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Yanni Florence

@yanniflorence

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Some books I have designed with no text on the cover. 1/ LIGHT TOUCH CHRISTINE GODDEN @cgodden01 Texts: Helen Ennis, @dragonani64, @cgodden01 @m.33_melboure, 2025 2/ FRONT YARD DAVID WADELTON @davidwadelton @m.33_melboure, 2024 3/ REPRODUCTION JANINA GREEN @janina_green Text: @pippimilne @m.33_melboure, 2024 4/ PAPER AND BRONZE LOUISE FORTHUN @louise_forthun Texts: @warmjuicy, @louise_forthun Self-pub., 2023 5/ SECOND CITY (slip case) JESSE MARLOW @jessemarlow Text: Tony Birch Sling Shot Press, 2021 6/ SMALL BUSINESS DAVID WADELTON @davidwadelton Text: @natalieking_curator @m.33_melboure, 2021 7/ BASALT TEMPLE DAVID HUGH THOMAS @davidhughthomas_artist Self-pub., 2019 8/ TRAM WINDOWS YANNI FLORENCE @m.33_melboure, 2019 9/ SUBURBAN BAROQUE DAVID WADELTON @davidwadelton Texts: @patrick_pound, @davidwadelton @m.33_melboure, 2019 10/ MUTLU CERKEZ: 1988–2065 Texts: Mutlu Cerkez, Franis Plange, @maxdelany, @charday68, Helen Hughes, Hannah Mathews, Mary Eagle, @spriteorbird, @victorialynnartprojects, Robyn McKenzie, @lneri_10013, Michael Graf, Daminao Bertoli, Leon van Shaik, Rex Butler @MUMA, 2018 11/ COUNTRY PRACTICE JANINA GREEN @janina_green @m.33_melboure, 2017 12/ WEE TITANS: SCULPTURES 2015–2016 D. S. MCNEIL @scottmcneil7 Self-pub., 2016 13/ FINDINGS MANON VAN KOUSWIJK @manonvankouswijk Text: Benjamin Lignel Self-pub., 2016 14/ SANCTUARY: TOMBS OF THE OUTCASTS BROOK ANDREW brook_garru_andrew Texts: Vincent Allessi, Eliina Spilia, brook_garru_andrew @pottermuseum, 2015 15/ KRAFT STUART RINGHOLT @stuartringholt Texts: @carolynchristovbakargiev, @robertleonard267, Amelia Barikin, @charday68, @burnsaileen, @larsjohangustaflundh, @stuartringholt @MUMA and @instituteofmodernart, 2014 16/ BLUSH: PHOTOGRAPHS 1988–2010 JANINA GREEN @janina_green Text: Sofia Ahlberg @m.33_melboure, 2011 17/ THEME PARK BROOK ANDREW brook_garru_andrew Texts: Marcia Langton, Nicholas Thomas, @bronzino.on.the.beach, Georges Petijean, Maria Hlavajova, brook_garru_andrew AAMU, 2009 18/ SELF-CONSCIOUS YANNI FLORENCE Skoob Books, 2009 19/ FILMS AND PAINTINGS 2001–2005 DAVID NOONAN @d.j.noonan @MUMA, 2005 20/ WORKS 1991–1988 STEPHEN BRAM @stephenbramstudio Self-pub., 1998 by @yanniflorence
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2 months ago
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INFRAstructures, 2006–2025 Janet Burchill & Jennifer McCamley @lightofdaybooks NO. 30. 2026 16 pages 16 colour photographs 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks These photographs were taken in the Victorian Mallee country, the wheatbelt of Western Australia and along the Murray River. Over the last two decades we have spent significant periods of time living in the Mallee for Jennifer’s work as an ecologist. Prior to that we had spent time in the West Australian wheatbelt for an arts residency. Over this time, we assembled a large body of images of what we are terming INFRA-structures. Space was not at a premium in these landscapes – although rural demographics and land use are now changing- so time played out visually. We were interested in the sculptural nature, the joinages and the assemblage of ‘at hand’ materials and the remnants of time in these structures. Janet Burchill and Jennifer McCamley are artists currently based in Naarm/Melbourne by @yanniflorence
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2 months ago
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WAVES 2026 Kik Gollings @lightofdaybooks NO. 29. 2026 16 pages 14 photographs 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks “In need of some respite from the ongoing effects of workplace bullying, I found comfort in the sea. It is a tonic to the buzzing anxiety. Not traditional swimming, but playful immersion. There is no choice but to be present in the moving mass. Photographing the waves has become part of the routine. Using a point of view near the surface of the water pulls us into sharing the experience. This intimate view becomes a reimagined landscape; it appears as detail and immense vista.” Kik Gollings @kikgollings grew up surrounded by photography as her parents photo business was always in the family home. She has worked extensively in photographic postproduction throughout her career initially printing in darkrooms and progressing to digital postproduction and retouching as photography itself evolved. From a young age she has photographed the life around her, especially her friends, which led to her interest in portrait photography. She worked as a freelancer for Australian Art Collector magazine shooting both artists and collectors for over 10 years. In 2022 she self-published a book called ‘112 Days’ which was a document of her wanderings through Melb CBD during the 2020 lockdown. by @yanniflorence
