When you boil it down to its essence, Lyndal Irons’ Goodbye Oxford Tavern is a tough, clear-eyed, and loving portrait of a doomed community. What could have easily been a grimy and salacious – and all too common – treatment of the sub-culture of strip clubs becomes in Irons’ hands a touching archive of a place (and one more evicted tribe), an archive in which the voices and stories of the people in the pictures are given the space and weight necessary to kick open doors at the precise moment when they are closing forever. It’s very, very difficult to do this sort of work with class and respect and a real sense of humanity, but Goodbye Oxford Tavern makes it look effortless.

--Brad Zellar, Little Brown Mushroom

There's a notion photojournalism is dead. Killed by the iPhone and a constellation of digital technology, media commerce and ‘I was there’ dumb luck. Lyndal Irons’ exhibition On Parramatta Road disputes the "fact" it is closing time for historically and socially conscious auteurs of the still-life camera. Six years in the making, her exhibition maps a Sydney stretch of road variously described as ‘a varicose vein’ into the city and ‘like Beirut on a bad day’ … Irons faithfully renders its reality with a cohering magic that can only be called a story … What we see here in On Parramatta Road is history-in-the-meanwhile. And, I guess, in parts, a sense of human industry that history has already left behind.

--Mark Mordue, Spectrum, Sydney Morning Herald

Lyndal also captured images of the spectators along George Street, including one of Dick Smith holding a sign saying ‘Thanks’. She managed to find her way into parks and pubs after the formal ceremonies ... These images are examples of documentary photography that the Library continues to collect with the aim of showing society, people and locations in New South Wales. They provide a snapshot of life 100 years on from the Gallipoli campaign.

--Elise Edmonds, First World War curator, State Library of New South Wales, SL Magazine

Lyndal Irons’ images demonstrate a skillful eye and the ability to apply a varied approach to image making that suits the kind of diverse subject matter that this project will afford. Her sense of composition and visual dynamic is strong. This is a timely project, in that the area will change radically in the coming years: Lyndal will be recording environments and ways of living and working that will soon disappear. The project has a very clear focus and locality, with the potential to produce a valuable long-term social and community document.

--Alasdair Foster, Curator/consultant/researcher