and Helen Hewitt from the Foto Freo festival, Sue Lynn Moyle from Art Source, Bohdan Warchomij, Eva Fernandez, Felicity Johnston from Art Collective WA.

Brad Rimmer and Kevin Cooper from FUJI Sydney

A pensive Brad Rimmer was the centre of the attraction with his imposing and powerful work from the six week artist exchange in 2017 in the Swiss Alps at the Arts Source Old Customs House Gallery 8 Phillimore Street Fremantle. The exhibition, beautifully printed and beautifully hung in a minimalist but beautifully renovated space in the heritage building included large images of the Matterhorn, the wrapped Rhone Glacier, the Gorner Glacier, the Riffelhorn and the Rhone Glacier. It runs until the 15th of June 2018 from 2-5pm from Wednesday to Sundays and is a must see for anyone remotely interested in photography of this high standard. This Sunday 3rd of June at 2 pm in the same Gallery there will be an artist talk by Brad Rimmer.

The Arts Source Artist Exchange is under threat from funding cuts and politicians should come to this exhibition to see both the value in the program and in the artistic product.

Brad Rimmer from the town of Wyalkatchem in the central wheatbelt in West Australia probes at the essence of rural Australia and has exhibited internationally, in the Pingyao and Lianzhou International Photo festivals in China, at the 2006 Brighton Photo Biennial in the United Kingdom, and Kaunas Photo 08 in Lithuania. This foray into the Swiss Alps, with their mythological significance, touches on environmental issues, environmental fragility and significant loss from global warming. The colour images have been inverted from digital positives and printed as powerful negatives. This insight and technical process leads us to question deeply what is happening in our fragile universe.



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Mundaring Arts Centre’s presentation of Richard Woldendorp’s early black and white photography is a tour-de-force that crosses genres and captures the story of a nation coming to terms with its own identity.

Richard Woldendorp Self Portrait

Born in the Netherlands in 1927 he joined the Dutch army at the age of nineteen  and was posted to Indonesia in 1946 where he served for three years. On the completion of his service he and other young Dutchmen decided to pursue adventure in Australia and in 1951 he arrived in Fremantle and settled down to life as a contract house painter.

Richard Woldendorp Photo Bohdan Warchomij

In 1955 on a trip back to his homeland he purchased a Voigtlander and documented his trip back to Holland through Port Said, Naples and the harbour of Oosthaven and while travelling discovered the works of   Magnum founder Henry Cartier-Bresson and W. Eugene Smith.

He began to work commercially, and in 1961 won a first and third prize in the Craven A National Portrait Competition.

The recognition afforded by this led to meetings with progressive Australian photographers Max Dupain andDavid Moore, who are celebrated as innovators and photographers of stature and historical importance  in Australia.

His work progressed  through networking with government and advertising agencies and his images were published in Walkabout magazine, The Bulletin, The Weekend Magazine, Vogue and many newspapers.

Book publishing became a feature of his work and with his wife Lyn he set up Photo Index, WA’s first Photo library in 1969.

Woldendorp is known for his aerial colour work of the Australian Landscape but his formative early work in black and white is less well known . Lisa HEGARTY and Clare STROUD Curators  of this retrospective are to be commended for this comprehensive exhibition which includes his darkroom enlarger and the first two cameras he worked with, the Voigtlander mentioned earlier and a Leica Rangefinder.

Lyn and Richard Woldendorp Photo Bohdan Warchomij

The exhibition runs 1 June-15 July 2018.





The Growth of VIVID Sydney May 28, 2018

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Senior Lecturer in Art History and Theory, University of Newcastle abridged from an article in The Conversation,


Since Sydney’s Bicentenary celebrations in 1988, the notion of the city as a venue for mass festivals has gained traction.

In 1994, the year after winning the bid to host the Olympic Games, Sydney City Council had a vision for how the Games might change Sydney. Its Living City: A Blueprint for Sydney aimed to create a “vibrant city that is active 24 hours a day”.

And in the City’s later 2008 vision for the year 2030, Sydney City Council’s goal was “a lively, engaging City Centre”.

The first Vivid Sydney was held the following year, in 2009, and seemed to realise that vision. Vivid was first conceived as an artistic exploration of smart and sustainable energy, and since its first incarnation it combined light, music and ideas.

The music component had a rather arty edge. Brian Eno, who has collaborated with David Bowie, U2 and Coldplay, curated the Luminous music event at the Sydney Opera House. Eno is famously one of the pioneers of ambient music and there seemed a shared aesthetic sensibility between his sonic vision and the ethereal light painting that lit up the sails of the Opera House from that first year.

Six years on and the popular appeal of Vivid Sydney has become enormous.

The music component now includes not just in the Sydney Opera House, but clubs, theatres and music venues across the city, with performers such as Daniel Johns and Grace Jones. Vivid Sydney is as much a festival of music and popular culture, as it is about light installations and exploring ideas.

Last year, in Vivid Sydney’s 18 days it received 1.43 million visitors, “exceeding the population of Adelaide and surpassing the total number of international tourists to Fiji last year,” as Andrew Stoner, NSW Minister for Tourism, boasted.

Wandering the temporarily pedestrianised streets around The Rocks and Circular Quay at last year’s Vivid, it certainly felt like it. The crowds thronged the streets as if it were New Year’s Eve.

But maybe there is something artistically valuable in the very fact that an event like Vivid Sydney is massively popular?

In 1961, the pop artist Claes Oldenburg, best known for his oversized soft sculptures of burgers and large clothing pegs, wrote about the kind of art he wanted to see in the world – the kind that reconnects with the masses:

“I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch.”

Perhaps Vivid Sydney is exactly that art, Grace Jones and all.