Damien Drew critically examines our relationship to the built environment through photography. He is fascinated by what he sees as the loss of ‘place’, the erasure of unique communities and their replacement with homogenous franchised environments. Drew notes that vital places are being transformed in such a way that every place becomes ‘no place’ in particular. He observes these cultural and social shifts through the documentation of our urban fabric, asking that we pay attention to scenes and details that we might habitually pass by. His images capture the beauty in unlikely locations, reframing loss and decay as an invitation for reflection and introspection.

Drew has presented two bodies of work at Blackeye Gallery in Sydney, Australia. ‘Everywhere was Wherever’ (2015), describing a cross continent motorcycle journey through colour plates of remnant building facades in the American south. Drew travelled the periphery of a nation perched tenuously between decay and development.

‘Wabi-Sabi’ (2017) explored the Japanese aesthetic philosophy that celebrates beauty in the modest, imperfect, ephemeral or decaying. Drew’s carefully paired colour diptychs observe the melancholic beauty of the many towns and villages that have now become neglected through depopulation and urban migration. 

Drew’s work has been featured by Whitelies Magazine, Aint–Bad Magazine, Feature Shoot, Paris Photo Agenda, Capture Magazine and Australian Photography Magazine. He has shown in group exhibitions for Feature Shoot in Berlin and New York City and Rewind Photo Lab in Sydney. He was a finalist in Photolucida’s ‘Critical Mass’ in 2020, LensCulture AFAR Travel Photography Awards in 2018, and the Siena International Photo Awards in 2017.

In 2022 the body of work on Shikoku received critical acclaim from the Urbanautica Institute of Visual Anthropology and Cultural Landscapes. Shikoku no Seijaku also saw Drew ranked in the Top 20 of Capture Magazine’s Australasia’s Top Emerging Photographers. The series was also recognised as a finalist in LensCulture’s Black and White Photography Awards and Head On Photo Awards in the same year. In 2023, Drew was a featured exhibitor in the Head On Photo Festival in Bondi, Sydney Australia where works from this series were publicly shown for the first time.

Drew is a passionate photographer who alongside his work as an award-winning feature film art director develops his craft through stills photography. His feature film credits include Baz Luhrmann’s ‘Elvis’ biopic, Sir Ridley Scott’s ‘Alien Covenant’, Baz Luhrmann’s ‘The Great Gatsby’, ‘Superman Returns’, ‘Star Wars Ep 2 and 3’, and ‘The Matrix’ sequels. 

Drew holds a Bachelor of Architecture degree (Hons 1) from UNSW in Sydney and remains passionate about place making and visual storytelling through the still and moving image.

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ドルーは、シドニーのBlackeye Galleryで2つの作品を展示していました。2015年の「Everywhere was Wherever」では、アメリカ南部の残された建物のファサードを描いたカラープレートを通して、大陸横断のオートバイ旅行を描写しています。ドルーは、衰退と発展の狭間にある国の周辺を旅しました。


ドルーの作品は、Whitelies (白い嘘) Magazine、Aint–Bad Magazine、Feature Shoot、Paris Photo Agenda、Capture Magazine、Australian Photography Magazineに掲載されています。彼は、ベルリンとニューヨークのFeature Shoot、シドニーのRewind Photo Labでのグループ展に出展しています。2020年のPhotolucidaの「Critical Mass」、2018年のLensCulture AFAR Travel Photography Awards、2017年のSiena International Photo Awardsのファイナリストでした。

2022年、彼の四国に関するこの作品は、Urbanautica Institute of Visual Anthropology and Cultural Landscapesから高い評価を受けました。四国の静寂は、Capture Magazine’s「Australasia’s Top Emerging Photographers」のトップ20にランクされました。このシリーズは、同年のLensCulture’s「Black and White Photography Awards」とHead On Photo Awardsのファイナリストにも選ばれました。

2023年、ドルーはオーストラリア、シドニーのボンダイで開催されたHead On Photo Festivalの特集出展者として、このシリーズの作品を初めて一般に公開しました。

ドルーは、情熱的な写真家であり、賞を受賞した長編映画のアートディレクターとしての仕事と並行して、静止画撮影を通じて自身の技術を磨いています。彼の長編映画のクレジットには、バズ・ラーマンの『エルヴィス』伝記、サー・リドリー・スコットの『エイリアン: コヴェナント』、バズ・ラーマンの『華麗なるギャツビー』、『スーパーマン リターンズ』、『スター・ウォーズ エピソード2と3』、そして『マトリックス』の続編が含まれています。


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