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