Greg Wayn

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Chemistry of Chance      (2013)                                               A group exhibition held with Greg Neville at Edmund Pearce Gallery in 2013

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Greg Neville      Chance Composition
Greg Wayn      Untitled # 5

Consisting of reinterpreted black and white prints from darkroom rubbish bins Chemistry of Chance explores the unique forms and colours of analogue photography's photo-chemical materials. The product of alchemical events occurring in the silver emulsions, these images are mysteriously beautiful compositions of abstract photography


Background info ...
The exhibition is based on a collection of darkroom 'discards' that Greg Neville and I happened to have collected independently over a period of thirty years or more, working in various college darkroom environments...
The detritus of unwanted, discarded prints and test strips, left in the darkroom bins after class sessions, living in a chemical 'soup' of developer, stop bath, fixer, air, water combined with the action of light (during cleanup), makes for an environment leading to complex alchemical reactions, and results in fascinating forms and colours on the discarded prints. 
With careful selection and editing, abstract 'compositions' can be discovered. These selections were scanned and digitally edited to bring out what was perceived in the original print and to intensify the compositional elements. As in other aspects of my work, there are abstract but identifiable figures and landscape elements.
In some way, this exhibition is both a celebration of the darkroom and a marker for it's demise. For many photographers in the digital age, the darkroom is a fading memory and best forgotten, but for others (admittedly, now a small but dedicated group), it is still a magical place that can be a site for precision, but also one that can allow for chance events worth celebrating...



Phantasm     (2006)                                                                             A group exhibition held with Greg Neville and George Alamidis at the Lab X Gallery in 2006




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Greg Wayn
Greg Neville
George Alamidis

Through stains, shadows and rust, three artists explored the face through visual forms to reveal a world of dreams, nightmares and puzzles.

My images were explorations based on a long fascination with rusting objects and industrial detritus. Surface patination wrought by weathering, chemical change and the passage of time, produces exquisite surfaces and in this exhibition, abstract face like forms have appeared... apparitions of the mind... Phantasms
Prints were 80x95 cm Digital Type C Lambda



Whiteout     (2005)                                                                                     A travelling exhibition curated by Geoff Tolchard                     


The notion of whiteout evokes a primal fear in me, the inability to see clearly, the fear of the unseen and the unknown.
In my mind I see a monolith looming in the haze, something emerging in the light like a large ship looming in the fog.
These images are a response to those fears and to the notion of a whiteout.
While my work is usually based on high levels of photographic clarity and intense detail, these images are the opposite… hazy, indistinct and foreboding.
Prints were 32" x 40" digital Type C (Lambda).

Technical notes
While I normally work with large format films and cameras, these images were made with a camera designed for kids, an Agfa Clack made in the 1960’s, bought for $1 at a camera fair, many years ago.
It produces 6x9 cm negatives on 120 roll film, and the combination of a cheap plastic lens and a large negative makes it a very interesting camera, and in this case the use of multiple exposures, (4 clicks on a ‘Clack’!), are an important part of the image forming process

The opening show was held at Maroondah Gallery in October 2005, then moved to Span Gallery in Feburary 2006

From there it moved to Benalla Gallery in June 2006, followed by Switchback Gallery (Monash Campus, Churchill) in October 2006

In its various iterations, up to 16 artists were invoved ( see the website at



Vertigo     (2004)                                                            A joint exhibition held with Greg Neville at Lab X Gallery


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Greg Wayn
Greg Neville

My images were taken on the site of the Bolte Bridge under construction. They are part of an ongoing project that I have undertaken in the industrial areas of Melbourne over a long period of time. The investigation of formal, abstract and compositional elements has been a substantial pert of this exploration, along with the visual impact of these structures on the environment. The images were made during 'non construction' periods, which adds a strange sense of quiet stillness to the work, a feeling at odds with the 'normal' perceptions of such structures when completed
A 4' x 5" monorail camera was used to realise this project and the negatives were developed in a Pyro formula.
Prints were 32" x 40" digital Type C (Lambda).

Greg Neville used a plastic Holga camera (a child's toy camera) to record the monumental scale of the New York skyline.


Natural     (1994)

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Natural ...

An ACPAC (Australian College of Photography Art and Communication) Visual Language Exhibition Project

Exhibitors included staff, invited guests and selected students
Included with the exhibition were related work by Vince Dziekan




In Industrial Light      (1993)                                                         An exhibition held at The Photographers' Gallery in 1993



The images in this exhibition explore structural and sculptural inter-relationships as well as the impact industrial forms have on the environment.

The title 'In Industrial Light' refers to a pervasive quality of bright light that is contained in the tonal relationships and the structural form of the images.
They were made in the industrial areas of Melbourne, Melbourne Ports and the Western suburbs.
They were produced from 4"x5" negatives and the prints were archivally processed silver gelatin (darkroom) prints based on fine print processes and traditions.
This period was a marker in terms of (the apparent) demise of traditional analogue methods and the emergence of increasingly refined digital equivalents. As such, I felt it was important to celebrate the strengths of the darkroom and the fine print tradition for this show.


Environs     (1976)


This was a joint exhibition held with Byron James at the Peninsula Gallery, Sorrento.

The work was created to reflect something relating to coastal areas in close proximity to Sorrento and Port Phillip Bay in general. My images were made around Point Lonsdale, Cape Schank and on Mud Island.