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)
Wednesday, November 07, 2012
Wednesday, October 03, 2012
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
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
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.