"Nostalgia also has a strong presence in Camille Perry’s work, and her focus on technology and artifice

cleverly shaped her interpretation of the theme. In Kodak Hill and Where the Merri meets Edgars Creek,

crackly montages of landscapes and city scenes flash by on old, boxy tv sets, like the home videos

your grandparents make you watch when you’re home for the holidays. The landscapes, however,

are marred by the same crackles and spots that make them appear so romantic—

Perry’s comment on the toxic processes of traditionally developed photographs. Regardless,

I found myself yearning for the drowsy summers of times past, peppered with similar shots.

How easily we can be led from the present. The works revealed my love of “old stuff” for what it is—

an escape into times I did not really experience and can therefore idealise in my head.

Perry reminded me that we’re not in the olden days, there is rubbish clogging the rivers,

and the times we look back on are not as spotless as we make them out to be.

Regardless, I can’t help but continue to be drawn to the aesthetic indulgences of the vintage,

the obsolete—that romantic past that never was—a past that mesmerises artists and aesthetes alike."

Eliza Baker, Mass MeMo Review