Three new exhibitions at Gaffa are dominated by rural themes and empty spaces. Tanya Baker's large, serene photos sit at the edges of isolation in Disappear Here. In one of her photos, a polygonal water tank sits in a clearing of trees. A harsh, snot green electrical box sits in front. Someone has graffitied 'DESOLATE' on it. Nearby sits a photo of an isolated house, hut-like under ivy, connected to just two things: a thin electric wire and a water tank.
In three pairs of photos, dogs lie on their sides looking left and right. They are satisfied and tranquil, in order albino, wolf-like and big eared. In a later pair of photos, a girl looks into the distance. The sea wells up out of focus behind, the wind picks at her hair. She's not going anywhere.
Jasmin Faulhaber's Adaptation explores shadows and form. The painting from which the show takes its name stretches blue denim across canvas, a swirl of coloured, heart shaped scales made from purple, rose and gold silk pinned down in waves. Other images are paired, with faded etchings on perspex echoing leafy images beside them on canvas.
Gallery Three's Shadowed by a Roadside collects Simon Hewson's country photographs. Like Manuwangku at Pine Street, this is a collection of everyday rural scenes, but where Manuwangku focuses in on its people, Hewson's focus is on all the detritus of rural life. His photos are quiet, people free. A tin rocking horse sits in the doorway of a converted shop, a computer shop has only a keyboard for sale in its vast window, and a wooden church has a green sign proudly proclaiming when it was first opened, and when it was closed for good.
Thomas C Chung's crocheted food and dinnerware also huddle in safety high up the wall of Failspace, spilling over into the office next door.
Photograph You've seen things I never will by Tanya Baker.