Ingvar Kenne
Ingvar Kenne
CHILDREN'S CANCER INSTITUTE x ORPHAN
HONDA PIG x HOWATSON & Co.
HAWKE'S BREWING CO. x BEAR MEETS EAGLE ON FIRE
UNDERDOG | BIG BUCK HUNTER
THE LAND, DEBUT FEATURE FILM (TRAILER)
TAB, LONG MAY WE PLAY
SPORTING CHANCE, MACKENZIE'S STORY
Ike’s work has been exhibited internationally— in England, France, Spain, Sweden, Italy, Croatia, the USA, and Australia. In 2009 he was awarded the National Portrait Prize at NPG in Canberra and was recognised by the prestigious Moran Photographic Prize. Kenne’s solo show, Citizen, opened at the National Portrait Gallery, in conjunction with a book launch, and has since toured five capital cities in Australia. His latest monograph, The Ball is a right of passage study of regional Australia's Bachelors & Spinsters Balls.
"An ongoing project since 1997, every photograph in CITIZEN provides a snapshot into the narrative of the subject’s life. At times, these glimpses carry overwhelming undercurrents of seriousness and sadness, in others, we perceive nuances of hope amidst immense pathos." — April Thompson, National Portrait Gallery.
Ingvar Kenne has spent three decades creating a globally recognised body of work that spans fine art, commercial photography, and film. His practice is defined by an ability to bridge the gap between raw documentary intimacy and cinematic polish — capturing authentic emotional narratives across cultures and contexts.
Ingvar made his directorial debut with the feature film The Land in 2021. Alongside his film and art practice, Ingvar brings a nuanced, directorial eye to his commercial work. His capacity to deliver authentic imagery in fast-moving, complex environments has made him a trusted collaborator for major agencies and brands seeking to combine global experience and artistic sensitivity.
"An ongoing project since 1997, every photograph in CITIZEN provides a snapshot into the narrative of the subject’s life. At times, these glimpses carry overwhelming undercurrents of seriousness and sadness, in others, we perceive nuances of hope amidst immense pathos." — April Thompson, National Portrait Gallery.