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2 months ago
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APA ARTISTS, 2024–2026 TOBIAS TITZ @lightofdaybooks NO. 28, 2026 16 pages 17 colour photographs 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks In the collaboration between Tobias Titz @tobiastitzphotography and Arts Project Australia @artsprojectaust the APA artists share the image making process by etching their artwork in the wet emulsion of the large format Polaroid Type 665 film negative. Arts Project Australia is an internationally leading visual arts organisation that champions neurodivergent artists and artists with intellectual disability. Through their studio program, exhibition opportunities and professional development pathways, they empower Arts Project artists to develop their practice and build meaningful careers in the contemporary arts sector. Tobias Titz is a photographer and educator based in Naarm/Melbourne. His work has been exhibited throughout Australia as well as internationally in Germany, the United States, China, and South Korea. He is the recipient of the HeadOn Photography Prize (2008), the Doug Moran Contemporary Photography Prize (2012), the Art Handlers’ Award at the National Photographic Portrait Prize (2017), the People’s Choice Award at the Martin Kantor Portrait Prize (2023), and the Australian Photography Awards (2026). Tobias’s work is held in public and private collections, including the Southeast Museum of Photography (Florida, USA), the Museum of Australian Democracy, the National Library of Australia, and the Moran Foundation. Since 1998, Tobias has developed the collaborative Polaroid Project, inviting participants to etch a personal message into the wet emulsion of a large-format Polaroid negative, creating a unique collective archive of individual voices. Alongside his artistic practice, Tobias lectures in Photography at Monash University. by @yanniflorence
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2 months ago
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NOKIA E71 PHONE PHOTOS (2008 - 2024) NICHOLAS GIOIA @lightofdaybooks NO. 27. 2026 16 pages 17 colour photographs 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks These are images taken during walks around Melbourne and its periphery. Like many who take photographs I have used a number of cameras over the years, mainly SLRs and DSLRs, but in the last two decades I have also taken many images on ‘smartphones’. My favourite phone to use for photographs is the Nokia E71. It was released in 2008. It has an extremely primitive camera that gets everything wrong: focus, colours, exposure, and the like. It produces miniscule file sizes. They are nevÅer greater than 400kB. So why would I even bother using such an abysmally poor camera. That is a difficult question to answer, but I suspect it might be because ‘control’ is at the very core of my work and using the E71 is my occasional attempt to work against this need, against this compulsion. The E71 is not controllable in any way, shape or form, and the work then becomes about what can be salvaged with such meagre means. It is a challenge to both my work approach and indeed to my personality. It might well be a form of perversion Nicholas Gioia @nicholas_gioia_art_photo lives and works in Naarm/Melbourne, and has qualifications in the visual arts field. His work has been exhibited in about half a dozen solo shows and about a dozen group shows. He has been an award finalist three times in the last couple of years, and his work is held in private collections in Australia and a number of other countries. Some work is also held in corporate and institutional collections in Australia. His art practice is varied and ranges from the production of images that are representational to those that others have described as “abstract”. by @yanniflorence
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2 months ago
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BIRTH 1974 Christine Godden @lightofdaybooks NO. 26. 2026 16 pages 22 B&W photographs 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks While living with friends in California in the 1970s, Godden documented close friends with babies and small children. This included the pregnancy of a housemate, and the homebirth supported by loving friends (which is the subject of this series). These intimate images, made with simple camera equipment in the early morning sunlight, engagingly capture the atmosphere, the 70’s environment, the labour and the joy of the occasion. Christine Godden (@cgodden01) has played a significant role in Australian photography as a maker, curator and advocate. After completing a Masters in the USA, Godden became director of the Australian Centre for Photography in Sydney in 1978 and was consequently a prominent spokesperson for Australian photography during the 1980s. Her own photographic work is a highly personal and poetic form of documentary practice, informed by a feminist interest in developing distinctly female perspectives on the world. Her familiarity with the tradition of fine art photography is evident in her own practice. Godden’s photographs are in the NGA, NGV, AGNSW and MaPH collections. by @yanniflorence
