Saturday 30 June 2012

(very initial) visual test for a video clip.

A recent visual test, detailing lights and urban movement on my street in Melbourne. I’m not sure what it’ll become (if anything) at this point in time. It could be edited, stretched and toyed with in a million different ways – so I’ll just bury it for the time being.
Uhh, so the music on the video is ‘Keyboard Study 2’ by Terry Riley. I only added it to give the work a vague sense of body for now. The sound as it is now is in no way permanent.

Kinetic painting no. 2 (same info as one below)

Friday 29 June 2012

This work is a commentary on the medium of video art, and how it’s cinematic idiosyncrasies are exposed when contextualized through the medium of painting. That said: this work is better considered as a painting with kinetic properties, than as video art.

While I want this to be seen as an object, the temporal qualities of video prevented this and so it is seen for its linear expectations rather than its objecthood. These expectations make the work dismissible to me through its predictability, as the chemical reaction communicates immediately that its movement follows a constant set of rules.

Thursday 28 June 2012

My Fisherman’s wife work from last year. Just finished another edit of it, set for my website.


Deets:




This work was made for a group exhibition entitled ‘Dream of The Fisherman’s Wife’; curated by Lucinda Eva-May. It was held in the Photospace Gallery at the Australian National University. We were asked to create a new work of art in response to ‘Dream of the Fisherman’s Wife’; an erotic woodcut made by Japanese artist Hokusai in 1814.


en.wikipedia.org/wiki/The_Dream_of_the_Fisherman%27s_Wife


The work is a life-sized video of myself performing a Japanese Butoh dance. The image of my body is a silhouette comprised of constantly flickering white blobs of bright light (as opposed to solid colour normally thought of in a silhouette). The work was then projected above a pool of water on the ground, reflecting the video underneath, seemingly beyond the physical restraints of the floor.


I chose to focus on the fisherman, as he is absent from the woodcut despite being referenced in the title of the work. While the eroticism of the woodcut is the most obvious aspect of the work, I believe that the fisherman’s sorrow in knowing that his wife is unfaithful is just as important.



Wednesday 27 June 2012

Homer head bin

The Pros and Cons of Upgrading Your City

Link: The Pros and Cons of Upgrading Your City

An article I wrote about moving cities, as part of my artsHub internship.

I’m in the midst of making a new website for myself. This is a video still from a test I am making for the home page. It’s still in the works, but hopefully for not too much longer.




Sea of Light is the video component of an immersive installation, as part of my ANU School of Art honours project. I developed a methodology for producing large-scale immersive video installations that are about everyday life and take place in the viewers perception.


This video was projected on a large screen (4x4 meters), above a pool of water on the ground, which seemingly reflected the video underneath beyond the physical restraints of the floor. I used light as both method and means in creating this work: firstly in the technological aspects of it being present by projection; and secondly in using light as an object projected on the wall.


The video shows the lights of Melbourne at night seen from within a plane. Half-way through the video, it becomes apparent that there is something odd about the video. When this is realised, it creates an ‘ah-ha!‘ moment, causing the video to be analysed closer. It’s these attributes (motion, lights, and the invitation to look closer into the everyday) that I am most fascinated with.



BEGIN BLOG