Field note · May 2026
Why the calendars stay where they are
Woolla is a hand-built hut on the Deua River near Braidwood. The Davis family lived here from 1927 until 2004, and the calendars on the wall have not moved.
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01 WoollaDeua River Valley2021
ISO 1001.3sf/8.014mm
Series · 9 prints
Woolla
01
ABOUT THIS SERIES
Series story
Map · Mapbox · OpenStreetMap
Woolla is a property on the Deua River near Braidwood in southern New South Wales. The slab huts under a single large tree were built and inhabited by the Davis family across four generations from 1910 to 1990. The family held freehold title to the property continuously through 2004.
The original freehold was taken up in 1910 by Helena "Nellie" Davis. Her son Everid, her daughter Neta, and her younger children Vern (born 1928) and Myrtle (born 1930) lived between the two huts: kitchen in the first, three sleeping rooms in the second. Nellie died in 1977. Neta died at Woolla in 1990. Vern moved into the Braidwood nursing home that year with Parkinson's and died at Braidwood Hospital in 2004. The current owners keep Woolla intact rather than restoring it. The walls of the huts are papered over hand-split slabs, newsprint behind the wallpaper, and Vern's calendars from local businesses still hang on the wall: Goulburn 1972, Braidwood 1983, Batemans Bay 1990.
Lost Collective Journal (Why the calendars stay where they are)
02
TIMELINE
Chronology
1910
1928
1952
1977
1990
2004
2008
2020
03
PRINTS
Prints in this series
Hand-signed limited editions, printed from the original RAW file. Editions run from 100 down to 25 and are not reissued once they sell through.
04
ABOUT THE PRINTS
How they’re made
Made to order by Brett in Sydney, from the original RAW file. Each print is hand-signed and numbered before it ships.
Paper
Ilford Galerie cotton rag, 310 gsm. Acrylic on metallic gloss, 260 gsm.
Lead time
Unframed: 5 to 10 business days. Framed and acrylic: 10 to 20.
05
FIELD NOTE
From the field
Read all field notes06
PRESS
In the press
Holding a solo exhibition in one of the spaces I've photographed would also be a dream, particularly at a site with a strong community connection - so the images can be enjoyed by the people who made it matter.
The Guardian
On the LC archive.
I'm not trying to make out like I'm some kind of mysterious urbex badass. Lost Collective isn't about me. It's about the places I shoot and even more about the connection that the people have to the sites.
Broadsheet
On the LC archive.
Often I'd find myself looking at the machines and architecture and challenging myself to find one single object designed purely for aesthetics. Craftsmanship made way for efficiency in engineering long before I'd even left school.
The Guardian
On the LC archive.