The Crimson Thread | Awarded Project - PhMuseum

The Crimson Thread

  • The unique geographical formations of Hanging Rock are considered sacred to First Nations Australian Peoples. The site is located near the ancestral boundary of three distinct Aboriginal language groups, the Dja Dja Wurrung, Taungurung and Wurundjeri Peoples who inhabited the area prior to British descent.

  • Swans were introduced to Australia by colonists. Black swans are nomadic and have erratic migration patterns depending on climatic conditions, however, have survived in high numbers in Australia.

  • Queen Elizabeth on her Royal Tour in 1954.

  • Promotion of the church and the inception of missions were part of the imperial administration throughout Australia’s colonies.

  • Horses gave British invaders a strong advantage over Indigenous Peoples in the violence and domination they inflicted upon them, and by facilitating rapid movement and ability to spread across the continent.

  • Sovereign Hill, open-air museum dedicated to glorifying settler colonial Australia and preserving the gold rush history of the area. The park is situated on 20 hectares of Wadawurrung land.

  • The tenets of Christianity were used to justify many actions of the colonisers.

  • Saint Patrick’s Cathedral. Ballarat, Victoria. The city of Ballarat is situated on Wadawurrung country.

  • White Australia: The Great National Policy song. Music by W. E. Naunton, words by the composer and H. J. W. Gyles from 1910.

  • Gazing upon La Trobe’s cottage, the original home of the state of Victoria’s first Lieutenant-Governor, Charles Joseph La Trobe. The cottage is situated on Bunurong Indigenous country.

  • Swans were introduced to Australia by colonialists. White swans have not survived in the wild and can now only be seen living in captivity.

  • Sovereign Hill, open-air museum dedicated to glorifying settler colonial Australia and preserving the gold rush history of the area. The park is situated on 20 hectares of Wadawurrung land.

  • The constellation of the Southern Cross helped colonial explorers navigate the Southern Hemisphere seas yet in modern times it has become a symbol of colonial patriotism and a popular tattoo in Australia.

  • The Victorian flag flies outside a home in Ballarat, Victoria. The Victorian flag is a modified version of the Australian flag which features the imperial crown of St Edward above the Southern Cross.

  • Rabbits were introduced to Australia in 1859 by English colonists for hunting and within 50 years had spread across the entire continent with devastating implications for Australia’s indigenous flora and fauna.

  • Details of the Queen's coronation gown.

  • Red Cliffs, Victoria. The Traditional Custodians of this area are the First Peoples of Latji Latji and Ngintait.

  • The act of hope and triumph despite the negation of what has been lost.

  • Red spray paint marked body of a wallaby left on the roadside.

  • The Captain Cook monument in St. Kilda doused in red paint as part of anti-Australia Day protests in January 2022.

