This collection of studio still life photography was created in response to Australia’s evolving experience of the Covid-19 pandemic. The works were shot amidst border closures, lock downs, the vaccination roll out, and re-opening of the borders (2020 – 2021). The exhibition draws on the imagery and symbolism of the 17th century Dutch Golden Age, where artists were in part responding to the loss of life from the bubonic plague, which neither the wealth or scientific advancements in their society could protect them from. In just two years 24,000 Amsterdammers lost their lives (10% of the population). While this was more deadly than anything coronavirus has yet caused, the experiences of the 17th century are common to many cities in the 21st: a highly contagious disease whose impact was compounded by social inequality, and government responses including travel restrictions and social distancing.

During this period ‘Momento Mori’ (remember you will die) still lifes were a popular genre of painting amongst the Dutch merchant middle class. These paintings represent the shift away from Catholic iconoclastic paintings, towards Protestant symbolism. Seventeenth century viewers would have understood fallen glasses, snuffed candles, hourglasses and clay pipes as moral stories on the uselessness of worldly pleasure and the certainty of death. While ivy and wheat represented hope, resurrection and salvation. Richness and fecundity were expressed with expensive exotic flowers and fruit at their peek, while the inevitability of death was symbolised by insects and decay.

In these photographs I am appropriating the visual language, stylistic elements, compositions and lighting of these traditional Dutch floral arrangements and still lifes. I have embraced the signs and symbols of the period, while leaving clues to our modern pandemic: a pair of black disposable gloves, a disposable mask, and a roll of toilet paper. The photographs also contain historically accurate reproduction props including Roemer glasses, a ‘Bartman’ (bearded man) jug, a vintage Heemskerk candlestick, and Dutch clay pipe.

I have studied entomology and practiced the art of preserving and pinning insects for over twenty years. From a native Australian Carpenter bee, to a Southeast Asian Violin beetle, insects from my personal collection were carefully integrated in the still lifes for their symbolism. I also accessed taxidermy birds, as well as a human skull from the Queensland Museum Loans centre, and utilised a range of live creatures, including silk worms, caterpillars and butterflies, blue tongue and shingleback lizards, and a panda snail. I collaborated with head florist Amy Gurling of Unveiling Poppy, who reinterpreted the historical floral compositions. By including native Australian flora and fauna with these traditional flowers, we have grounded the work in an Australian context.

In this collection I draw inspiration from these historical works and bring them into the 21st century Australian context. Reiterating the sentiments expressed in the Dutch paintings for a contemporary audience.

Christina Lowry