Adam Inglis is an Australian lens-based visual artist working at the intersection of street practice, psychoanalysis, and critical theory.
His images frame the city as a mythic space, where fleeting gestures and layered architectures blur the boundaries between constructed perception and collective unconscious.
Working with wide-angle lenses in close proximity to subjects, Inglis replaces documentary pretense with embodied complicity—a kind of analytical transference—each encounter a performed negotiation rather than observed truth.
In this liminal zone, he redefines ethical engagement through fragmentation and intimate encounter, treating photography as a performance of reality: one where the hyperreal dissolves into a choreography of awareness and evasion.
Here, the image’s narrative emerges from the slippage between subject’s presence and photographer’s gaze, transforming the photographic moment into an auteur’s alchemy: where archetypes surface through deliberate destabilization.
With this approach, he reinvents street photography as postmodern, post-Jungian praxis.
By merging psychogeographic drift with archetypal symbolism, his work reveals urban landscapes as stages where contemporary disintegration and primal narratives collide.
What emerges is neither pure simulation nor hidden truth, but the electric tension of reality performed: a Baudrillardian pact where photographer, subject, and city become co-conspirators in meaning’s perpetual unraveling.
Adam holds a BA in Media Studies (La Trobe University) and an MA in Journalism (Monash University). His thesis examined public photography ethics through semiotics and content analysis. He has also worked as a teaching assistant in Monash University’s Master of Journalism program.