Monday, June 24, 2019

SKATE at Barangaroo

A collaboration with Big hArt, Australia's large scale, nomadic community arts company, to insert skate culture into the Barangaroo Arts Precinct in Sydney. A hotspot for general audiences, especially around Vivid Sydney, this event has been balanced by indigenous recognition through projects such as Wellama, (meaning 'to come back') a large outdoor audio visual work set in this location described as 'ground zero' for European invasion.  For the skate community it is a cross wiring of the sophisticated underground culture with the most corporate end of town and an opportunity to fertilise other similar sponsored events around the world such as the Tokyo Olympics 2020.
This is a mock-up set with a 3 projector immersive coverage on the floor, ramps and walls and utilises infra red motion tracking (Jordan East), motion graphics (Benjamin Ducroz) and environmental thematics by myself.  All audio is triggered from the space though skateboards, ramps and rails. Sound also triggers lighting and video effects. Every event is presented differently and is prepared with minimal tech time in darkness and to the best of our ability, vj'd on the fly.

At the Cutaway, Barangaroo May-July 2019

iPhone footage of Activation #6

Thursday, December 20, 2018

Low Lux Czech Republic

Friends of Oneself (4K video still 2018)
DEPO2015, Pilsen Artist in Residence, Czech Republic. A one month submersion into heavy materials and distorted ideas, manifested by traces of videographic light residues forming patterns of an autistic pathos. Foreign dissolution, entropy sunken in deep salty voices, an autumn blend of cubist chimney stacks and melting electrical currents. Nightmarish awakenings interleaved by light pollution, old lamps buzzing and flickering, cutting fluorescent orange shafts through my kitchen window: lead decays Into water then washes over a not-real sleep. Waking pushes through grey smears of handmade glass light, entering the digital low-lux where colour becomes a soft solid of living noise. In the centre is the individual, drawing out essential paths.

Development of Video Drawings, single channel screening and artist talk 
23rd November 2015, Klempirna DEPO2015 Air, Pilsen 
23 minute video sequence

Detention Protest (4K video still 2018)

Friday, October 05, 2018


My first project with Legs on the Wall is a big one: Man with the Iron Neck, a project about indigenous suicide, developed over 2 years in four stages. The projections are split over an 18m x 5m curved projection cyclorama in 4K, using shadow acting, aerial choreography and puppetry, drone footage, photographic collage and water animation.  The collaboration with set designer Joey Ruigrok van der Verven incorporates a 7 metre gum tree and a flying hills hoist which is used to propel aerial performers from and adding dynamic three dimensionality to the space.  It is a complete theatre work written by Ursula Yovich based on a concept by co-director, Josh Bond who has been working on the idea for over four years.  It is fantastic to be working on something well supported and developed - I had eight weeks to make the projections, with extra time on the tour for technical installation and adjustments.  It is a great example of theatre that brings all the elements together, including hyper visual choreography by Gavin Robins and exquisite lighting by Matt Marshall.

Brisbane Festival, Powerhouse Theatre, 22-28 October 2018
Sydney and Adelaide Festival 2019

Monday, October 01, 2018


A second music video for Ensemble Offspring's Offspring Bites with Bree Van Reyk. This piece attempts to depict the pre-cognitive state of a child in utero, seeing “light for the first time”.  The stages of being before self-reflexivity,  perceiving colours and movement as a unified (non-Cartesian) experience, perhaps ultimately phenomenological without distinction of one's own body from the stimuli, pure, sensory immersion. I worked on developing stages of cognition after the very first optical receptions, proposing that once we see, we then start to perceive, and sense becomes ‘feeling’.  Made only with a Leica M digital camera, physical lens distortions and real time movement. I have known Bree from Synergy Percussion (Earth Cry and 40 under 40) as a down to earth collaborator and composer. This is probably the most subtle and sensitive piece I have made, thanks to Bree.

Friday, June 08, 2018

The Obscene Madame D

This labyrinthine work is based on the book The Obscene Madame D by Brazilian author Hilda Hilst and adapted by Carlos Gomes (Theatre Kantanka) performed by Katia Molino. Madame D stands in the centre of an audience and fragments outwards in projections on broken walls. We are one moment inside her body, then with her hiding under the stairs, then in a caffeine induced reverie of her dead husband, scenes being led by his voice inside her head. The memory simulacra is implanted into our heads via headphones (binaural audio recordings by Gail Priest). A meta-performance shifting between her introverted presence underneath tables and behind curtains and chaotic aggression behind nightmare masks, the performance is delivered in the round, making us question how much we exist in-and-to the world, when we are consumed by loneliness and insanity. Animated Projections and video shadow play in collaboration with Carlos Gomes.

