Justine Varga is a name that has become synonymous with innovation in contemporary photography. An Australian-born artist with a global reputation, she challenges traditional understandings of what photography is and what it can represent. Instead of relying solely on cameras, Varga often works directly with photographic film, inscribing, staining, or exposing it to light and physical interaction. Her practice demonstrates that photography is not merely about capturing an image but also about embodying memory, gesture, and time. In doing so, she has carved a distinctive place for herself in both the Australian and international art worlds.
Early Life and Education
Born in Sydney in 1984, Justine Varga displayed an early fascination with the arts. Her inclination towards visual exploration led her to study at the National Art School in Sydney, from where she graduated with honours in 2007. It was during this time that she began questioning conventional approaches to photography. Instead of viewing the camera as the sole instrument of photographic creation, Varga started exploring the material itself—film stock, light, and even physical contact—as primary elements of her work.
Her academic pursuits did not stop in Australia. She expanded her horizons by moving to the United Kingdom, where she pursued further research in fine art. More recently, she has been associated with the Ruskin School of Art at the University of Oxford, where she has undertaken doctoral research into the limits and possibilities of photography. This dual exposure to both Australian and European art circles has enriched her perspective and given her work a global dimension.
Artistic Style and Approach
What makes Justine Varga truly unique is her refusal to limit herself to traditional definitions of photography. Rather than pointing a camera at a subject, she often allows her negatives to accumulate traces of lived experience. This process might involve leaving film exposed to light over long durations, scratching or staining the surface, or inviting others to inscribe directly upon it.
Varga describes this as “slow photography”, where the image is not captured in an instant but gradually built up over time. Her works carry the marks of chance, memory, and gesture. In essence, the film itself becomes a witness, bearing the traces of interactions rather than functioning as a passive medium.
This approach also challenges the idea of photographic realism. For Varga, an image does not need to resemble a face or a landscape to carry meaning. Instead, abstraction, texture, and mark-making can hold just as much, if not more, emotional and cultural significance.
Notable Works
Maternal Line
Perhaps her most famous work, Maternal Line (2017), exemplifies her radical vision. In this project, she invited her grandmother to inscribe directly onto a film negative using pens and even her own saliva. The resulting photograph, when printed, was less a likeness of her grandmother than a profound embodiment of her presence.
This piece won the Olive Cotton Award for Photographic Portraiture, though it also sparked public debate. Some questioned whether it qualified as a portrait at all, given that it lacked a recognisable face. Varga defended the work as being not only a portrait but also an expansion of the genre, one in which her grandmother was present not just as a subject but as an active agent shaping the work itself.
Photogenic Drawing
Another important series is Photogenic Drawing (2018). Here, Varga explored early photographic processes, revisiting the experimental spirit of the nineteenth century while reinterpreting it for a modern context. Her works in this series combine chemical traces, light exposure, and physical gestures, creating images that blur the line between drawing and photography.
Other Series
Throughout her career, she has also produced works such as Empty Studio, Moving Out, Sounding Silence, Accumulate, and Memoire. Each series is unified by her interest in memory, temporality, and the physical presence of both the artist and the subject in the photographic process.
Recognition and Awards
Justine Varga’s innovative methods have not gone unnoticed. She has been widely recognised both in Australia and abroad. Among her many honours are:
- Josephine Ulrick & Win Schubert Photography Award (2013 and 2016).
- Olive Cotton Award for Photographic Portraiture (2017).
- Dobell Drawing Prize (2019), a prestigious recognition that further affirmed her standing as an artist who transcends boundaries between mediums.
Her works have been exhibited in Australia, New Zealand, Europe, the UK, and the United States. They are also part of major collections, including those of the National Gallery of Australia, the Art Gallery of New South Wales, and the Art Gallery of South Australia.
Critical Reception
Art critics have hailed Varga’s work as a refreshing departure from traditional photography. Where photography was once assumed to be about mechanical reproduction of reality, her work emphasises materiality and presence. Critics have noted that her practice restores a sense of touch, intimacy, and vulnerability to photography.
Some have compared her approach to painting or drawing, since her negatives often resemble abstract canvases filled with gestural marks and layered textures. However, she insists that her work is firmly rooted in photography—just a broader, more experimental understanding of it.
Philosophy and Artistic Intent
At the heart of Justine Varga’s practice is a deep interest in time, memory, and embodiment. She views photography not merely as a visual record but as a medium that can contain the passage of time, the intimacy of touch, and the emotional resonance of human presence.
Her works challenge viewers to rethink their expectations. A portrait, for instance, need not be a face. A landscape does not need to depict hills or trees. For Varga, photography is as much about traces, gestures, and relationships as it is about representation.
She also resists the idea of photography as instantaneous. Instead, her works are the product of accumulation, patience, and duration. This philosophy aligns her with other contemporary artists who embrace slow processes in contrast to the speed of digital culture.
Global Relevance
While Justine Varga is rooted in Australian art, her influence is international. In an age dominated by smartphones and rapid-fire image sharing, her work asks us to pause and reflect on what photography means. By stripping away the camera and embracing abstraction, she opens up new possibilities for artists and audiences alike.
Her work also raises important questions about authorship. By inviting others, such as her grandmother, to intervene in her works, Varga acknowledges that images are never created in isolation. They are always shaped by relationships, contexts, and shared histories.
Conclusion
Justine Varga has redefined what it means to be a photographer. Through her cameraless processes, her philosophy of slow photography, and her exploration of memory and presence, she has expanded the field in ways that continue to challenge and inspire. Her works remind us that photography is not simply about freezing a moment but can also be about embodying time, touch, and personal connection.
From her acclaimed Maternal Line to her experimental series exploring the limits of the medium, Varga has consistently shown that photography is a living, evolving art form. Her place in the collections of major galleries and her recognition through prestigious awards only affirm her influence and importance.
