The subject matter of this  conceptual photographic project --pink gum and Xanthorrhoea---means that it is a particular representation of part of the Australian landscape. It works within the Australian landscape tradition that aimed to reveal to Australians the landscape of their country in their own place and time. 

This is a tradition in which the landscape is the dominant image of Australia--eg., Arthur Streeton's The Land of the Golden Fleece (1926)---and whose imagery has been reworked and undergone regeneration and redefinition. Examples include John Glover,  Eugene von Guerard, the  Heidleberg School, Hans Heysen, Albert Namatjira,  Russell Drysdale etc.  The imagery was usually interpreted  in terms of a concern for a national identity,  Australian dependency and isolation, and the creation of a national style.   

Modernism was defined both in terms of and against the hegemony  of this regional tradition in which artists were seen to do little more than represent nature. It was naturalism. Bernard Smith in Australian Painting argued that after 1945 modernist imagery gradually supplanted  traditional and conservative imagery of a regional naturalism.

The latter was deemed to be provincal and resistant to nonfiguration, whilst modernist abstraction  was deemed to be international, innovative and avant gardist.  International was actually New York as the dominant centre of modernist art,   American abstraction and Clement Greenberg.

The latter failed to see that  abstraction was a tradition whose imagery has been reworked and undergone regeneration and redefinition and that the images in both  the abstraction and naturalist traditions  emerge from, and are an expression of, the place in which we live. This gives rise to  a regional art in a global world.