This kind of an art organization with its residencies and projects designed to further the debate around art and the environment, particularly in relation to the climate emergency and climate migration, does not exist in South Australia. So it is baby steps and transient experiments for me to find a way to supplement still photography.
I do have the time to do this, as Maya now stays with me when I stop walking and spend time making a photo or two along the littoral zone of this coastline. Sure There are limits to hanging around and being involved in my work. I need to keep a close eye on her if we are on the rocks near the sea in the wild places, because she is over-confident and could easily be swept away by a rogue wave, like the one that swept over me.
It is still not possible to take photos with a large format camera — ie. , and sticking my head under a dark cloth and taking 20 minutes to make a photo — since that means too much hanging around for Maya. She would wander off whilst I was under a dark cloth composing a picture.
I know so little about the sea as I am not a marine biologist. This is an unfathomable landscape as it is always changing: you never look at the same sea twice.
Large format art photography has been my approach to creating an art work from these poodlewalks that are embedded in a particular place. Supplementing, augmenting, adjusting, or overlaying reality would enable me to create an art pieces from these walks that would enable me to step beyond the limits of large format photography.
What I have on my hands at the moment is an embryonic DIY art walk project. It is one that is slowly evolving over time as it responds to this particular place on the coastal edge.