A body of work by Jeff Moorfoot that brings together seven interconnected series produced over more than a decade. The project follows one clear constraint: none of the images are made with a camera.

Instead, Moorfoot uses a flatbed scanner. This approach recalls the logic of early photograms while moving beyond traditional photographic methods. The scanner replaces the camera and becomes the primary tool for image construction.

Working with materials drawn from his garden and the natural world, Moorfoot arranges and scans organic matter directly onto the glass surface. He then reconfigures these elements to reveal unexpected forms. Line, shape, colour and surface become the central focus.

The scanner records detail with clinical precision. It captures blemish and imperfection without sentimentality. Moorfoot does not correct these qualities. He uses them as part of the image.

Across series such as Parsimony, Twenty Carat Love, Bountiful Harvest and Bountiful Harvest Redux, Elephant Stamp and Rodents Mort, the work moves between formal discipline and dry humour. The images resist the heavy tone often associated with contemporary art. At the same time, they maintain a precise attention to composition shaped by Moorfoot’s background in advertising and graphic design.

Scan operates as both technical experiment and long-form investigation. It treats photography not as image capture, but as a constructed encounter.

Credits

Artist Jeff Moorfoot OAM

Exhibition SCAN, Maud Gallery, 2020

SCAN chapters –  Bountiful Harvest   |   Bountiful Harvest Redux   |   Twenty Carat Love   |   Parsimony   |   Elephant Stamp   |   Rodents Mort

Enquiries Pricing and availability on request via Maud Gallery

Curatorial Note

Across interconnected series, Scan by Jeff Moorfoot reframes photography as contact rather than capture. By working exclusively with a flatbed scanner, Moorfoot removes the camera and compresses subject and surface into a single plane.

Roots, rodents, flowers, medals and manufactured objects receive equal attention. The scanner’s clarity records surface without interpretation. Decay appears as it is, without emphasis or distortion.

Moorfoot’s background in advertising and graphic design shapes the structure of the work. Each image reflects control, balance and restraint. Even the more playful gestures remain grounded in formal discipline.

Rather than pursuing spectacle, Scan focuses on construction, surface and design as the basis of photographic meaning.