March 12, 2017 § Leave a comment
I took a drive out to the top of Lewis, near Port of Ness. A beautiful white sand beach is nearby, light blue waves, dark black rock with green sea moss. Theres all sort of tendrils of driftnet and rope that has washed up, half buried. I collected some as well as a piece of driftwood, to weave together and make a sort of windchime, or weathervane. Driving into the village I saw the brutalist concrete harbour, a zig zag of stone sheltering moorings and a slipway, with a big breaker from larger storm waves. The old winch house sits at the end of the slipway though the winch is long gone.
Found fishing rope, seaweed and driftwood collected from Traigh Shanndaigh near Eòrapaidh, Isle of Lewis, installed as a temporary decoration to the old winch-house on the ageing concrete and stone breakwater harbour at Port of Nes. Installation documentation. 2017.
December 12, 2014 § Leave a comment
October 14, 2013 § Leave a comment
I have a solo show in Melbourne next year, and am crossing my fingers for a second. Two talented artists are going to write essays for a catalog.
I’m not saying much as my mind feels really silent, and my days are busy and warm. Thinking about Linda visiting, parties, riding my bike, reading books about memory and the landscape. Spending time with my goddaughter Holly, who was 4 weeks old yesterday.
July 3, 2013 § Leave a comment
June 21, 2013 § 2 Comments
Film documentation of my installation A place prepared for sleep / Staður undirbúin fyrir svefn. 01:10, June 2013.
This film shows the delicate nature of the piece, specifically how each string corresponds with its neighbour – coalescing, diverging, moving in accord with the wind. In the background you can hear the waves of the Greenland Sea and birds calling.
The piece is situated on the cliffs of a peninsula, and the wind can have a strong affect on the waves of the sea in this area. A stronger wind produces vibrant movement by the strings, and also a corresponding louder soundscape from the sea. In time the sounds and the movement of the strings start to share a symbiosis.
It is at this point, at the realisation of the connection, that I start to focus off each specific string. It becomes part of my larger field of vision. The exploration of liminality in this piece, is how it draws out the space between the sound and physicality of a space. How the piece gives visibility to the surrounding sounds (which change), and gives audibility to that which is invisible in a sense (the way the wind passes over a certain place, the space just above the ground).
A place prepared for sleep marries these ‘in between’ aspects and in turn gives the space a grounding, or physicality. From there we can look at collectivity, and how we might share liminal spaces with others.
Documentation above by the inspiring Yogan Muller.
Please view in HD, headphones recommended.
June 20, 2013 § 2 Comments
Above is one of Guido van Helten’s beautiful, poignant and dominant large scale street art mural portraits painted in Skagastrond, Iceland, on blank building space gifted by the city for Guido’s work. Guido’s portraits are rendered beautifully,with a unique layering and opacity/transparency I have never seen in street art before.
This is one of two murals that were based on some portrait studies I took for Guido, featuring crew members of the Huni II, a restored Icelandic fishing boat from the 1960’s. I feel very privileged to have helped with the studies for these final pieces.
As for the Huni II, well, we went on that boat, in a rather memorable fashion…
You can see more of his series here, completed while in residence at NES, Iceland. There is also more artwork in the Summer We Go Public program, programmed by Melody Woodnutt and Kathryn Sawyer at NES.
And of course, Guido has mad skill on the scissor lift!