Facilitating with Marina Abramović in Sydney

“Art can’t change the world, It can only bring the consciousness and ask the questions. 

Once again feeling most grateful that Kaldor Public Art Projects makes such an awesome event possible, here in my hometown of Sydney, I am additionally joyous that I am one of Marina Abramović's facilitators for the project. 

I invite you all to come down over the next two weeks and experience being the art, being what it's all about through simply being present.  I, alongside several Sydney artists will initiate you through the space and into the experiences

Runs: 24 June - 5 July, 2015  ::  12 - 7pm daily   ::  Pier 2/3, Hickson Road, Walsh Bay, Sydney

Some info on her and her processes here:

http://www.afr.com/lifestyle/arts-and-entertainment/art/marina-abramovic-wonders-whether-shes-even-creating-art-20150612-ghkfpm

#marinainresidence

LUX - The world's most sensitive dark matter detector

Upon my research into all things scientific, specifically: Dark Matter, as I am creating a body of work surrounding the exploration of darkness, mysticism, the inward journey into retreat and reflection and geometry, I stumbled across an article about LUX. Large Underground Xenon. 

Not an expert to wax on exactly about the technologies of how and why it works, but insights into what dark matter is succinctly posited in this phrase: 'Dark matter, so far observed only by its gravitational effects on galaxies and clusters of galaxies, is the predominant form of matter in the universe.

Something that can't be seen, yet is known to us because of its effect, gravitational or otherwise. How often are many other things dismissed because they can't be seen? Its existence shouldn't be invalidated, simply due to the limitations of our physical senses. 

Cool times indeed.

Read the article here:   http://newscenter.lbl.gov/2013/10/30/lux-first-results/

Here's a picture of the actual device:

LUX_DarkMatterDetector_SanfordLab

Solo Exhibition: Bird Bones and Beauty

So I've been spending more time in the real world doing and making prints of my photographs for my first upcoming solo exhibition titled: Bird Bones and Beauty. Two separate series of photographic bodies of work juxtaposed against the other to create meaning via adjacent context. The collected bird bones found in the windy sand dunes of Anna Bay, NSW and portrait images of female sitters taken by me - a female photographer, who notices how different the performance of the female sitter becomes when in receipt of direction from another female who doesn't want anything sexual from her. A new type of authenticity and uncertain playfulness emerges, challenging current perceptions of female beauty and femininity. Two feminine forces are present and are catalyst for change. The contrast of death and decay by the natural environment, alongside images that capture an unknowingness in performance of a woman due to the space given to perform without any preconceived notions about sexuality and sexual availability by another woman. 

The invite is attached below. If you're Sydney settled, come:


The Classical Eye

Herb Ritts has always been a huge and primary source of inspiration for me and my own photographic practice and creativity. When I start mood boarding for a project, he is one of the first photographers, who's work my eyes gaze over.  Being an visual arts and photographic digital media teacher, who also has roots in classical music, I see exactly what it is that makes his work so perfect and hard for others to articulate why his images are timeless.

Form, shape, light, contrast, line, tone, texture, shadow. Classical foundational elements of all visual arts and photography is what Herb Ritts is about. Read the comments of all who worked with/sat for him. Except for Bryan Appleyard's comment, where he contradicts all else. Weirdo.

One can only wonder about art critics sometimes. I feel validated in writing such things, for I too have formal qualifications in art history and theory, in addition to studio work involved in creating real art work. I advocate there are two kinds of people in the world; those who like talking about it and there are those who do it. One can only understand by hands-on involvement.

Keep it simple. 

 

herb_ritts2.jpg

George Khut and his BrightHe(art)s

Last year I had the pleasure of time off when I stumbled into a pop up exhibition space as part of Sydney Vivid while walking around. I was unconsciously drawn in by a giant pulsating and ever changing shape on a giant screen to which a human being was hooked up. I walked in. I waited my turn. While limbo passed I met and chatted with the artist himself: George Khut.

I can begin to express how much this artwork moved me. Everything is interconnected. This quantified it for me scientifically and more importantly, ethereally and beautifully. I was mesmerised by the visual and audio output of my own heartbeat, pulse and interior landscape. To see oneself is such a way is truly divine. 

It's been used in hospitals for children to get them to self administer calmness and mindfulness. Something most humans can start inculcating into themselves and their lives. 

Enough words, check out his site and should you stumble upon any of his installations - treat yourself. Something truly inspiring and self-engaging unlike any other device or attitude today. 

http://georgekhut.com/


Duos, sets and on themes

My current submission ideas for a monthly zine named: Variations On, which "celebrates a collection of artistic variations on a theme."  This month the theme is 'Light.' Rather appropriate, as I consider my premier medium exactly that. Being the kind of artist who refuses to delve too deeply into the waffle of theory behind a piece, I prefer semiotics; the symbols which already understood and those which belong to the sub-conscious and have a place in each viewer's individual sense of perception.  

The first duo is from a series I shot, using various sheer and transparent materials including plastic, perspex, cellophane and tulle. We played around with these surface and even though all layers enabled complete vision of the model, her behaviour indicated instinctual desires to hide. 

The second pair both use crushed paper to house light and cast shadows. Seeing things as they are in basic artistic elements: light, texture, shape, shadow, line, tone and contrast.

More info can be found here: http://variationson.us/

Lux Eterna, Tulle + Tori ©2013

Lux Eterna, Tulle + Tori ©2013

Lux Eterna, Paper + Light ©2013

Lux Eterna, Paper + Light ©2013

Inspirators // #1: Ben Frost

We all have moments where we cannot produce, we are stifled, we are concerned with the more banal yet vital aspects of life. Presently being deliberately displaced in NYC has prioritised my focus onto finding work, home and friends. The only thing available to me while I find subjects to capture and with whom to collaborate is to receive and experience the work of other artists. 

Ben Frost is a huge inspiration to me, one who bridges the gap, solely himself, between audio-visual media. I Always wondering how my 13 years as a classically trained musician will ever marry with my visual creations, Frost does herald creative designs and possibilities of multi-disciplinary art/creation. 

The latest: The Wasp Factory a stunning exploration into the psychological realms of humanity and the diversity of who we are, our inner workings light and dark, quantified by a beautifully haunting soundscape. Check it here: http://thewaspfactory.is 

More on Ben Frost: http://ethermachines.com

Image from The Wasp Factory

Image from The Wasp Factory

Video By Division, directed by Fleur & Manu

Amazingly clean, strong and stunning. Bold images of power reminiscent of early art and moving inwardly towards the viewer as we see visions emblematic of Francis Bacon toward the end. Iron fists and pointed fingers. Blame in a society of powerlessness.  

Enjoy some art and truth. 

Zola Jesus writes:

About the  spirituality of finding other artists with whom one wholly connects. 

One of my most inspiring musical artists Zola Jesus writes about the above. After many years myself searching through the cliched spiritual paths, I returned to find all I ever needed to access 'that' plane was within myself and art. 

I still haven't connected artistically with others, that is I haven't found that ineffable synergy which lends unspoken idiosyncrasies the universe can only match and understand. Still, I'm hopeful. 

Zola Jesus writes on Japanese cinema, musical scores, ikebana, surreal imagery which interconnects sub-consciously with the viewer and herself as an artist. Perhaps she gets deeper into theory than I like to.

Read on and watch the films. Great eventide in. 

http://www.self-titledmag.com/2013/08/01/celluloi-v-zola-jesus-on-the-films-of-hiroshi-teshigahara/

Teshigihara.jpg