Parramatta Riverside Lennox Theatre 16-22nd April
107 Projects, Redfern 21-27th May

Saturday, May 19, 2018

The Listening Project

If we think of ourselves as trees, we would generally behave better towards each other. Without the faculty of sight the botanical world grows and lives alongside us with an unheard voice. Annette Tesoriero directs the multi-dimensional performance of ten participants over the age of 60 in a work centred on listening and allowing space for acoustic relations with ourselves and each other.  The character of a variety of trees in the Shoalhaven River area metaphorically held this knowing silence. Some participants had a favourite tree, some had a favourite forest to walk in and others used trees to remember, or to gift as new beginnings.  The associative environment and the uniqueness of the human mind amongst its labyrinth was a joy to project, with pre-made films 7 metres high on a square format cyclorama, to observe the rhythmic visual forms interrelating with performers' brief vignettes of voice and simple movement.

Produced by Bundanon Trust

Friday, May 04, 2018

The Sound of Waiting

photo credit: Phil Erbacher
Heavy material, performed with unrelenting emotion, the Sound of Waiting was a poignant, magic-realist work on refugee experience, evoking the terror of homeland and the battle against the odds on a fatal approach to Australia. Written by Mary-Anne Butler and directed by Suzanne Periera this work explored  the strength of the will to survive and how far the human spirit will extend when there is no alternative option. It was a privilege to be part of a work of such political importance which reached large audiences with great reviews.  It was my first endeavour with Darlinghurst Theatre in their process of intense psychological questioning of the line between the actor and reality particularly for lead actor and child refugee, Reza Momenzada.
The projection design was a single front projection onto a semi-circular, retracting tule curtain with floating panels of grey gauze behind.

Darlinghurst Theatre, Eternity Playhouse
31st March - 22nd April 2018

Wednesday, November 08, 2017

Detone/Retune - Ensemble Offspring video

After a few weeks of compositing process, reassembling abstract photographic elements from unidentified places to Juan Felipe Waller's persuasive composition Detone/Retune in different combinations, different quantities, with varying velocity and density the string of sonic episodes have become a space in themselves without need for interrelation or context. A certain amount, moving at what speed, at what point in time and in what proportional relationship to its neighbouring elements, recurs, familiar, a language. Complimentarily, in image, each element is not actual but an image simulating an element in combination with sounds, simulated movements built in a composition like a waiting residual sea, waves rising debris to the surface, but halting before surface emergence. Juan Felipe Waller's composition set was a video-generative task for me not unlike a 2D board game performed by Sydney's Ensemble Offspring. It was evidence of sound art defying commodifiable emergent value leaving the percussive musicians an opportunity for a rearrangement of the pure object of sounds. Non-hierarchical, non-narrative music: an exercise in resistance..
Launch soon:

Articulate and SNO Galleries

After a tour with Back to Back Theatre to Vienna/Amsterdam and a detour to Budapest - the return to Australia and its bigotry - oh the disappointment, yet reason to protest.  At Articulate Space Leichhardt as part of De Quincey Company's installation performance event PLATFORM 2017  and SNO Gallery I showed some light tracing works which re-traced memories of the Terror Museum in Budapest and an opening night in Vienna followed by the state of mind returning to Australia: forward work, intersected by destabilising compromise resulting in a backwards trajectory. 

Articulate Space - Practicing Liberty to then Be Jailed/Classless Denial of Rights and Giving Refuge/Giving Asylum HD video loop 17 mins

S.N.O. Gallery Marrickville - Social Confluence Vienna/Progression Diversion Regression HD video loop 9.26 min.  15th-26th July 2017

Friday, May 26, 2017


With Back to Back Theatre we made the almost 30th interation of the Democratic Set film at Festival Tweetakt, Holland. So many cyclists but only one made it into the 15 second-of-fame box. 20 refugee children, one ballerina, one security guard, one hamster, several clog dancers, a knitting circle, some coloured oil projectors, the Mayor of Utrecht and a Gypsy band all made it into the film. New 'Dem Set' techniques were a newly automated camera track, live iPhone feed, and taking the back off the box exposing the beautifully festooned glasshouse in the middle of the Tweetakt hub. With great help from the Tweetakt crew this took 1 day to set up, 2 days to film and 2 days to edit. The edit on day 2 found a new beginning and several other links which focussed on the complexities of Utrecht's contemporary cultures set against the traditional.
Screened in six different venues in the festival.  What a joy to make a film in 5 days in a city of intelligence and compassion.

