BIOGRAPHY

Born and lives in Sydney, Australia. David Manley studied at the College of Fine Arts (COFA) UNSW, majoring in Photo-media and graduating in 2012 with 1st Class Honours and the Dean's Award for Academic Excellence. Manley was a finalist in the 2011, 2013 and 2015 Bowness Photography Prize and the 2014 Josephine Ulrick and Win Schubert Photography Award. In 2012 he was a winner of the coveted Head On Photographic Portrait Prize. Solo and group exhibitions include Black Eye Contemporary Photography Space, Darlinghurst, The Australian Centre for Photography, Paddington, Griffith University Art Gallery, Brisbane, Customs House, Sydney, QUAD Gallery Derby, United Kingdom, Ulsan Cultural Arts Centre, Ulsan, South Korea, FORM Gallery at Midland Atelier Fremantle, Western Australia, Perth Institute of Contemporary Art, Perth, Monash Gallery of Art, Melbourne, Blender Gallery, Paddington and Perspektiva at COFA Space/UNSW, Paddington. Manley was also one of sixteen Australian artists selected for the publication Hijacked III Contemporary Photography from Australia and the UK which was published in 2012. In June 2014 Manley attended the Ulsan International Photography Festival in Ulsan, South Korea as an Australian representative artist. David Manley has recently completed a Masters of Fine Arts achieving 1st Class Honours and is currently a PhD Candidate at the University of New South Wales Art and Design.



AMBIVALENT STRUCTURES

Ambivalent Structures interrogates the latent connection of the bunker with the urban terrain, channeling its psychological influence while addressing contemporary anxieties regarding power and control. Military bunker facilities have long been the subject of intense interest for artists and architects, particularly since the end of the Cold War. Their presence has been linked to discourse surrounding developments in modernism, minimalism in art, and architectural brutalism. Bunker construction occurred on a massive scale during the Second World War with the building of Hitler’s Atlantic Wall, a series of fortifications that was intended to stretch along the entire west coast of Europe and Scandinavia. The Atlantic Wall’s construction employed new types of reinforced cement moulding technologies that are still in use. Imposing and monolithic, these structures retain a deeply ambivalent nature, as they can be at once places of security and danger, of refuge and warfare, and indeed of life and death. Cold War secrecy served only to heighten the bunker’s psychological power within the civilian population; their hidden presence fuelled the imagination of populist culture of the time in films such as Stanley Kubrick’s Dr Strangelove (1964), while writers such as J.G. Ballard pondered their influence on urban infrastructure and the post-war utopian aspirations of city planners in works such as Concrete Island (1974) and Crash (1973). Here, manifestations of the bunker and its effect on the psychology of Ballard’s characters were conjured through the run-down tenement tower blocks, motorway exit ramps, multi-story car parks and pedestrian underpasses of the built environment. Ambivalent Structures is a visual and textural exploration of the aftermath of modernity through its attendant buildings and structures that are inextricably linked to the violence of war, pondering their psychological influence on the individual.


























New World Structure, 2016
Archival photographic print 1000 x 1250 mm
























Blue Brute #1, 2016
Archival photographic print, 1100 x 1200 mm

























Blue Brute #2, 2016
Archival photographic print, 110 x 120 mm

























Brute #3, 2016
Archival photographic print, 1100 x 1200 mm



















Chromogenic Particle Accelerator, 2016
Archival photographic print, 100 x 133 mm



Substructure, 2013. 
Archival photographic print, 900 mm x 900 mm




















Plume 2, 2015. 
Archival photographic print, 250mm x 250mm
























Spiral Cement Structure, 2014. 
Archival photographic print, 1250 x 1000 mm
























Modernist Structure, 2014. 
Archival photographic print, 1250 x 1000 mm

























Observation Post, North Korean Frontier, 2015. 
Archival photographic print 1250 x 1000 mm 










Ballardian 1 and 2, 2014. 
Archival photographic prints, 920 x 1250 mm each
























Blockbuster, 2015. 
Archival photographic print 1250 x 1000 mm





















Block, 2013. 
Archival photographic print, 240 x 240 mm

























Zoomorphic Cement Structure, 2013. 
Archival photographic print, 1250 x 1000 mm

























Street Light, 2014. 
Archival photographic print, 1250 x 1000 mm

























Art Bunker, 2014. 
Archival photographic print, 1250 x 1000 mm


























Blue Structures, 2013. 
Archival photographic print, 1250 x 1000 mm





















Background Noise 1, 2012. 
Archival photographic print, 240 x 240 mm





















Forest, 2013. 
Archival photographic print, 150 x 150 mm 





















Background Noise 6, 2012. 
Archival photographic print, 800 x 800 mm


Grey Cement Shaft, 2012. 
Archival photographic print, 240 x 240 mm 





















Exhaust Stack, 2011. 
Ink jet print, 240 x 240 mm 























Background Noise 8, 2011. 
Archival photographic print, 800 x 800 mm



Black Eye Gallery, September 2014. Installation view 

Perth Institute of Contemporary Art, Hijacked III
 Installation view

Monash Gallery of Art, Melbourne. 2013 Bowness
Photography Prize, installation view





Hijacked III, Contemporary Photography from Australia and the UK
Australian Centre for Photography, Installation view 















Entropy 1, 2011. Ink jet print 800 x 530 mm




Entropy 2, 2011. Ink jet print 800 x 530 mm

















Entropy 3, 2011. Ink jet print 800 x 530 mm



Entropy 5, 2011. Ink jet print 800 x 530 mm