Building Movements was produced along with Chris Cottrell and Scott Andrew Elliott, and upper level architecture and interior design students: Katherine Brown, Daniel Vito Colaneri, Leanne Failla, Stephanie Gleeson, Frances Gordon, Ben Warren, Freya Robinson, Jack Ryan and Jaime Vella.
Over two weeks we produced four installations within the Design Hub. Each installation was conceived as a threshold that needed to be negotiated and all were positioned in front of the lifts on various floors. Each installations amplifies or emphasizes an encounter with the building.
Although I was involved in the design and construction of the installations, my focus was on developing a documentation system for that was constructed alongside these projects.
Other projects at the event by James Carey, Zuzana Kovar, Nick Skepper, Pia Ednie-Brown, and Adele Varcoe.
Curated by Pia Ednie-Brown.
A DRI associated event – supported by the Australian Research Council and a residency funded by the Social Sciences and Humanities Research Council of Canada.
I started making figures out of found materials 20 years ago when I was travelling and needed to work on a small scale. Those early figures functioned as journals of a specific location, made from objects and materials significant to that place and time. I have always had a fascination with the ways in which things become fleetingly precious, briefly containing symbolic meaning beyond their actual material value.
These works are formed through the process of making by hand in combination with the qualities inherent in the material. They are constructed from remnants that I have found and saved over the last two decades. Somewhere between doll and puppet, the figures are free standing and appear as if arrested in movement, their positions and stances forming relations to each other and to the viewer.
I became interested in the phenomena of afterimages as a metaphorical and structural loop between external perception and internal imagery. I constructed a series of sculptural light devices exploring relations between experience and perception. The final installation in this series was a created through the ongoing documentation of the light object. This structure formed a physical feedback loop between the light sculpture, the video recorder and the projector and also an experiential loop for the viewer. The participant could look at any aspect: the whole system, the light sculpture object or the projected film, and form a constructed ‘after image’ that mirrored the experience and rendered physically on the minds eye the re-imaging of experience. The light installations explored transpositions between various readings of the work, virtual and actual, singular and combined. The constant interrelation between outer experience and reflexive inner imaging reinforced both inner and outer images and eliminated distinctions between reality and representation.
In 2005 I started the online magazine 'small' with Christine Visneau. Small was developed to support, and further, new types of relations between creative practitioners and independent commercial producers of design associated with children. It provided exposure for the artists and independent business people within a structure that had previously overlooked both. It also allowed artists and designers to gain experience or experiment with techniques in order to develop their own ideas and portfolios, and demonstrated that there was a way to integrate commercial concerns with an experimental outlook and editorial independence.
The magazine came out quarterly and was the first of this type (online and editorially independent, but with equivocal production values to mainstream magazines) to be produced. Publishing online allowed for both editorial independence and commercial viability which meant it was possible to to take risks in order to develop new relations between artists, commercial designers and business. We found by pairing artists and designers together to produce work for the magazine, that each contributor extended the limits of their own field of practice. The different concerns of one person extended the parameters of their collaborator. For example, the photographic artist Pam Klaafke was averse to producing work with any commercial constraints but was intrigued by the idea of collaborating with a designer. We commissioned a clothes designer with a business using vintage fabrics to produce new designs from second hand clothes, from which Klaafke developed a series of art works. (You can find that project here). Both the images and the designed clothes were developed in relation to the others interest in either maintaining artistic integrity or commercial viability. As these interests were believed by each to be conflicting the productive collaboration between them extending their own practice and also what an audience expected to see within a commercial magazine.
Through this extension of art into areas previously dominated by advertorials and commercial concerns Small influenced and supported new creative perspectives in the field. Inversely the opportunity for artists to work in commercial fields offered them new sources of revenue and exposure without compromising their artistic interests.
Back issues of small can be found here.
The online documentation is at collectivecommons.net. These images are screen shots.
These images are screenshots of the flexible web based framework developed for the Building Movements project. The documentation was conceived at the beginning of the design process, and was constructed and became more complex through the contributions of the collaborators.
The site is structured as an unlimited and empty field where material can be uploaded. Each participant can open a window (or several) in the field and upload stacked pages of video, audio, photographic material and text. The material can be zoomed in on, but not to the point it can be viewed in isolation. It is always in seen in relation to at least one other perspective. The material is not organized in a hierarchical or chronological order. It is either arranged randomly, or can be moved and grouped according to each viewers’ concerns or interests. The search function is not finalized in this site however it is projected that the viewers will be able to search the material using predictive keywords, causing the pages to flip to material tagged with that term. In this way the viewer will uncover links or trajectories through the work relative to their own interests. These trajectories could be saved as journeys and revisited later by other users of the site. Unexpected links are also formed through the shifting arrangements of the material. In these ways, both the producers and the viewers can construct their own links or find new connections to previously excluded or overlooked areas.