Saturday, April 08, 2017

CHAMPIONS - Sydney Festival

A relatively shadowless production made in the gleam of professional sport training choreographed by Martin del Amo, Champions for Sydney Festival 2017 was a physical display of hypnotic, methodical pattern sequencing and the spectatorship of this repetition to the ends of physical exhaustion. Working with twelve of NSW's best independent female dancers, there was a wholistic experimentation with the choreography of sport and its core strategies shared with dance. The video projection displays a mediation and heroicism of the sports star/elite dancer whilst Del Amo's choreography studies, circumvents and implements a permutative and randomising structure which moments later collapses into improvisation. 

Sydney Festival, Carriageworks (Bay 17), 16-21st January 2017

Sunday, November 20, 2016

KOREA - CANBERRA - CAIRNS - 2 week project models

With continual funding cuts for the independent arts sector in Australia we are forced to work faster and harder.  Of course it is possible to develop projects in seriously short periods of time but each work only exposes the tip of the iceberg, ending up with an abbreviated catalogue of culture outside of pop madness - artists are only trying to survive.
In dreamy Seoul I took three rolls of double exposures on Cinestill 800T outside of where we rehearsed Same Same But Different with Noreum Machi and Synergy Percussion in the Hongdae area.  Such a serene blending of nature and microcosmic street life, teenage kitch and homogenous sophistication.  We performed elements of last year's Earth Cry, slightly modified and heightened for a Seoul audience at the National Theatre of Korea to a participatory full house of families, shaman drumming masters and other fans.  Media coverage seamlessly woven into the process, the transparency of this event was unique.
Then Canberra at Gorman House with Zsuzsi Soboslay performing in a three screen surround setup. Zsuzsi developed and modified from her play on refugee crisis and migration to an improvised work in collaboration with other Canberra artists. It was interesting to see how the Canberra scene works, surrounded by federally endorsed arts commissions it seems the reality for most Canberra performance is hand to mouth, passionate artists canoeing in a tiny creek.

Zsuzsi Soboslay video shoot,
Blackmountain Peninsula
In Cairns it was back into the tropical immersion, a saturated jungle of mindfulness. Philip Channells, James Brown and I developed a small scale touring model for semi-improvised media performance at the Centre of Contemporary Arts.  Places have such a big influence on outcomes - we filmed in waterfalls, rivers and oceans, did a brief collaboration with three local artists and showed the work In Flight Trilogy the autobiographical experiment of Philip Channels' artistic journey.  I hadn't been here since installing Artifact Cartoons in 2013 and the artistic community here is still small, diverse and passionate, with a twist of irreverent craziness (!)

Philip Channells In Flight Trilogy video still

Sunday, March 20, 2016

Brisbane to Banff

video still: Bluebird Mechanicals

Micro projections of a dream logic, spatially with multiple projection stations and with a Lynchian attention to the subliminal.  Scenography bleeding from one space into another, 5 characters' spaces each interleaving the other.  This is the non-linear logic of Talya Rubin's Bluebird Mechanicals, staged at the Eric Harvey Theatre at the Banff Centre, Canada.  Living at the Banff Centre is a protective bubble at the end of Winter, life is nearly all indoors apart from the occasional bridge crossing and lift incursion; this is a place of harsh mountains, wild animals and dreams.  Humans become submerged in the imaginary, the physical seems apart from the body.  This is in stark contrast to presenting the sweaty pop stories of Cambodian Space Project 36 hours before at the Australian Performing Arts Market in Brisbane's sweltering heat.  There is nothing stranger than reality.
Talya Rubin: Russian Woman
Banff Centre review HERE:

Tuesday, November 24, 2015

ARTELES: Drawing in the Dark

Cupboard Building
A month of blissful video etching at Arteles Residency, Finland. I made Series 2 of video light drawings based on phenomena of the place: “Momen”. Standing outside in the night, tracing a kind of blind, sensorial trance with a small led light. Drawing without seeing what is being drawn allows one to be taken into other senses outside the visual and further into the unconscious memory of events.  Only later after the processing do these non-representational impressions materialise like light sensitive paper revealing traces in a photographic darkroom. These line impressions are then reprojected back onto the various spaces which inspired them.  They indicate the affect of seeing and re-seeing but are also another phenomena delayed in time. This drawing in the dark allows for non-visual phenomenology to influence mark making like a child etching something into the void without seeing or knowing it. 
(1st-30th September 2015)
Bike Rides Haukijärvi

Sample 1           Sample 4         ARTELES Catalogue

Thursday, August 20, 2015

Synergy and Noreum Machi tour

Supersense Melbourne tech run
On tour with Synergy Percussion and Korean shamanic drumming group Noreum Machi in a two year collaborative project, Earth Cry.  A three-screen setup using Resolume, and a mass of reconstituted animism videos I made in the Australian bush. A third of the material was in 4K panorama mapped onto three HD outputs and the rest were HD central images with distorted peripheral material projected onto the side screens.  Often in international collaborations there isn't enough time to evolve one's practice very far into the other culture, (I wasn't part of the two year development and travel to Korea) though some people mentioned the watery animations from the Daintree reminded them of other countries. The translation of animism in my work to the traditional shamanic understanding in Korean drumming was a large assumption to make in a short amount of time (only 4 days rehearsal in Sydney with Noreum Machi, but 4 weeks of preparation remotely).  I worked mainly on the principle that shamanic music is meant to alter the state of mind through complex rhythms. 

