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.
August 10, 2014 § Leave a comment
May 11, 2014 § 2 Comments
Richard Mosse, Still from The Enclave (detail), 2012–13, 16mm infrared film transferred to HD video, 39:25 mins. Courtesy: The artist and Jack Shainman Gallery.
I recently saw The Enclave, Richard Mosse with sound by Ben Frost, at CoFA Gallery in Sydney – and it was beautiful. In a large dark room six large screens all set apart from each other but all related, the internal four forming walls with two side flanking sceens diverting your attention with corresponding and contrasting images.
What I loved was the alternation between absurdity and normalcy. Some of the sequences looked staged, while others were so unique they could only have been of the moment. Aspects of lives that build around violence.
Seeing everything from low long sweeps of the landscape, to different urban centers of the Congo, to watching a local talent show, a funeral, a house moving. The remains of dugout houses of militia(?), hidden high on a mountain lookout. A rushing river and a bridge. The infrared film and use of stedicam give the images this smooth and otherworldly appearance, as if I was there as a sort of apparition.
The work was masterful in building suspense and tension for a moment that never came. I was left wondering what was I expected to be scared of? Was the tension indicative of the time, or have I been conditioned to align feelings with these kinds of scenes – people in uniforms, rhythmic sound, weapons, hiding and reveal.
September 2, 2013 § Leave a comment
The show opening at Kings ARI in Melbourne went well. As with all installs there were anxious moments (mine) regarding lighting and balance between works, and horrible visions of broken neon all over the floor… I took lots of install shots with my medium format, and I should have that film back at the end of the week. My friend Karen took this with her Future Phone though:
Prophetess Mountain, 2013, Neon on aluminium, 150cm x 100cm, installation shot.
Working in this medium is interesting. I have some other ideas, but maybe fluros would be as good.
Coming back to Sydney on Saturday night, it is strange how silent and calm a plane full of people can be towards the end of the night. The row I sat in, had no window.
Yesterday I rode out to Cronulla and back, via Sans Souci and the green cycle paths through the mangroves. About 60km. There were some interesting smells of dirt and the sea, and the sun which made me think of Adelaide. The government there have been planning to tear down the house I grew up in, my father’s house, to widen South Road, a main trucking corridor. Dad says maybe this won’t happen if the libs get in the next election. Thinking about it makes me so sad… the house has featured in so much of my work, let alone my life.
“The smell of jasmine. The colour of the roof on the old boarding house in Eveleigh, the same red turned dusty pink in a warm sun set as my father’s house.”
Going to Tasmania soon, for MoNA, visit UTas and check out the art school there… possibilities. Still feeling like I don’t belong anywhere. But having the sun come in the door to my room is a comfort. My Yashica Mat 124 is being fixed as well, another camera for me to work with.
Next year Is Finland, Norway, Iceland, USA, UK… maybe Lithuania. Next month is the video works. One is about industry and repetition, and execution of tasks, one is the snow storm as celestial event. Two visitors soon. One from Iceland, one from the US.
I also saw my friend Lea Donnan‘s show at Kudos recently – this is what I wrote to her, ” It was mesmerizing, and yes a little emotional for someone who knows the town. There was also this.. aggressive futility to some of the actions – so overt, powerful, using cars, guns, big things – but then exposing fragile cracks, bodies absorbing a gun kick-back, the ice that crumbles while wrapped in a blanket, the refuse and things left behind…”
This has become a mish-mash… I won’t ever stop hating others until I stop hating myself.
August 4, 2013 § Leave a comment
Before Yogan and I walked the strings from the studio to the cliffs and installed them there, they lived in the studio at NES. I made a wood pile with a light inside and the strings extended across the room, intersecting with Yogan’s work. His was a shelf suspended at an angle also by string. Our works spoke to each other of a tension, possibility, potential.
July 30, 2013 § 5 Comments
So excited to be presenting my first light sculpture at Kings ARI in Melbourne opening Friday, 30 August. My work is inspired by the glory of Spákonufell, the prophetess mountain of Þordis, in Skagaströnd, Iceland.
In Iceland, the words and sayings of sagas and hidden folk, Christianity and the old gods are somewhat arcane and indistinct and run as an undercurrent—mirrored in opposite by the constant visible presence of this mountain.
The unique outline of this looming rock, holding at bay a potent mystical/religious power casts a strange energy over people who live and stay in Skagaströnd. There is no place in town that it cannot be seen. And it changes size and colour in the shifting light. What is hidden and what is known and how these things can change, depending where you are.
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.