The allegorical scenes and portraits of Sweepers is about labour. The epiphany first happened in Sri Lanka in late 2018 while I was documenting our travels. With no immediate intention to begin a monograph, the medium for conversation bewitched me when I first listened to slow sweeping sounds.
Through careful observations and being provocative about imperceptible things, I restrained composing the subjects pose, telling the subject where or how to look and changed high contrast and artificial light in favour of natural haze. Each person was simply asked to sit, stand and keep still for an unusually natural period of time. Perhaps subconsciously I saw a trigger to transgress gender identities, agitate roles in the work place, subvert colloquial racism between immigrant, migrant, and expat — even challenge how we look at a field worker in uniform to that of a military person wearing a single dress code. Every workforce is history.
Systematically studying the images has taught me that if the body was composed by the subjects themselves to bring out democracy in the photo, it also has appearances similar to the late 1920s Worker Photography Movement. From origins found in Germany’s Worker Photography Movement, founders of the Sovetskoe Foto in Russia, the New York Photo League and beyond, all believed photography’s ideality in making place a better place through methods of self–learning and publishing.
The photograph of Budhdhika won a Gold Award, and the Sweepers series won a Portfolio Award in the 2019 San Francisco Bay Month of Photography 2019.
- George Angelovski
b. 1974, I am a first generation Australian with a Post–Yugoslav descent, now living in Singapore. Through multimedia projects including writing, drawing, sculpture and performance, my work is devoted to exploring the parameters of the creating and the making — in particular photography.
My studio photography has serviced public and private clients, including international awards: Fisher’s Ghost Award finalist, The Photo Review, San Francisco Bay Month of Photography Competition Gold Awards, Olive Cotton Photography Portraiture finalist, Capture’s Australia&rsquos top 30 [emerging] Photographers, International Photography Awards (IPA) Honourable Mention for the Deeper Perspective category and PX3 Non Professional with First Place and Honourable mentions.
I acquired a Masters of Fine Arts with concentration in Photography from the Transart Institute for Creative Research (2018) under Polixeni Papapetrou, Jean Marie Casbarian , and Lisa Jarnot, and Bachelor of Design in Graphic Design from the Swinburne University (1999) under Visnja Brdar.