Working with accomplished musicians such as Synergy meant that each performance had to be partially improvised. Classical musicians can build on their known repertoire - very different to devised contemporary performance work and I was very dependent on months of work made previously on artist residencies.  It was good to find a place for this material and to showcase the Australian environment in this intercultural context. 

TOUR: August 5th-15th at Arts Centre Melbourne (Supersense Festival), Bathurst Memorial Arts Centre, Canberra and Sydney City Recital Hall.
Video samples (at 2.05)

Saturday, May 30, 2015

24 FRAMES Carriageworks

'White Record' by Lizzie Thomson - a 4 channel dance film installation
Commissioned by Carriageworks
concept: Lizzie Thomson
camera/editor: Sam James
sound: Kevin Lo

Opens Carriageworks Sydney
18th June-2nd Aug 2015


Still from projections of the development showing at Casula Powerhouse Arts Centre.A ten day re-development for me to dramaturg the visuals of this pop-music theatre show with Cambodian Space Project, directed by Carlos Gomez.  Huge fun, spontaneous improvisation, a lot of sampling, remixing and compositing images from the internet as well as some fast reviewing of Cambodian History.  60's rock culture dominates in the visionary manager, Kampot based Julien Poulson's world.  It is a revival of optimism, created by the mixed contemporary interests of the band, and led by the incredible voice of Kak Channthy.
Showing at: Riverside Theatre and Magic Mirrors Spiegeltent, Sydney Festival 2016/World Theatre Festival Brisbane 25 Feb 2016

Friday, January 30, 2015

SíM Residency Reykjavik

'what happens outside, happens inside'
Reykjavik residency at SíM Seljavagur: warm video lines in ice, the inability to determine distance and scale because of extremely fine tonal ranges of snow, the human body is a warm, cocooned point of view through slits into the blue monotone fields.  You can be walking on ground which is normally liquid or on rocks in layers of indeterminate folds.  Snow fills the gaps of everything with variations of what can be considered solid.  Walking through these fields is both dense and vapid at the same time, Cartesian planes cease to exist the only passage is an indeterminate and continuously fluxing, sensorial engagement.
16 video light drawings on various spaces, situations and events, presented in a lightbox.

Interminable Present:
video series (as part of Encryption Keys 2011-15) 
SíM House - FRAMES 28-30 Jan 2015
with: Lona Hansen (Norway), Eeva-Liisa Puhakka (Finland), Samuel James (Australia), Yumi Chung (South Korea), Jacobus Capone (Australia), Michael Bennett (England), Linsey Walker (Australia)
- installation view

Sunday, December 14, 2014


We have been working on a long format, multi channel video project in the Shoalhaven Region, west of Nowra, NSW with mental health and intellectual disability participants from the area.  We have developed the project over six stages in the last year, staying at Bundanon’s Boyd Education Centre, meeting people and producing movement based art films that will be expressive of their personal lives and issues they face.  These psychological portraits are predictions of what the future may hold for them.  Articulating this through film seems to help develop a sense of taking control of one’s destiny through recorded enactment.  Most participants are filmed on blue screen which helps to transpose subconscious dream elements into a visual narrative.  This is done sensitively and intuitively and has been a great way to research a community living in close proximity to Bundanon’s natural and rural environments.  (This work is now on at the Shaolhaven Arts Centre, Nowra April 2016)

Filmmaker: Samuel James
Choreographer: Philip Channells 
Bundanon Trust Producer: Regina Heilmann 


..translating the film version which we did in early 2013 to a live performance at Performance Space presented a series of new ideas.  Thinking of turning the original filmic structures to a spatial structure, the audience moves episodically through four zones, using the space like a thoroughfare of the Falling Woman’s body. After being congested in an antechamber, the audience moves jury-like into a traverse space and observe objectively the Falling Woman’s journey.  She is drawn from dysfunctional three-legged chair choreography by the spells of a matriachal witness (Regina Heilmann) and is seduced and educated on the trials of womanhood.  Multi-level, mobile staging allowed for status play, a large net of chairs fell from the ceiling and was dragged out of the space, the extraction of a malignant presence.

