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MFA exegesis

Bennett, A 2009, To Occupy, Master of Fine Art exegesis, Monash University
“I investigate the ‘shudder’ one experiences when encountering a room that has resonance; that has duration; where past, present and future collapse. ‘Interiority’ has been a useful concept for exploring this shudder. In architecture it is used to describe the experience of being in an interior space; in psychology it refers to one’s interior life, what it feels like inside your head or body. I therefore seek to fold together the collapse between ‘what it feels like inside this room’, ‘what it feels like inside my head’ and the space of the camera in that process of encounter.”

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MFA exegesis

Bennett, A 2009, To Occupy, Master of Fine Art exegesis, Monash University
“I investigate the ‘shudder’ one experiences when encountering a room that has resonance; that has duration; where past, present and future collapse. ‘Interiority’ has been a useful concept for exploring this shudder. In architecture it is used to describe the experience of being in an interior space; in psychology it refers to one’s interior life, what it feels like inside your head or body. I therefore seek to fold together the collapse between ‘what it feels like inside this room’, ‘what it feels like inside my head’ and the space of the camera in that process of encounter.”

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The Age

Nelson, R 2009, ‘Perpetual pirouette is a novel spin’, The Age, 22 Jul, p.14.
“Normally, photography also has the stability of a rectangle; but the photographic work of Alison Bennett stitches together many frames, so that you experience a surround-vision of interior space.”

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The Age

Nelson, R 2009, ‘Perpetual pirouette is a novel spin’, The Age, 22 Jul, p.14.
“Normally, photography also has the stability of a rectangle; but the photographic work of Alison Bennett stitches together many frames, so that you experience a surround-vision of interior space.”

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indesign

Craswell, P 2008,‘To Occupy’, indesign magazine Nov.

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indesign

Craswell, P 2008,‘To Occupy’, indesign magazine Nov.

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un magazine

Knudsen, S 2008, ‘To Occupy’, un magazine, Vol.2 Iss.2, p.59
“Her photographs depict stained and well-worn surfaces, discarded objects and litter, ghostly rooms, graffiti-covered walls or the charcoaled remains of a fireplace among many other traces of human occupation and inhabitation.”

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un magazine

Knudsen, S 2008, ‘To Occupy’, un magazine, Vol.2 Iss.2, p.59
“Her photographs depict stained and well-worn surfaces, discarded objects and litter, ghostly rooms, graffiti-covered walls or the charcoaled remains of a fireplace among many other traces of human occupation and inhabitation.”

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Artichoke

Baumbart, M 2008, ‘Verticalism’, Artichoke, #24
“Bennett is able to listen and ‘speak’ to the people she encounters, and – through some empathetic personal alchemy – those who are absent, but whose presence might still be felt. Through this exchange she was able to move into a shared space with the subject, figuratively at first and then quite literally – with her camera in her hand.”

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Artichoke

Baumbart, M 2008, ‘Verticalism’, Artichoke, #24
“Bennett is able to listen and ‘speak’ to the people she encounters, and – through some empathetic personal alchemy – those who are absent, but whose presence might still be felt. Through this exchange she was able to move into a shared space with the subject, figuratively at first and then quite literally – with her camera in her hand.”

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antiTHESIS

Bennett, A 2007, [Cover & internal images], antiTHESIS journal, Vol.17 2007.

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antiTHESIS

Bennett, A 2007, [Cover & internal images], antiTHESIS journal, Vol.17 2007.

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The Age

Nelson, R 2006, The Age, 15 Nov. “Alongside the documentary character of the work, the composited pieces of Alison Bennett stand out. […] Bennett’s work at Hay might be compared with Walker Evans’ Bedroom from the 1930s. “

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The Age

Nelson, R 2006, The Age, 15 Nov. “Alongside the documentary character of the work, the composited pieces of Alison Bennett stand out. […] Bennett’s work at Hay might be compared with Walker Evans’ Bedroom from the 1930s. “

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antiTHESIS symposium

Bennett, A 2006, ‘Dereliction and the space between’, antiTHESIS symposium, Melbourne University, 7 Jul
“Let me take you into my confidence. May I confide in you, close the gap? Interiority begins to describe, to capture, the attraction and elusive flows between
surfaces, between the surface of my skin and the enclosure of walls, its thresholds and
apertures. The projection of desire and the containment of memory, the geometry of
intimacy and defense.”

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antiTHESIS symposium

Bennett, A 2006, ‘Dereliction and the space between’, antiTHESIS symposium, Melbourne University, 7 Jul
“Let me take you into my confidence. May I confide in you, close the gap? Interiority begins to describe, to capture, the attraction and elusive flows between
surfaces, between the surface of my skin and the enclosure of walls, its thresholds and
apertures. The projection of desire and the containment of memory, the geometry of
intimacy and defense.”

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Arena Magazine

Bennett, A 2005, [cover images], Arena Magazine, No.78 Aug – Sep 2005.

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Arena Magazine

Bennett, A 2005, [cover images], Arena Magazine, No.78 Aug – Sep 2005.

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Stiched panoramas of interiors, 2004-2010

I am interested in the ‘shudder’ one experiences when encountering a room that has resonance; that has duration; where past, present and future collapse. ‘Interiority’ is a term that traverses a number of relevant fields. In architecture it is used to describe the experience of being in an interior space; in psychology it refers to one’s interior life, what it feels like inside your head or body. I seek to fold together the collapse between ‘what it feels like inside this room’, ‘what it feels like inside my head’ and the space of the camera in that process of encounter. These works have been shown at the Historic Houses Trust in Sydney, National Wool Museum in Geelong, Warrnambool Art Gallery, Horsham Regional Art Gallery; and ANU School of Art Gallery as part of the Vivid National Photography Festival. Media coverage and reviews include The Age, un magazine, Artichoke, Arena, Architecture Australia & antiTHESIS journal.

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Stiched panoramas of interiors, 2004-2010

I am interested in the ‘shudder’ one experiences when encountering a room that has resonance; that has duration; where past, present and future collapse. ‘Interiority’ is a term that traverses a number of relevant fields. In architecture it is used to describe the experience of being in an interior space; in psychology it refers to one’s interior life, what it feels like inside your head or body. I seek to fold together the collapse between ‘what it feels like inside this room’, ‘what it feels like inside my head’ and the space of the camera in that process of encounter. These works have been shown at the Historic Houses Trust in Sydney, National Wool Museum in Geelong, Warrnambool Art Gallery, Horsham Regional Art Gallery; and ANU School of Art Gallery as part of the Vivid National Photography Festival. Media coverage and reviews include The Age, un magazine, Artichoke, Arena, Architecture Australia & antiTHESIS journal.

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Architecture Australia

Rice, C 2004, ‘Space and image inside Hill End’, Architecture Australia, Jul
“This idea of the interior as a particular kind of relation between the imagistic and the spatial is given new impetus in Inside Hill End, a series of photographs by Alison Bennett recently exhibited at The Mint in Sydney.”

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Architecture Australia

Rice, C 2004, ‘Space and image inside Hill End’, Architecture Australia, Jul
“This idea of the interior as a particular kind of relation between the imagistic and the spatial is given new impetus in Inside Hill End, a series of photographs by Alison Bennett recently exhibited at The Mint in Sydney.”