This thesis examines landscape in the course of an itinerancy and positions the road as its constant figurative as well as allegorical component. The examination is applied on a cohesive body of original photographic work selected from two published monographs and it is juxtaposed with comparable photographs from other practitioners on the field. My methodological approach in the production of the photographs combines technical and morphological elements from the genres of subjective documentary and landscape photography. This synthesis entails a variety of conceptual choices, embodied practices and operational devices as well as the deployment of different formats and techniques. Similarly, the commentary on the photographs relates both the indexical guarantee and the photographs' symbolic significations. Seen in the light of the Greek landscape tradition that runs from the picturesque and the mythological to the constructed and the staged, this thesis associates the representation of landscape with the experience of travel and argues for its contingent nature.

This graduate report is a chronological assessment of the photographic work, which I have produced during my three years in the UT Studio Art MFA program. I will highlight my use of photography as a mode to investigate both the physical and represented landscape. This mode has shifted focus since I first began the program. It has moved from a discourse engaging the fictional qualities of photographs, ever suggesting their tenuous relationship with the truth, to a more direct utilization of the power of a photograph as an actual document. Whatever the subject, my work is deeply rooted in a skepticism of media, structures and institutions. My camera acts as a probe to expose certain incongruities between the ways we view order and how that order is manifested. / text

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This dissertation explores the question: why, when encountering the products of many new technologies delivering information via a new media, do I often experience a feeling of disquiet or estrangement? I use the example of laser-photographic printing to explore the issue through a program of practice-based research. The outcome of this line of enquiry includes an original contribution via three series of large-format digital photographic works: Presenting "The Amazing Kriels", Home At Last, and Pure. In this thesis, which supports the main body of the research, that is, the practice-based research, I will briefly review the case for artefact as noise within photographic printing, articulate a significant difference between the artefact levels of traditional analogue and Lambda prints, present original dialogical evidence for estrangement in the latter, and identify it via readings of Sigmund Freud's "The Uncanny" and McLuhan's "The Gadget Lover", as a function of the uncanny. I will propose an original rewriting of McLuhan's ideas of "hot" and "cool" media, as well as the cycles of irritation/mediation repression within McLuhan's media theory as a direction for future research, and relate them to a shift from large-scale analogue photographic printing to Lambda printing.

Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?

Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?

Exegesis (MA--Art and Design) -- AUT University, 2007. / Includes bibliographical references. Also held in print (51 leaves : col. ill. ; 21 x 30 cm.) in City Campus Collection (T 778.92 OLS)