performers: Alice Osborne and Regina Heilmann
conceived by Alice Osborne and Halcyon Macleod
production design and projections: Samuel James
live music and composition: Phil Downing
(the film version from 2013)
Carriageworks, Sydney 25-29th November 2014

Friday, August 22, 2014


From development to the final show Hiding in Plain Sight has evolved from imagery evoking hidden parallel universes to graphics about complex, binary relations.
Between the initial opposing sides of two dancers in the screen we follow their trajectories in apparent synchronous time.  Two dancers start with the same objective but their pathways permutate so that after a short time the modes of the dancers appear very far apart.  At first they are almost mirroring each other but end up in totally different places. This projection deals with the intersection of those trajectories if considered straight lines, wobbly lines, plateaus and amorphous three dimensional atmospheres blending into each other.  They use bridges, windows and photographic memories to try to make contact with each other, relationships are a matrix..
(Using one 6k projector with 0.8x lens onto white floor)

Performance Space, Carriageworks, Sydney
August 21-30th 8pm
Choreographer: Narelle Benjamin
Dancers: Kristina Chan, Sara Black
Sound: Huey Benjamin

Monday, March 17, 2014


Definitely the widest projections I've done, these are 4K sequences split across three screens, animated in final cut and mixed in Resolume using the DXV codec. Half of the material is made with single dot/pixel/square animations with up to 180 layers. This show is a narrative story depicting a man living vicariously through a video game.  He uses four avatars in his search for love and his deceased parents.  The work focusses on the talents of three Lismore artists with intellectual disabilities, Zac, Lydian and Matt from experimental midi band Tralalablip (  The projections are drawing on imagery from the Northern Rivers NSW area, mixed with a touch of fantasy and the pixellized compositing of where domestic space meets imaginary space.  The forces of nature in the pixel animations act as guides for the lost characters in the form of wind creating cross fertilisation, a bird leading them to sanctuary and the particles of nature breaking up into punk dance. Also performed by Randolf Reimann, Claudie Frock and Phoebe Kate Rose from Lismore NSW and directed by Rosie Dennis, co-produced by Urban Theatre Projects and NORPA.

NORPA, Lismore 27-29th March
UTP, Bankstown Arts Centre 10-12th April
some projection samples

Sunday, December 22, 2013

Sydney Festival

The Bear is nature and the Mayor is the disruptor, attempting to satiate a city of progress at the expense of the planet.  The Pied Piper remake by My Darling Patricia visions the piper as a bear who seems to be made of leaves.  The space is constructed with backlit, white strips of polyester into which I'm projecting forest landscape elements and variations on the spells of the revolutionary dance crusader performed by Ghenoa Gela.  In twenty scenes we are taken from the pure mystery of bushland to an industrial city made of puffy dough.  Most of the story is told as a psychological imaginary in which children (through wireless headphones) are privvy to the secrets of this bear of nature and the adults can only watch as their children play happily in the world which they have forgotten.

Sydney Festival, January 9th-19th 2013, CARRIAGEWORKS Bay 20

Monday, October 21, 2013

Appearance Picnic

Live feed video improvisation for the first time since Improlab 2007 with Tess De Quincey - this time with Nikki Heywood, Kirk Page and Mark Cauvin.  We are led by Nikki into the melancholic caves of Lascaux rock art. Three weeks of expressionist drawing on paper and throwing various found materials into the light of a desk lamp turned the intitial investigation of 'Camera-as-Animal' away from the primal into a live comedy film.  The aesthetic also has a thick, ambiguous dose of Quay Brothers - tiny flickering hairs twitching life into the minutiae, the seemingly nothing having to suddenly become something, finding itself awkwardly on screen.  I also imitated an analogue live-drawn Kinnect camera effect where I traced into place the presence of the performers and the effects they emitted on the space.

some video documentation

Thursday, July 11, 2013

Landscape travelling virtually

From Broken Hill to Cairns to Broome, sometimes an art remanifestation, sometimes pure observational research documentary I am participating in the see-saw awareness of the environment that surrounds us. FROM THE RAINFOREST MIND TO THE DESERT MIND was screened back in their places of origin, carrying virtual environments into displacement, rainforest in the desert and desert in the rainforest.  Now heading to Broome for 3 weeks of filming with Marrugeku Theatre making a performance documentary with indigenous performers called LISTENING TO COUNTRY, all windows and doors open, working on dance, visual and choreographic representation and the presence of spirits that inform the land.

