Kaleb Wight

Hi! I'm Kaleb and I am about to complete a Bachelor of Design, majoring in PhotoMedia.

I unlocked my passion for photography 5 years ago, but I am no stranger to cameras.

Design was always something I knew I liked growing up, but I wasn’t until a few years ago that I realized that photography was the discipline that I loved the most. But, my time at university has made me realize how much I enjoy art direction, editing/manipulation, film making and the things in between when working on a project.

I absolutely love capturing light in different ways and experimenting to create my own unique perspective within my work. Recently I’ve focused on capturing textures within remote landscapes by using the natural light and a mix of 35mm Film and Digital imaging to create colour palettes, grains, compositions, and depths that amplify the mood and context of the current project. Working with film is always risky but the results always pay off and I find the process so much more enjoyable, and it keeps me motivated to create more.

I draw a large amount of inspiration from music. I can imagine landscapes that pair with the sounds that I’m hearing, which I then try to translate into an image. I find the pairing between music and photography can enhance each other beyond what either can achieve alone. I’d love to work with both music and photography as a career in the future.

Silica

A concept that envisions a dystopian future Earth in the aftermath of humanity neglecting its responsibility to care for the environment.

Tame Impala: Lonerism

An alternate artwork vinyl cover

Eucalyptus Fest

A concept music festival featuring Drop Bears

Family Treasures

Getting some milage in the Austin Healy Sprite Mark 3a 1967

Honda VFR Showcase

An insight into the sport touring motorcycle made by Honda since 1998

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.