Patrick Waterhouse’s work Restricted Images (2018) seeks to use collaborative methodologies to renegotiate a history of culturally invasive documentary practices in Aboriginal communities, by “symbolically returning... the agency over their own images” (SPBH editions, Self Publish Be Happy 2018). This work, made partly with Aboriginal artists at the Warlukurlangu art centre, is Waterhouse’s response to a history of colonialist photographs made of Aboriginal people and places. He specifically references The Native Tribes of Central Australia, published in 1899 to significant attention from European audiences. Anthropologists Baldwin Spencer and Francis Gillen sought to “set forth an account of the customs and social organisation of certain of the tribes inhabiting Central Australia” (Spencer and Gillen 1899, i). Their studies treated Aboriginal bodies as research material, violating cultural protocols by depicting sacred sites, and publishing photographs of people who had died. Waterhouse seeks to address these significant representational issues by inviting artists fromWarlpiri country in Central Australia to intervene on images he has made of them. The Yeundumu and Nyirrpi participants “restrict and amend” (Waterhouse 2018, 1) his photographs through painting, and the combination of visual approaches is compelling. His black and white photographs are made striking with the additions, primarily in the form of Aboriginal dot or Papunya methods, such as dot patterns, colour, and other graphic techniques that are elements of traditional storytelling. The paint frequently conceals the identity of subject and place, but one of the last plates, “Whiskey is my dog,”made with Ruth Nungarrayi Spencer leaves identity intact. The photograph has a magical quality––Waterhouse has caught the sun low to the horizon, throwing long shadows, which stretch down the curved spine of the dog half hidden in grass, and transform the woman subject’s hair into a light burst (she is presumably Nungarrayi Spencer, but it is not clear if artists specifically worked on images of themselves). Her painting, fine white dots almost hidden in the leopard print dress, rounded cheek and curly matriarchal halo, transform the woman into a heavenly body. In my

中文翻译：

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受限图片：由澳大利亚中部的 Warlpiri 制作

帕特里克·沃特豪斯 (Patrick Waterhouse) 的作品《受限图像》（2018 年）寻求使用协作方法重新协商土著社区文化侵入性纪录片实践的历史，通过“象征性地返回......代理他们自己的图像”（SPBH 版本，Self Publish Be Happy 2018） . 这件作品部分由 Warlukurlangu 艺术中心的土著艺术家创作，是沃特豪斯对土著人民和地方殖民主义照片历史的回应。他特别提到了 1899 年出版的《澳大利亚中部土著部落》，引起了欧洲观众的极大关注。人类学家鲍德温·斯宾塞和弗朗西斯·吉伦试图“阐述居住在澳大利亚中部的某些部落的习俗和社会组织”（斯宾塞和吉伦，1899 年，i）。他们的研究将土著尸体视为研究材料，通过描绘圣地和发布死者的照片来违反文化协议。沃特豪斯试图通过邀请来自澳大利亚中部瓦尔皮里国家的艺术家对他制作的图像进行干预来解决这些重要的代表性问题。Yeundumu和Nyirrpi参与者通过绘画“限制和修改”（Waterhouse 2018，1）他的照片，视觉方法的结合令人信服。他的黑白照片添加了一些引人注目的元素，主要以原住民圆点或帕普尼亚方法的形式出现，例如圆点图案、颜色和其他作为传统讲故事元素的图形技术。油漆经常隐藏主题和地点的身份，但最后一个板块之一，“威士忌是我的狗”，由 Ruth Nungarrayi Spencer 制作，身份完好无损。这张照片具有一种神奇的品质——沃特豪斯将太阳低至地平线，投下长长的阴影，沿着半隐藏在草丛中的狗弯曲的脊椎向下延伸，并将女性主体的头发变成了一阵光（她大概是Nungarrayi Spencer，但尚不清楚艺术家是否专门处理他们自己的图像）。她的画，几乎隐藏在豹纹连衣裙中的精致白点，圆润的脸颊和卷曲的母系光环，将女人变成了天上的身体。在我的 并将女性主题的头发变成一束光（她大概是 Nungarrayi Spencer，但不清楚艺术家是否专门处理自己的图像）。她的画，几乎隐藏在豹纹连衣裙中的精致白点，圆润的脸颊和卷曲的母系光环，将女人变成了天上的身体。在我的 并将女性主题的头发变成一束光（她大概是 Nungarrayi Spencer，但不清楚艺术家是否专门处理自己的图像）。她的画，几乎隐藏在豹纹连衣裙中的精致白点，圆润的脸颊和卷曲的母系光环，将女人变成了天上的身体。在我的