
Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.

Clare Weeks Breath, lumen prints 2016, courtesy the artist.

Harry Culy Untitled Seascape #45 (pastel dusk) 2015, The Gap, Vaucluse, Sydney, Australia, courtesy the artist.

Magali Duzant In Waiting : The Sea ongoing project, courtesy the artist.

Rebecca Nadjowski Untitled (shift) 2013, photograph on backlit film, light box, courtesy the artist.

Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.

Clare Weeks Breath, lumen prints 2016, courtesy the artist.

Harry Culy Untitled Seascape #45 (pastel dusk) 2015, The Gap, Vaucluse, Sydney, Australia, courtesy the artist.

Magali Duzant In Waiting : The Sea ongoing project, courtesy the artist.

Rebecca Nadjowski Untitled (shift) 2013, photograph on backlit film, light box, courtesy the artist.

Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.

Clare Weeks Breath, lumen prints 2016, courtesy the artist.

Harry Culy Untitled Seascape #45 (pastel dusk) 2015, The Gap, Vaucluse, Sydney, Australia, courtesy the artist.

Magali Duzant In Waiting : The Sea ongoing project, courtesy the artist.

Rebecca Nadjowski Untitled (shift) 2013, photograph on backlit film, light box, courtesy the artist.

Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.

Clare Weeks Breath, lumen prints 2016, courtesy the artist.

Harry Culy Untitled Seascape #45 (pastel dusk) 2015, The Gap, Vaucluse, Sydney, Australia, courtesy the artist.

Magali Duzant In Waiting : The Sea ongoing project, courtesy the artist.

Rebecca Nadjowski Untitled (shift) 2013, photograph on backlit film, light box, courtesy the artist.

Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.
To long is to yearn for something or someone, to desire the impractical or impossible. It is to stare out at the yawning distance and in doing so discover some kind of beauty in the quiet moments that meet us there.
In Rebecca Solnit’s Field guide to getting Lost, she uses the faded blue distance on the horizon line as an elegy for this kind of yearning. Solnit describes how the colour blue of that distance between you and the horizon represents an emotion, a kind of solitude and desire for what was and what could be.
I can see for miles presents the work of artists from Australia, New Zealand and New York whose practices explore the language of distance - both physical and emotional.

Aaron Claringbold Confluence - Positive Print 2017, courtesy the artist.
LINKS
aaronclaringbold.com
clareweeks.com.au
ellacondon.com
ellendahlphotographer.com
harryculy.net
talia-smith.com
magaliduzant.com
rebeccanajdowski.com
Exhibition images



Centre for Contemporary Photography
404 George St, Fitzroy Victoria 3065, Australia
info@ccp.org.au
+61 39417 1549
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Gallery Hours
Wednesday—Sunday
11am—5pm
Seven nights after dark