February 25, 2014 § Leave a comment
Issue 08 is now available to download at www.invisiblecity.org. Cover by Ioana Cîrlig.
Featuring work by Nine Eglantine Yamamoto-Masson, Shaun Fraser, Ioana Cîrlig, Gal Amiram, Justin Tyler Tate, Todd Anderson Kunert, Jolene Mok, Kara J Schmidt, Olivier Scher, Tim Van Der Meer, prOphecy sun, Ben McGee, Lilian Kreutzberger, Alexa Black, Ryan Hogan, Jon Henry, Christine Mackey, Yuula Benivolski, Leah DeVun and Ann Deslandes.
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.
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.
May 31, 2013 § Leave a comment
For the last opið hús at NES, Yogan made a sculpture from found materials he called Logn (calm). Two strings held a leaning shelf at an angle. As a response I made a sculpture of found wood, stacked, with light, and a string / cradle stretching from mine to his. A few days later we wanted to preserve the strings. I had thought about the mountain, but I had a dream about a place I had slept up on the cliffs behind our houses. I imagined the strings over that space, overlooking the sea.
So, we walked my string sculpture from the studio to the cliffs. We installed it over the space where I slept. The strings extend seven metres or so, and if you lie underneath they move and coalesce in the wind, and the strings look like how the waves sound. Meditative. Making liminal spaces habitable may generate new ideas of collectivity.
The piece is part of a public work / sculpture exhibition in Iceland – Summer We Go Public.