Great Australian photographs: Something More by Tracey Moffatt – an audio essay

Tracey Moffatt composite Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Click on the audio buttons to hear the conversations between the Guardian Australia picture editor, Jonny Weeks, the Guardian Australia photographer, Mike Bowers, the senior curator of photography at the National Gallery of Australia, Shaune Lakin, and the curator at the Centre for Contemporary Photography, Pippa Milne.

audio 1

audio 1

Something More # 8, 1989, from a series of nine images, cibachrome 98 × 127cm Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Her work nods towards B-grade cinema, cutaways, close-ups and dream sequences

Jonny Weeks

Something More # 5, 1989, from a series of nine images, cibachrome 98 × 127cm Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Something More #9, 1989, from a series of 9 images, cibachrome 98 × 127cm. Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• Something More # 8, #5 and #9, 1989, by Tracey Moffatt, from a series of nine images, cibachrome 98 × 127cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
  

More images from the series can be viewed on the Roslyn Oxley9 website

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audio 2

audio 2

Fourth #18, 2001, colour print on canvas, 36 × 46cm, series of 26. Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

I've had a conversion to Tracey's work later in life, I'm pleased to say

Mike Bowers

Fourth #12, 2001, colour print on canvas 36 × 46cm, series of 26. Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• Fourth #18 and #12, 2001, by Tracey Moffatt, colour prints on canvas 36 × 46cm, from a series of 26. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

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audio 3

audio 3

Smoking Guy, 2017, from the series Passage, digital C-print on gloss paper, 162 × 244cm. Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• Smoking Guy, 2017, by Tracey Moffatt, from the series Passage, digital C-print on gloss paper, 162 × 244cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Alongside Bill Henson, she's the great contemporary Australian artist

Shaune Lakin

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audio 4

audio 4

I Made A Camera, 2003, lithograph 38 × 43cm. Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• I Made A Camera, 2003, by Tracey Moffatt, lithograph 38 × 43cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

She's always interacting with that quagmire of what it means to be Aboriginal growing up in a white suburban situation

Pippa Milne

(left) ‘Charm Alone, 1965’, 1994, series of nine images. Off set print 80 × 60cm; (right) ‘Scissor Cut, 1980’, 1999, series of 10 images. Off set print 80 × 60cm Photograph: Tracey Moffatt/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• (left) ‘Charm Alone, 1965’, 1994, by Tracey Moffatt, from a series of nine images, off set print 80 × 60cm; (right) ‘Scissor Cut, 1980’, 1999, by Tracey Moffatt, from a series of 10 images, off set print 80 × 60cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

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audio 5

audio 5

Over The Fence, 2000, by Destiny Deacon, from the series ‘Sad & Bad’, Lamda print from Polaroid original, 80 × 100cm. Photograph: Destiny Deacon/Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

• Over The Fence, 2000, by Destiny Deacon, from the series ‘Sad & Bad’, Lamda print from Polaroid original, 80 × 100cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

There's actually a lot of humour and a lot of witty engagement with what it means to be Aboriginal

Pippa Milne