Cathcart Corner
Provenance
- Camera
- NIKON Z 7
- Lens
- 24.0-70.0 mm f/2.8
- Settings
- 34mm · f/8.0 · 1/160 · ISO 100
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
Interior wall with peeling paint in multiple layers, colours visible where each layer has lifted or curled away. A single window in the frame, glass intact, light coming through. Overgrown garden visible beyond the glass. Surfaces marked by damp and time. No furniture or fittings remain.
Open edition
Printed to order, no fixed quantity. Each print is hand-signed by the photographer.
Limited edition
A fixed number of prints exist. Once sold, the edition closes permanently. Each print is individually numbered and signed.
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In situ





Print datasheet
- Title
- Cathcart Corner
- Series
- A Place to Call Home
- Catalogue
- PCH-029
- Process
- Giclée
- Captured
- 26 December 2018
- Camera
- NIKON Z 7
- Lens
- 24.0-70.0 mm f/2.8
- Aperture
- f/8.0
- Shutter
- 1/160 s
- ISO
- 100
- Focal length
- 34 mm
- Paper
- Ilford Galerie Smooth Cotton Rag 310 gsm
- Paper size
- 290 × 200 mm
- Location
- Rural New South Wales and ACT, Australia
- Authenticity
- C2PA verified provenance →
- Recognised by
- Highly Commended in Multimedia at the 2016 National Trust of Australia (NSW) Heritage Awards
About this print
Inside Cathcart Corner, paint peels from the interior walls in layers, each colour a different period of occupation. A window frames an overgrown garden, the glass still in place. The locality of Cathcart began as Taylor's Flat, settled by James Taylor around 1828 to 1829, and served as the final staging post for teamsters carting wool and produce from the Monaro plateau down to Twofold Bay at Eden. What remains now is a structure standing in rural New South Wales, the garden gone to scrub and the rooms empty.
Brett Patman
The series
A Place to Call Home
A series of rural homesteads from the Snowy Monaro region of southern New South Wales, with a few from the Hunter Valley. Most were family homes left behind when a generation moved to town; others when the land could no longer be worked. The buildings are smaller than the industrial sites that anchor most of Lost Collective and tend to be older. Most are timber-framed.
Print sizes
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