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Bill Moseley
bio:
Bill Moseley’s is an artist who works in multi disciplines of alternative photographic processes such as wet plate collodion and is a master printmaker establishing Hill End Press NSW in 2005. Within these techniques he explores the landscape and how we inhabit it in a poetic way.He majored in printmaking at Sydney’s National Art School in 2004, having previously held exhibitions of silver gelatin based photography that is represented in collections in Sydney, Berlin and the Philadelphia Museum of Art.Bill has been exhibiting since 2005 through regional galleries, the CORRIDOR project, Cementa and Sydney galleries with wet plate collodion photography.Based in the central west NSW village of Hill End, Moseley was drawn to wet plate photography by the intriguing historic photographic glass plates that recorded the 19thc. gold rush compiled by Beaufoy Merlin in and around Hill End during the gold rush of the 1870’s, that are now in the NSW State Library collection.
statement:
My work always involves antiquarian photographic and printmaking processes. There is a resulting sense of timelessness that complements my expression of themes that encompass memory, myth and the uncanny. I am drawn to the romantic figures of art history such as Caspar David Friedrich Arnold Böcklin and Vilhelm Hammershoi. I love to push the collodion ‘tintype’ or ‘ambrotype’ process pursuing contemporary digital positives into creating large grid formats, giving me a broader way to express the imagery from the classic proportions of tintype photography.In portraiture I am drawn to the original small format of 100 x 150mm and have over the years invited visitors to Hill End sit for their portraits, creating a large collection of images.
From timeclocks’ luminous shadow | 2015
From timeclocks’ luminous shadow. @
bio:
statement:
Bill Moseley utilises the medium of glass plate collodion photography, an antiquarian process that survives mostly as an artefact to vanished times, as in the Holtermann collection of 1870s glass plates in Moseley’s home village of Hill End. The nuances of this inexact process seemingly suspend time in Moseley’s exploration of a disappearing working class world.