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2 months ago
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NUDES, 2013 Stuart Ringholt @lightofdaybooks NO. 25. 2026 16 pages 16 images 297mm x 210mm Edition of 50 AUD $10 each Available from worldfoodbooks.com @worldfoodbooks “I once heard Ringholt, perhaps disingenuously, describe his Nudes as occult metaphysical allegories, confusing listeners who now wondered if they had totally missed the point in engaging with the obvious—you can’t always tell a book by its cover. Pointedly, one of the Nudes does not use an artwork as its fig leaf but a book cover. In it, Dita Von Teese’s nakedness is coyly concealed, or redacted, by a giant copy of Professor Imre Lakatos’s seminal mathematics treatise Proofs and Refutations: The Logic of Mathematical Discovery. The image is ambiguous. The book could be hovering phantasm-like between us and the woman, or perhaps we have interrupted her while she was doing her homework (in her hosiery). While it is an exception, I fancy this image is also a key to the series. I am reminded of Slavoj Zizek, who compared himself with the drooling pervert who, in public, conceals his pornography within a worthy textbook. The same but the opposite, Zizek said he instead hid his abstruse philosophy behind pornography (Hegel being the greater and preferred obscenity).” Robert Leonard, Stuart Ringholt: The Artist Will Be Naked, Vault Magazine 2014 Stuart Ringholt’s (@stuartringholt) work takes many forms including performance, video, drawing, collage, sculpture and collaborative workshops. Personal and social themes such as fear and embarrassment are often represented through absurd situations or amateur self-help environments. by @yanniflorence
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1981 cat photos. by @yanniflorence
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4 months ago
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CITY CORNER by Yanni Florence (17 mins, digital video, 2026) A short film of people at a city corner, with voice overs from different people (Marcus Bergner, Dirk de Bruyn, Jules Chaise, Violet Florence, @janina_green, and Peter Green) watching the footage and sharing their thoughts as they view it. Screening as part of FILMERS, PLURAL EYE with: SOME PRE-LIMINAL PROP-POSITIONS by Marcus Bergner (10 mins, enacted live) CLUSTER OF FILMER CLIPS (3 mins, digital video, 2024–26) ACCOUNTABILITY SINK by Dirk de Bruyn (10 min extract from 120 mins, digital video, 2026) TIME BALL WILLIAMSTOWN by Michael Buckley (8 mins, digital video, 2026) TWO FILMS by Lynette Smith @lynette_c_smith (2 and 1 minute 46 seconds, digital videos, 2026) REHEARSALS OF MATERIAL GESTURES by Ettore Siracusa (18 mins and 22 seconds, digital video, 2026) LA SORTIE by Myriam Van Imschoot @myriamvanimschoot (7 mins, digital video, 2026) Filmers is a collective of artists and filmmakers who for the last two years set out to use smartphones to investigate the potential for making and circulating film/ sound art via digital technologies. What resulted was, among other things, a rich archaeological dig into social reality. Comprising of hundreds of short film clips; including observational epiphanies/artefacts, corner of the eye/ear perceptions, and dystopia like glimpses into quotidian worlds. Also, along the way, significant questions and challenges were raised in terms of using such technologies to pro-duce and appreciate post-cinematic film art. This screening is the first curated program of new works by members and allies of the collective. Today we’re in the ruins of a future cinema. Today we’re cleaning the temple of all its art flies. Today we’re dangling by our fingertips over the precipice of global ecocide. Today we’re leaving our phones turned on in the cinema as part of the screening. Today we’re entering into a breakaway state of delirious proximity with others. Today we’re trekking along the periphery of the great plural eye. by @yanniflorence
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4 months ago
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