Entry Title: "GASP for Wink"
Name: Ross Honeysett , Australia
Category and Expertise: Buildings, Professional


Entry Description: I was recently commissioned by Winkreative in London to photograph the new GASP pavilion in Tasmania. The pavilion is built on the most beautiful site. Where a factory previously stood this beautiful building now stands. Of course I was chuffed to be asked by such a prestigious outfit …so far away from across the ocean. Below is my anecdote. I wasn’t sure what to expect …travelling to a remote place always conjures images. Of course what I had imagined couldn’t have been further from the truth. What I had envisioned as a pristine wilderness was, in fact Glenorchy, a charming little town set on the Derwent River about 30mins from Hobart. It’s hard to imagine that the GASP Pavilion is built on recycled industrial land & that such a picturesque landscape could have ever been used for industry. But there is a sense of purpose, as one is lured to imagine the frantic energy of a huge concrete factory that was devoted to the construction of components for a nearby modern bridge which were floated into position by barge. A public park now proudly replaces the factory. Huge bollards & jetties where ships once moored are left as reminders of the park’s industrial past & the new angular, colourful pavilion signals in the new. This jewel in the crown daringly cantilevers out over the river, seemingly challenging nature to draw it into the water. The strong, angled, steel portals of the new pavilion stage a battle for design perfection with the rusting remnants of a bygone former life. The pavilion loves light. I witnessed its persona change throughout the day as storms & squalls rushed through the valley, punctuated by periods of brilliant, clean, “arc light” sunshine. Southern light, so clean & quite different to the light of the northern hemisphere has an obvious ebullience & the pavilion glows as the low angled rays of sunlight trace across the expanses of concrete. This light, when passing through the giant “filter gels” of the coloured glass surprises as surreal colours scribe the concrete, somehow calming the brutality. The extra dimension of colour gives the building its signature, an “ownership” of the site. You may be interested in seeing the new Tasmania pics on my site. They are on the home page http://rosshoneysett.com/# Sit back & enjoy the show or in the built environment folder http://rosshoneysett.com/#the-built-environment-1 An update on my recent work which I thought may be of interest. I was recently commissioned by Winkreative in London to photograph the new GASP pavilion in Tasmania. The pavilion is built on the most beautiful site. Where a factory previously stood this beautiful building now stands. Of course I was chuffed to be asked by such a prestigious outfit …so far away from across the ocean. Below is my anecdotal story. I wasn’t sure what to expect …travelling to a remote place always conjures images. Of course what I had imagined couldn’t have been further from the truth. What I had envisioned as a pristine wilderness was, in fact Glenorchy, a charming little town set on the Derwent River about 30mins from Hobart. It’s hard to imagine that the GASP Pavilion is built on recycled industrial land & that such a picturesque landscape could have ever been used for industry. But there is a sense of purpose, as one is lured to imagine the frantic energy of a huge concrete factory that was devoted to the construction of components for a nearby modern bridge which were floated into position by barge. A public park now proudly replaces the factory. Huge bollards & jetties where ships once moored are left as reminders of the park’s industrial past & the new angular, colourful pavilion signals in the new. This jewel in the crown daringly cantilevers out over the river, seemingly challenging nature to draw it into the water. The strong, angled, steel portals of the new pavilion stage a battle for design perfection with the rusting remnants of a bygone former life. The pavilion loves light. I witnessed its persona change throughout the day as storms & squalls rushed through the valley, punctuated by periods of brilliant, clean, “arc light” sunshine. Southern light, so clean & quite different to the light of the northern hemisphere has an obvious ebullience & the pavilion glows as the low angled rays of sunlight trace across the expanses of concrete. This light, when passing through the giant “filter gels” of the coloured glass surprises as surreal colours scribe the concrete, somehow calming the brutality. The extra dimension of colour gives the building its signature, an “ownership” of the site.

About the Artist:

To examine Ross Honeysett’s photographic oeuvre, reveals a perpetual work in progress, one that never interrupts the flow of ideas. Honeysett's career as a tastemaker began abroad-firstly in London, shooting for the glossies Honey, Vogue and Tatler, then Paris, where he contributed to editorial driven fashion periodicals Glamour and Elle. This period also produced the “Ombres Chinoises” series of personal work. Returning to Australia, a long working relationship with Vogue magazine crafted numerous feature editorials. Honeysett's love and comprehension of both mainstream and alternative interpretations of fashion inspired a period shooting stories for Follow Me, then Oyster magazine-collaborating with stylist Mark Vassallo. Commercially, designer Richard Allan encouraged Honeysett to push the photographic language of advertising-simultaneously acknowledging Honeysett's understanding of and passion for fusing hybrid shooting styles into a singular image. This collaboration birthed the visual strategy for the first Mooks streetware campaign. This seminal image campaign creatively combined reportage, street photography and minimal surroundings. It marked the first time this photographic style had been applied to advertising. The work achieved instant cult status. Evolving his photorealism style garnered the Folio Award for Best Photography in a campaign for Roche (Feeder), before producing memorable campaigns for eLoan (Glue Society) and Levis (Arnold / Ben Frid). Honeysett has the unique ability to create images that engage an audience, that draw you in... “then you notice it.... it’s what’s missing from the photograph that matters” Jonathan Kneebone, The Glue Society A recently completed campaign for Marc Newson’s GStar collection has seen Honeysett collaborate once again with designer Richard Allan. Campaigns for NSW Tourism, Chivas Premium, LG, as well as lensing the inaugural Grazia Magazine editorial stories are evidence that Honeysett maintains balanced judgment when visualising the fast evolving and trend conscious worlds of art, fashion and commerce-where he continues to stamp the photographic environment with his singular style. Honeysett's pedigree as an architectural photographer is peerless. His interpretation of architecture uniquely rendered under the Australian sun manifested in crafting a visual language for functionalist architects Engelen Moore-and has since become the standard for how we view the built environment. A panoramic archive of Engelen Moore’s work and a Government commission-producing a suite of photographs to celebrate the 25th anniversary of the Opera House, are testament to the way Honeysett is perceived-by even the most demanding clients, as the solution to render enduring imagery of acclaimed public and private buildings. Ongoing personal projects give space to Honeysett's exploration of style and approach to varied subject matter. Currently, “Project X” interprets urban life, while “Project Y” searches for a photographic way of visualizing a painters use of sunlight. Honeysett has recently had work commissioned & acquired by the National Portrait Gallery, published in the UK by Ivory Press & has been announced the winner of the Sydney Life prize for photography. Honeysett's commitment to innovation and desire to continually develop his visual style is evidenced in his 'moving stills' portfolio. This growing body of work explores the emotional potential of merging composed stills with motion, creating a sophisticated hybrid image that has its own unique expression.