Chris Byrnes
Folding Light
26 February - 09 March 2025
G2
Opening Night
Friday 28 February | 6 - 8 pm
“I’m interested in foundations or fundamentals or essence of photography, but those fundamentals of photography shift with each project I work on.”
-James Welling
Chris Byrnes’s practice-led research continues to interrogate the photographic medium within contemporary pinhole photography that is examined through the context of the chance encounter. Her initial research focuses on a primal, handmade, low-technology photographic experience. However, works continue to be formed and informed from the rupture between historical and contemporary photographic processes, and the representational and abstract image. Further research directions drive visual and textual discovery that aims to develop and continue a personal ‘making’ methodology which is contextualised within the language of the medium and illustrates a “think, make, and reflect”[2] approach to studio practice.
Byrnes has more recently expanded her conceptual grounding to simultaneously investigate beyond photography/ beyond the photogram towards a mixed-media construction where her medium of choice includes historical photographic chemistry mixed with drawing, painting, timber construction and glass materials. As a member of the original Newcastle formed, “Reimagining the Canon Network”[3] addressing the global under-representation of women working in the arts, and in line with the National Gallery, Canberra’s work with their “Know My Name Project”, Byrnes continues to push for her own and others’ acceptance as valuable artists in their own right.
*Women and females are inclusive of all who identify as female.
Artist Bio
Chris Byrnes was born in Australia into a large family of seven children. Her mother instilled a love of reading as a means of understanding the world and a means for self-education along with the joy (and necessity) of making things.
In the early years, the radio was entertainment, encouraging listening and imagining a story rather than seeing a visual image instantly. This set the background for a life of creative pursuits.
The fascination with light continues underpinned by historical and experimental photography, the camera obscura and human experiences of LIGHT.
CHRIS BYRNES PERSONAL MANTRA
Without light, we cannot exist
Without light, I have no image
Without an image, I cannot exist
I love photography
EDUCATION:
Master Fine Art National Art School
Bachelor Fine Art (Hons) University of Newcastle
Museum and Galleries Studies TAFE
National Workshops relevant to my practice
Module Study MOMA New York
FINALIST:
Semi-Finalist Newcastle Club Painting Prize 2024
Finalist Australian Photography Awards – Photo Collective Experimental 2024
Honourable Mention x 2 Julia Margaret Cameron Awards Female Photographers Experimental 2024
Mullens Conceptual Photographic Prize (2023 and 2024)
Honorable Mention in international photographic and photographic magazine awards
Blackstone Works on Paper Prize
The Newcastle Club Painting Prize
Lake Mac Art Prize
Gosford Art Prize
Ravenswood Prize for Women Artists X2
Street Photographers International
Hazelhurst Works on Paper Prize
WINNER:
Winner Hunter Emerging Artist Prize Experimental
Winner Newcastle Emerging Artist Prize Photography
Hunter Urban Division of General Practitioners Print Commission
RECENT/UPCOMING EXHIBITED WORK:
My work has been exhibited locally, nationally and internationally
2025 Barcelona Julia Margaret Cameron Awards Female Photographers
2025 Pinhole Photography Exhibition Berlin
2025 Red Gallery Melbourne Solo Folding Light
2025 Womens’ Group Show Counteractions, March Forward, The Creator Incubator Hamilton North
2025 LUCENT: Treading Lightly, Women’s Group Show, Lane Cove, Feb/March
2024 Red Gallery group show Melbourne
2024 Articulate Project Space Sydney, Group Show
[1] Attributed to James Welling, Lyle Rexer and James Welling, “How to Skin a Live Cat: A Conversation on Photography,” Lay Flat (2010), 19 (as referenced in Squires, Carol, curator for publication from exhibition “What is a Photograph”, International Center [sic] of Photography, New York, 2013). 19.
[2] Referenced from conversation with Dr Annemarie Murland during MFA research and supervision, 2016-17
[3] Concept, Curatorial Project Management, Dr Annemarie Murland:https://www.artshub.com.au/news/reviews/reimagining-the-canon-university-of-newcastle-gallery-nsw-259257-2365384/#:~:text=Embracing%20curation%20as%20activism%2C%20this%20exhibition%20invites,disrupt%20the%20%27master%27%20narrative%20of%20Western%20art
Contact
Phone : (03) 9482 3550
mail@redgallery.com.au
Address
157 St Georges Rd
Fitzroy North, Victoria, 3068
Map
How to get here
Tram: Route 11
Stop 21 just north of Edinburgh Gardens
Melway Ref: 30B12
Parking in nearby streets
Bus: 504 (Reid Street)
