Roland Barthes said that looking at old photographs was like being ‘chafed by reality’. Like photographs of the dead, these places are abrasive to the myth of progress. They are not supposed to be there, but they resist.
In Kalgoorlie, Dwyer’s photographs have become the anonymous historic background to contemporary life in a place that locates itself simultaneously in its ‘golden past’ as well as its slightly less heroic present.
I want to tell a story about Jony, who is the beloved of Omar, the young man nestling against Jony’s shoulder.
Every photograph is not so much a picture of the world as a piece of it. Some people don’t believe this. Others do.