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The title of the project is taken from a quote by Sir Henry Parkes, a British-born Australian colonial politician who described Australia\u2019s connection to the British motherland as, \u201cthe crimson thread of kinship, which defined Australia as a bastion of \u2018whiteness\u2019 in the Asian region.\u201d \r<\/p><p>The work to date has been created by retracing part of the Royal Tour of Australia made by Queen Elizabeth II & the Duke of Edinburgh in 1954. To document what the contemporary settler society of Australia looks like today, our ongoing connection to the British monarchy and to highlight how the incessant honouring of colonial history generates and sustains white privilege. \r<\/p><p>Alongside the documentary approach, the project combines four visual pillars. Australian landscapes by which history is reimagined through the eyes of British invaders descending on this strange new land. A series of objects representing the ideas of 'progress' that drove imperialism. Staged portraits to each depict a paradigm introduced by colonialism that persists in society today. The work is produced on 120mm film and these approaches are intertwined with archival material related to the 1954 Royal Tour of Australia and key political standpoints from throughout the 20th century, such as the White Australia immigration policies.\r<\/p><p>My plan is to retrace the entire 1954 Royal Tour of Australia made up of 57 towns and cities. The work produced over the past 18 months was made within the state of Victoria only. By retracing this route I want to see what the Queen saw, imagine how a person of this stature perceived her \u2018ownership\u2019 of this realm, try to understand the magnitude of the reception given to her by the Australian people at the time and to question the relevance or irrelevance of these archaic institutions which still exist. With the recent death of Queen Elizabeth, this is an extremely important moment for Australia to work towards building our own identity, one which could be built around a shared set of values. \r<\/p><p>The grant money would be put towards retracing the tour to create a photographic representation of each state, combined to make a coherent statement about the effects of colonisation on the contemporary settler society of Australia.<\/p>","body_raw":"The Crimson Thread is a photographic project that investigates the ubiquitous presence of Australia's colonial history and attempts to better understand the impacts of colonisation and white privilege on contemporary Australian society. Using speculative documentary photography, the work encourages viewers to question official histories and to consider how strongly our past still exists in the present. The title of the project is taken from a quote by Sir Henry Parkes, a British-born Australian colonial politician who described Australia\u2019s connection to the British motherland as, \u201cthe crimson thread of kinship, which defined Australia as a bastion of \u2018whiteness\u2019 in the Asian region.\u201d \r\n \r\nThe work to date has been created by retracing part of the Royal Tour of Australia made by Queen Elizabeth II & the Duke of Edinburgh in 1954. To document what the contemporary settler society of Australia looks like today, our ongoing connection to the British monarchy and to highlight how the incessant honouring of colonial history generates and sustains white privilege. \r\n\r\nAlongside the documentary approach, the project combines four visual pillars. Australian landscapes by which history is reimagined through the eyes of British invaders descending on this strange new land. A series of objects representing the ideas of 'progress' that drove imperialism. Staged portraits to each depict a paradigm introduced by colonialism that persists in society today. The work is produced on 120mm film and these approaches are intertwined with archival material related to the 1954 Royal Tour of Australia and key political standpoints from throughout the 20th century, such as the White Australia immigration policies.\r\n\r\nMy plan is to retrace the entire 1954 Royal Tour of Australia made up of 57 towns and cities. The work produced over the past 18 months was made within the state of Victoria only. By retracing this route I want to see what the Queen saw, imagine how a person of this stature perceived her \u2018ownership\u2019 of this realm, try to understand the magnitude of the reception given to her by the Australian people at the time and to question the relevance or irrelevance of these archaic institutions which still exist. With the recent death of Queen Elizabeth, this is an extremely important moment for Australia to work towards building our own identity, one which could be built around a shared set of values. \r\n\r\nThe grant money would be put towards retracing the tour to create a photographic representation of each state, combined to make a coherent statement about the effects of colonisation on the contemporary settler society of