Exploring the relationship between the built environment, our land and ourselves, Witching Hour possesses a haunting Australian gothic quality conveyed by a cinematic approach with the use of prominent contrasts between dark and light.
The scene depicts a weathered shed illuminated by headlights, that also reveals a mysterious fragmented figure, set beneath a starry sky. It symbolises our culture and the outback, the simultaneous isolation, freedom and connectedness to our country, the land and space.
Rhiannon Hopley, born 1987, is a Sydney based multidisciplinary artist and curator. Working primarily in the medium of photography, Hopley’s work explores the relationship between nature, the urban landscape, and the human condition.
She was awarded First Prize in photography for the Gosford Art Prize in 2013 and Commended for the main prize in 2015. Selected as a finalist for various awards including, Percival Photographic Portrait Prize, Qld 2018, North Sydney Art Prize 2017, The 39th Alice Prize, NT 2016, Cooks Hill Gallery Newcastle, We Get By 2015, Marrickville Urban Photography 2014 and Ballarat International FotoFestival, One for the Books 2013.
Hopley has also shown at Art Fairs including DENFair 2017 and selected to exhibit with .M Contemporary for their exhibition ‘No Place Like Home’ for the 2015 Australasia’s International Art Fair, Sydney Contemporary.
In 2019 she was selected to be a part of Micro Galleries International artist collective and has been a long time resident artist of Tortuga Studios Inner West Sydney.
Her work is held in private collections in Australia, France, USA and Canada.
You can reach Rhiannon at www.rhiannonhopley.com