TANKS ARTS CENTRE installation

Saturday, February 16, 2013

Falling Woman

Falling Woman - a residency at Bundanon, NSW with Alice Osborne and My Darling Patricia, utilising the evocative environments around Bundanon to build several vignettes of a woman's struggle in the face of her 'witness' (Regina Heilmann).  They battle with swords, dine on molasses on cliff tops, stone soup in a still river and scream wire and gold silk at each other.  The woman (Alice Osborne) is trying to release herself from a disturbing nightmare of three legged chairs with which she has developed a personal traumatic choreography.  Through these difficult scenarios she gradually reaches her own strength and release.  Many dawn and dusk shoots, aching arms from carrying gear through the bush and assembling and reassembling studio backdrops for studio animation.  These powerfully performed images became suprisingly delicate to assemble in the rough edit.  This will probably be a silent film for screening at Underbelly, Cockatoo Island 2013.

Vimeo link

Wednesday, November 07, 2012

Artifact Cartoons

Artifact Cartoons is an image based research of Australian environments, comparing the polarities of desert and rainforest systems.  This multi-screen installation resolves animistic video entities based on videographic impressions of landscape and plays both on the eye and phenomenology of the perceiver.  The perceiver perceives the actual environment and also its virtual copy in the camera and a phenomenological impressionism takes places in-between.  All experience of our environment is one of being in-between.  "We are in a web of perception, determining from the inside." -David Abram on Merleau-Ponty's EcophenomenologyAlso shown at Critical Path (right)

Video:  Samuel James    
Movement:  Victoria Hunt    
Sound:  Melissa Hunt

KUDOS GALLERY 6-10 November/ Tuesday-Friday 11-6pm, Sat 11-4pm/ 6  Napier St, Paddington, NSW, Sydney

Wednesday, October 03, 2012

Desert Keys

On the Greenhouse residency at Fowlers Gap provided by Arc COFA, I spent two weeks in Australian desert winter experimenting with morphic resonance.  Though the original aim was to only animate objects of nature and their light reflection, I was pulled back to the human form no matter how far I tried to get away from it.  Noticing anthropomorphism in plants and landscapes, and animating them as such, was the key to familiarity with the video object.  Without it there seemed to be no reference point to the videographic landscape. Even hand holding the camera reveals human presence, nature can never be alone, unless in an imaginary state.  Realising the particalisation of digital landscape is only at most, particalisation of light, it is not in any way related to actual matter.  So, to anthropomorphise just to satisfy the juvenile perspective of the human is habitual.  The desire to penetrate matter is a scientific problem.  So now the digitally purist, particle landscape is flecked with human behaviour, the environment is only seen through bifocal eyes, this is close to me, this is far away from me, this is in my path, and the individual who is only capable of seeing hybrids of their own kind everywhere, reconstructing the environmental as it relates or becomes part of them.  This is an ethical issue of colonisation of nature through virtual capture and manipulation - I try to think childishly and innocently; we relate to warm-blooded, locomotive, animate creatures and can only perceive nature through these imaginary tour guides - it emphasises the desire to 'know by association' and the claim of an awareness of what surrounds us.

Sunday, July 15, 2012

HIDDEN from sight

Another development with Narelle Benjamin and dancers Kristina Chan and Sara Black; one being part of a natural world and the other trying to transcend a domestic environment.  A dual 16:9 floor projection delineating the fibrous folds between worlds. The line is not a concrete entity but a space, a wall is like a fan, composed of parts that can spread woven by a plane, a projector of wind. What was perceived as a solid wall is a thin vector when seen from another view.  The door folds flat and we can enter sky or the underground.  Setting boundaries only enables the many relative possibilities of transgression. 

Wednesday, April 18, 2012

Rainforest Mind

On a residency at the Tanks Arts Centre in Cairns where the rain suddenly comes and goes every twenty minutes.  This R&D project, inspired by the book The Secret Life of Plants, is to use 3D stereoscopic animation as a means of exploring the imperceptibly animate environment that surrounds us.  In the first part of a three to four stage project (which also looks at desert, island and mountains) I am being immersed in the densest space overwhelmed by the fecundity of the living, similar to the chaos of a big city, but in nature.  I am right next to the Botanic Gardens and the Daintree and wanting to ask botanists and park rangers about the sentience of plants in controlled and wild environments.  The phenomenology of wildness is the energy behind re-compositing these unconscious relations of nature, sensory chaos makes the experience episodic, plants develop characters of their own but seem to live without memory and there is a beauty of death that shrouds their selfless existence.

Development presentation: Cairns Botanic Gardens Visitor's Centre, 6pm, 26th April 2012.