The way the different participants produced and selected documentation also constructed unexpected or unpredicted results. It is interesting to compare the range of documentation and the unexpected variety of emphasis that emerged compared to the professional photographs taken at the opening. These photos are included within the website so contribute to the documentation over all, however the focus on the event and the experience of the participants is very different from the documentation that was produced by the collaborators during the process. The documentation site, as the remaining trace of the event, functions to extend or expand on the points of connection made by the collaborators.
The ‘Building Movements’ workshop will result in an experimental web-based publication later in the year. There is opportunity to use this publication to further explore new documentation strategies in relation to this site.
Work on this site is contributed by Chris Cottrell and Scott Andrew Elliott, as well as upper level architecture and interior design students Katherine Brown, Daniel Vito Colaneri, Leanne Failla, Stephanie Gleeson, Frances Gordon, Ben Warren, Freya Robinson, Jack Ryan and Jaime Vella.
24 hour site-occupations by ten artists over one week. Emma van Leest, Madeleine Griffith, Hannha Bertram, Holly McNaught, Isobel Knowles and Van Sowerwine, Miso and Ghostpatrol, Lachlan Tetlow-Stuart.
This project explored the boundaries between the audience and the artist, cycles of production and consumption, as well as notions of open source collaboration offline and online.
Each artist worked with fixed and moveable cameras filming video and stills from different view points as they worked. Each individual work only survived for 24 hours however the footage of all the projects will be made into a stop-motion film that incorporates the process as well as outcome and works with multiple viewpoints to allow different trajectories through an event.
A video by Louis Mitchell of the installations by artists Miso and Ghost Patrol can be found here
Isobel Knowles and Van Sowerwine animation is here
Emma van Leest is has documented it here
Picture this was designed for exhibition in a temporary project space managed by West Space and located in Melbourne Central. Picture this was an action based project in public space; it was designed for and produced within a shopping mall and primarily explored the relations between observer and experience as the catalyst for the production of work. The project consisted of four elements: public encounters, the act of collecting and making images, the participants relation to the space in both the larger mall space and the art gallery and, and finally the exhibitions’ interrelation to a second exhibition, an installation by Bishop and Reis within the space. Both exhibitions were concerned with the dissolution between reality and representation for the inhabitants of a commercial space. Bishop and Reis’ miniaturized simulacra of the first exhibition underlined this abstraction. All four aspects of the exhibition were constructed from a direct relation to the participant or observer.
Picture this at West Space
Bishop and Reis: X is not X
These images are from two exhibitions, one at West Space and one at Conical, that were produced in collaboration with Madeleine Griffith.
The viewer entered a room that appeared empty except for a box and the leaves. When the participants approached looked into the box they could see them selves- not in the room they were in but in a fantastical forest. Beneath there feet they could feel the leaves rustling.
The images was constructed across various planes. A video camera filmed participant through a series of miniature paper cuts placed in front of the lenses. The participant was back lit by screened light making them into a silouhette on a white back ground. This appeared in live time on the tv at the bottom of the box. Mounted above the tv were a series of transparent planes with images that would line up from the participants view point to produce the dense forest.
Disparate elements are momentarily united to become a cohesive space in the eye of the participant. The viewer discovers they not only the audience but also the performer, animating a previously unseen scene.
The site is 7 minutes of footage. A section through a film (at every 20 frames) reveals spatial 'shifts'. These 'shifts' manifest as constructions within the film engendering shifts in reality. The boundary between 'what is' and 'what could be' becomes blurred and the viewer moves into a space of dream.
Madeleine Griffith and I founded The Assembly Rooms because we believe everyone can be creative given the time and space to develop the skills. We believe that by working slowly, making by hand and forging new abilities anyone can connect with their own creativity. The Assembly Rooms runs classes for children and adults as well as special workshops, scholarship programs and visiting artists.
More information at www.the-assembly-rooms.com
+photograms made from light drawing machines.
+experiments with reflection/projection
+installation of Melbourne Interiors
+collaborative book on Melbourne Interiors
+mark making while thinking