Glenn Sloggett's images of everyday suburban spaces prompt both amusement and concern at the same time. His dark and disquieting images explore the neglected, the derelict, and the out of date. Despite their apparent darkness, Sloggett's images also describe hope and humour in the face of a bleak reality. In the dumped garbage, forlorn graveyards and empty fairgrounds we see the leftovers of our dreams.

In 2008, Glenn Sloggett won the prestigious Josephine Ulrick & Win Schubert Photography Award with his entry The Bride, from the series Decrepit. During an Albury Regional Gallery Residency Sloggett developed a new body of work inspired by the council crematorium, entitled Morbid.

Sloggett's third solo exhibition at Stills Gallery, Decrepit (2007) looks at those things around us that are weakened and worn out, asking us to reflect on the here and now of everyday life. There is a gentle and sad irony in the incompleteness of some of his subjects; a bride with a wooden bulb for a head; a forest of tree stumps; an empty dolphin suit.

These images are poignant for what is missing; the completeness and joy that, so clearly, has passed. Sloggett creates a tension within his images between understatement and overstatement, between the ordinary and the profound. His Roadworker Blues, for instance, depicts a memorial site that is a riot of yellow hand-painted rocks and yellow flowers populated by a seriously happy gnome, a smiling frog and a tiny Buddha. Crying Yogi is a piece of tear-stained suburban gothic. Sloggett looks at how the grand themes of life, death, success and failure are realised in the ordinary language of the suburbs.

Sloggett's work has an established presence within the contemporary art world, exhibited internationally at Art Cologne 2007, inclusion in Cheaper and Deeper, the Australian Centre of Photography touring show, and featuring in the ABC television program The Art Life.

In 2005 a selection of Sloggett's works were included in The 9th Mois de la Photo in Montreal whose theme 'Image and Imagination' aimed to illuminate the life a photograph takes on in the spectator's mind. The festival comprised twenty-nine solo and group exhibitions of contemporary photography featuring the work of over sixty artists from Australia, Canada, France, Haiti, the UK and USA.

The images in Sloggett's series, Lost Man, his second solo show at Stills Gallery (2004), spoke of ordinary lives and unfulfilled dreams. A recurrent theme was the dog-eared or shabby remnants of hope and optimism. In one image, the remains of a white picket fence - a symbol of cheery and neat domestic life - becomes a gap-toothed parody of itself. In another, a statue of Jesus, his arms raised to embrace sinners, is devoid of hands.

In Lost Man Sloggett's domain is decidedly low-rent: boarding houses, low paid jobs, addictions, neglect and abuse. While the mood is one of sorrow and the images almost forensic in their banality, there is a beauty in these subtle colour images, which exposes both the frailty and the persistence of hope.

His first show with Stills Gallery was Abandon in 2002. His works have been featured in exhibitions including New Australiana, an Australian Centre for Photography touring exhibition, and Photographica Australis at ARCO 2002 in Madrid curated by Alasdair Foster, Director of the Australian Centre for Photography. Photographica Australis was shown at the Singapore Art Museum from August - November 2003, and represented Australia in the 11th Asian Art Biennale, held in Bangladesh in 2004.

In 2001, Glenn won the inaugural John and Margaret Baker Memorial Fellowship for an emerging photographer, Albury Regional Art Gallery.

These images are a selection from the artist's portfolio. More images are available for viewing in the gallery's Print Room.