Saturday, November 05, 2011


After five months out in Minto, this is a new work about the secret lives of shopkeepers and the sacrifice of putting a life on hold to achieve material goals.  It is a video research process of digital reformation and simulation, an alchemy in search of psycho-electronic jewels.  Vacant shops in Minto's Mall were shot and recomposited, objects within the spaces were animated to generate new life forms and performers responded to the shops themselves and the imaginary lives that may once have inhabited them. It looks at the fractalisation of the physical world and the boundaries and doors to its metaphysical layers.  Five shops, five performers and five screens installed in the Minto Mall Post Office gallery with performers Julie Vulcan, Jeff Stein, Teik Kim Pok, Julie-Anne Long, Clare Britton and sound Gail Priest.

Supported by Campbelltown Arts Centre's Artist Initiates Residency Commission
10th-19th Nov, Mon-Sat 11am-3pm  Shop 51 Minto Mall, Pembroke Rd, Minto.

Friday, September 23, 2011


Lots of bezier masks for Erth's new show iBunyip, a pretty open door introduction to some of the indigenous spirit creatures in Australia.  Applying big brushstroke photographic bush and effects overlayed onto Steve Howarth's foam and inflatable sets.  Working with the master Phil Downing on Quartz Composer and open frameworks genius Matt Gingold on Kinect camera tracking and motion registration. Check it out at Carriageworks for the next 2 weeks in the Children's Festival, then Q-Theatre Penrith and Campbelltown Arts Centre.

Saturday, August 13, 2011

Versions of Versions: VIVARIA tour and PORTAL

Vivaria is touring in Mobile States, opening at Artshouse (Melbourne) 4-7 Aug, now at Salamanca Arts Centre (Hobart) 11-19th Aug, Adelaide Festival Centre 24-27th Aug, Performance Space (Sydney) 30th Aug-10Sept.  The setup at Sidespace Gallery in Hobart was irregularly arranged like a garden so there was distance between screens and no more than two could be seen at once.  This was a good feeling with the presence of other video angles behind you and in the periphery so single screen viewing was not dominant.  It had the effect of walking down the street with many aspects only partially visible in a landscape and made transcendent by the ominous presence of solo performers keyed into the scenes.  Multiscreen peripheral experience is translated here as eyes of compact mpeg cameras showing a panopticon of virtual environments, usually described by the handheld cameras of tourists.  Portal in New York on the other hand is showing a single screen, linear version of my originally multiscreen The Cracks on the rooftop of Regina Rex Gallery.  Below is another short excerpt derived from a Springbrook residency with Ladyfingers, discarded but reused for Portal curator Janis Ferberg in her ongoing online exhibitions, using the web as exhibition environment in tandem with real space.

Friday, June 24, 2011

Encryption Keys

At Eastern Bloc, the launch of a new gallery with directors Wade Marynowsky and Nathan Hrebabetzky I made a small series of mobile phone scale videos, designed especially for pre-iphone models.  The Encryption Keys began as a series of 'fate' videos; non-figurative moving imagery which acted as a kind of portable video talisman for phone culture.  Each are a meditation using elements in relation to each other, such as a cluster of dead sticks against a growth of straight sticks in the ground: an animism of everyday objects removed from the chaos of literal vision.  They were selected randomly by numbers so the receiver did not control the image they received. 
(Format: Micro SD card or .3gp download or Bluetooth)

Tuesday, May 17, 2011

Pluralist Doco-Fiction..

So I've been doing a lot of performance documentations lately where its possible to shift the form - Living with the Dead, Untrained, Tiny Stadiums, Elephant House... The advantage of documentary is you can see the world from the front, back, sides, top and bottom - there is no limit to the angles that you can juxtapose.  A singular artwork or drama is seen from a fixed angle no matter where the camera is and this is held continuously, not giving any alternatives but to watch the work.  Documentary is not authorship it is merely an arrangement of perspectives.  To frame and film it is the first removal.  Multi-screen can then enable the beginning of the break of the monoform as we can't see all the information at once, collage is a third stage.  Interaction is a fourth stage.  The delirious pluralistic doco, with many fractures and shifts is a fifth level.

Sunday, April 03, 2011

The Darkroom 2

After a remount of In Glass at Melbourne's Dance Massive we went straight in to a triptych version of The Darkroom, choreographed by Narelle Benjamin.  Previously worked with the Australian Ballet on the theme of a life cut short, this version adds another two components; a kind of pre-birth and afterlife.  The pre-birth section is filmed through a crystal ball and is a choreography of spheres and what lies within their bubbles, and afterlife is a prismatic Euclidiean play on what we can perceive, what is retained from life and from which direction we are looking.  It is also an epigram of the monolithic constructions we choose to represent our transitory place in the world.