Australia.","social_approval":1,"is_shortlisted":1,"is_other":0,"is_good":0,"is_strong":0,"is_very_strong":null,"is_ongoing":1,"is_unpublished":0,"sent_first_email_reminder":0,"awaiting_payment":1,"has_started_payment":1,"has_started_paypal_payment":0,"is_public":0,"media_ok":0,"has_tracked":1,"amount_paid":28,"original_price":28,"external_id":"cs_live_a1AInVPMdORt2sE4WjHEUg358wApFu8E6GhuUP2oDnIEtpReMy4jXYIk7Q","payment_id":"pi_3LgLrgD9Te8dh8Es058zcCNL","session_id":null,"token":"rNwkKAQNwV8XUK36rjnJNBnkj4kIrdgb","grant_order_id":20421,"submitted_at":"2022-09-10T05:04:58.000000Z","affiliate_id":null,"is_forced_public":1,"address_1":null,"city":null,"region":null,"country":"AU","postcode":null,"codice_fiscale":null,"started_at":"2020-01-01T00:00:00.000000Z","ended_at":null,"created_at":"2022-09-10T03:08:41.000000Z","updated_at":"2022-09-13T12:49:55.000000Z","place":null,"publications":[],"categories":[],"tags":[{"id":17651,"tag":"speculative documentary","created_at":"2018-09-24T15:39:45.000000Z","updated_at":"2018-09-24T15:39:45.000000Z","pivot":{"grant_submission_id":47423,"tag_id":17651}},{"id":40,"tag":"landscape","created_at":"2015-12-07T17:05:37.000000Z","updated_at":"2015-12-07T17:05:37.000000Z","pivot":{"grant_submission_id":47423,"tag_id":40}},{"id":157,"tag":"portrait","created_at":"2015-12-07T17:05:38.000000Z","updated_at":"2015-12-07T17:05:38.000000Z","pivot":{"grant_submission_id":47423,"tag_id":157}},{"id":5860,"tag":"decolonisation","created_at":"2015-12-07T17:06:53.000000Z","updated_at":"2015-12-07T17:06:53.000000Z","pivot":{"grant_submission_id":47423,"tag_id":5860}},{"id":414,"tag":"history","created_at":"2015-12-07T17:05:39.000000Z","updated_at":"2015-12-07T17:05:39.000000Z","pivot":{"grant_submission_id":47423,"tag_id":414}},{"id":39118,"tag":"white privilege","created_at":"2021-10-05T17:23:52.000000Z","updated_at":"2021-10-05T17:23:52.000000Z","pivot":{"grant_submission_id":47423,"tag_id":39118}},{"id":10914,"tag":"queen","created_at":"2017-02-15T20:02:03.000000Z","updated_at":"2017-02-15T20:02:03.000000Z","pivot":{"grant_submission_id":47423,"tag_id":10914}},{"id":25,"tag":"australia","created_at":"2015-12-07T17:05:37.000000Z","updated_at":"2015-12-07T17:05:37.000000Z","pivot":{"grant_submission_id":47423,"tag_id":25}}],"blocks":[{"id":521887,"grant_submission_id":47423,"story_block_id":null,"image_id":648549,"position":-1,"created_at":"2022-09-10T04:30:58.000000Z","updated_at":"2022-09-10T05:02:21.000000Z","caption":"The unique geographical formations of Hanging Rock are considered sacred to First Nations Australian Peoples. 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She is currently based in Naarm, (Melbourne) Australia. Working and living on Wurundjeri land and wishes to acknowledge the Traditional Owners.\r<\/p><p>After working between Melbourne and New York City, Erin eventually moved to Mexico City where she was based for five years, producing documentary projects and was involved in various aspects of photographic education and workshops. \r<\/p><p>Erin has contributed numerous articles to Vice Magazine and has also published with outlets such as CNN, The Guardian, Financial Times, Broadly, The Advocate, Frankie; among others.\r<\/p><p>Her work has been exhibited internationally and Erin has been selected for artists residencies in Venezuela, France, Morocco and Algeria. Erin is also a photobook artist with work shortlisted\r<\/p><p>for the Lucie Foundation Photobook Prize and the Perimeter Photo 2020 International Photobook Prize.<\/p>","long_bio_raw":"Erin Lee is an editorial and documentary photographer originally from New Zealand. She is currently based in Naarm, (Melbourne) Australia. Working and living on Wurundjeri land and wishes to acknowledge the Traditional Owners.\r\n\r\nAfter working between Melbourne and New York City, Erin eventually moved to Mexico City where she was based for five years, producing documentary projects and was involved in various aspects of photographic education and workshops. \r\n\r\nErin has contributed numerous articles to Vice Magazine and has also published with outlets such as CNN, The Guardian, Financial Times, Broadly, The Advocate, Frankie; among others.\r\n\r\nHer work has been exhibited internationally and Erin has been selected for artists residencies in Venezuela, France, Morocco and Algeria. Erin is also a photobook artist with work shortlisted\r\nfor the Lucie Foundation Photobook Prize and the Perimeter Photo 2020 International Photobook Prize.","display_name":"Erin Lee","website_url":"https:\/\/www.erinleephotography.com","profile_type_id":2,"show_age":0,"twitter_handle":null,"facebook_handle":null,"linkedin_handle":null,"skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"erin_lee_photo_karate","vimeo_handle":"erinleephotog","youtube_handle":null,"telephone":null,"company_name":null,"address_1":null,"address_2":null,"city":null,"region":null,"country":null,"postcode":null,"vat_id":null,"codice_fiscale":null,"codice_destinatario":null,"pec_destinatario":null,"show_explicit_content":"0","created_at":"2015-12-01T10:43:30.000000Z","updated_at":"2022-09-10T05:05:44.000000Z"}}}