Danica Chappell is a visual artist, creating on the traditional lands of the Boon Wurrung and Wurundjeri peoples, in Naarm (Melbourne). Through a darkroom practice, Danica examines the intersecting paths of abstraction and the history of photography.  Distilling the malleability of a photograph, Danica orientates her work in the cameraless, constructing shadows activated by the photogram. Light, shadow, form, colour and actions collide in the haptic darkroom and become fixed as both concrete and abstraction traces. Folding known conventions, the abstracted pictorial frame is an expression of cadence and light sensitive substrates.

Commissioned exhibitions include, ‘Slippery Images’ for Melbourne Now National Gallery of Victoria, Melbourne (2023), Far From The Eye at Latrobe Art Institute, Bendigo in conjunction with PHOTO2021, and Thickness of Time at Heide III MoMA Project Gallery, Melbourne (2018-19)   Recent group and solo exhibitions include Colour Bleeds and Light Folds, Mejia Gallery Melbourne (2023), Direct Contact: Cameraless Photography Now, Sidney and Lois Eskenazi Museum of Art, Bloomington In., USA (2023),  New Matter: Recent Forms of Photography, AGNSW Sydney (2016) and Emanations: The Art of the Cameraless Photograph, Govett-Brewster, New Plymouth NZ (2016), Haus Werk, McClelland Gallery, Langwarrin (2019),  That’s Our Shadow on the Moon CAVES ARI (2015) & Nudge Into Form, Walker Street Gallery, Dandenong. Danica was the recipient of an Australian Council Arts Projects Grant (2017) and has been a shortlisted artist in the Bowness Photography Prize, MGA, Melbourne and MAMA National Photography Prize, Albury.  Danica has undertaken residencies at Stichting BAD, (Rotterdam), Edinburgh Sculpture Workshop (Edinburgh), Bauhaus University Summer School (Weimar), as well as research in the archives of the Bauhaus Archiv (Berlin), Folkswang Museum (Essen), Musée des artes et metiers & Muséum national d’Histoire naturelle (Paris).

Curriculum Vitae


Amery, M. Refractions of Light The Big Idea, published 1 June 2016
Backhouse, M. The Alchemists The Art Guide, published 29 Oct 2015
Batchen, G. Ruination Art Monthly #288 April 2016 p 38-44
Buljan, S., Fahd, C., & Jolly, M. The Alchemists: Rediscovering Photography in the age of the JPEG ACP, 2015
Button, J. The Creative Potential of the ‘New’: A Photographic Dialogue ‘This Has Been’ c3 Contemporary; 2013
Cramer, S. Everything has its time ‘Thickness of Time’, Heide Museum of Modern Art 2018
de Seauve., V. et al.  Retine Minerale Bibliotheque de Centre de Recherche su la Conservation, 2018
Fairley, G. Camera Obscura Art Collector Melbourne Art Fair Edition. July 2018 p 38 – 41
Fairley, G. What regional galleries are showing in 2019 ArtsHub, published Jan 2019
Ireland, P. Primordial Representation Eye Contact, published 29 July 2016
Knezic, S. Melbourne Now: Bling and Exuberance at the NGV. Australian Book Review, published 27 Apr. 2023
McFarlane, K. Nudge Into Form, 2014
MacDonald, F. The Reckoning: A Romance, Fiona MacDonald; 2009
O’Hehir. A. Fellow Travelers, Photofile, Issue #100, p90-7, 2017
O’Hehir, A., Spier, B., & Wilson. K., eds. Danica Chappell: Far From The Eye  ‘Far From The Eye’, La Trobe Art Institution 2021
Palmer. D, Material Presence Art Monthly Australasia, Sep 2016 Issue 292, p 56, 4p
Rubeli, E. New Matter: Exhibition challenges traditional ideas of photography, Sydney Morning Herald, published 23 Sept 2016
Rule, D. In the Galleries: Danica Chappell That’s Our Shadow on the Moon, The Age, published 17 April 2015
Rule, D. In the Galleries: Cutting Edge 21st Century Photography The Age 8 Jan 2016
Skinner, J. Kaleidorama ‘Kaleidorama’ Stills Gallery 2015
Sullivan, D. Emanations at the Govett-Brewster, #500words, published 25 July 2016