"Forseen" Parramatta Riverside Theatre - 6-9th April
Bangarra Theatre 15-16th April 2011
The Darkroom (Narelle Benjamin)
and Debris (Frances Rings)
Projections Sam James, Sound Huey Benjamin/ Chris Abrahams, Lighting Karen Norris

Friday, November 05, 2010


In Nightshifters, curated by Bec Dean I made 'The Cracks' - 7 small projections masked onto specific holes and features of the Carriageworks walls.   The abstract surface ‘characters’ of the cracks and holes of the western foyer of Carriageworks lie watching us silently, solidly, the wallflowers of the entertainment industry. I am cutting out the dream characters of the wall paint and morphing them into simple animations. This work samples these cloudgazed shapes and animates the brooding essence below.  Codified messages are passed on, through stencilled texts of the building and the coaxed friendships are engaged with the animistic suggestions of performer, Georgie Read.
Thurs 4- Sat 13 Nov, 8pm-11.30pm 
Performance Space @ Carraigeworks

Sunday, October 10, 2010

No Door on her Mouth

A very quick development to show with performer/writer Dawn Albinger.  A single channel projection moving from logged forest plantations, to Plato's cave to gutted hospital to a Truman Show ending, woven through by Dawn, the solo Diva/deer character.  Again with dark dramaturge, Margaret Cameron.
Judith Wright Centre (Brisbane) 11-12 Oct, Blue Room 26 Oct - 13 Nov(Perth)

Thursday, September 09, 2010

In Glass - Studio SOH

Paul White and Kristina Chan are hugely courageous dancers and project a superhuman quality with choreography of Narelle Benjamin setting a high bar of contortionism. One-way mirrors serve as a rear projection surface to animate their unconscious. I could have blasted the mirrors with total oversized, syncronised documentary, then cracked the mirror and dissolved into the netherworld like an Orphean conspiracy. 
'Spring Dance' at The Studio, Sydney Opera House, 7-12th Sept 2010

Sunday, August 08, 2010

ARTSPACE: Amygdala - Fear Conditioning

A doomsday, asteriod field using 22 of my past video projections from live performances.  Using twelve screens and four projections this is an experiment in finding a confluence between a selection of recollected hot spots of live performance combining distorted archival documentation and a reanimation of projection images that once accompanied other works.  The result is a heavy state of loaded experiences oscillating and regenerating amongst themselves.
With artists Ms&Mr from August 13th - September 10th, Artspace Sydney, 43-51 Cowper Wharf Road, Woolloomooloo

Sunday, July 25, 2010

My Darling Patricia/ Mt Gambier residency

My Darling Patricia's development of 'Ted Head' is based on a collection of short plays for children by Ted Hughes. We were using the Varcoe Theatre rehearsal space and Tenison Woods school and drove up the Coorong to find apocalyptic environments, caves and deforestation. Then back to animate seeds, build leaf houses, bark monsters and car factories out of dough. Who could not have a great time doing this? The bakery around the corner had hearty soups and South Aussie pasties. Fingers crossed this will be on at the Malthouse in April next year.

Saturday, July 10, 2010

Broome: BURU

A new work by Marrugeku, its great to be doing projections about the  landscape and the six seasons, with the spiritual presence of the 'Boss Lizards', the most powerful creatures in the Western Kimberley.  Of course I could devote a lifetime to understanding all the Aboriginal dreamtime stories here and I still wouldn't know enough, but Marrugeku seems to be forging a new path for performance in the Broome area.  Goolari TV is a big inspiration, artistic animations and short films from the community are made with very open access to training and equipment so the culture there is very direct; straight from the artist via Goolari TV, film and video art is immediately embedded in the community culture.  This image is of a mozzie in Mangala, the hot, wet time of the year.  On from 8th October, 2010.

Friday, June 11, 2010

Vivaria at 'Reeldance Installations #4'

Vivaria presented as part of 'Gesture Dance' curated by Erin Brannigan (Aust), Janine Dijkmeijer (Netherlands) and Pascale Moyse (UK) with other video installations by Kate Murphy, Su Healey and Adam Synnott, Sean O'Brien and Isabelle Rocamora,
spread across several site specific spaces and in-house faculty screens at the Uni of NSW Kensington.
Vivaria is a cube structure of a multitude of obscure spaces from Tokyo and Berlin with dancers Peter Fraser, Georgie Read, Linda Luke, Martin del Amo and Lizzie Thomson.  Their mechanised tableaus are interchangeable, like shuffling a deck of cards.

Also Screening at Cinedans Amsterdam, 8-12 Dec 2010

Dates: June 15-19   Daily 10-5pm
Venue:  Io Myers Studio, Australian School of Business, Robert Webster Building.