The second instalment of the video for Rollerchimp and Dean English’s Lit Link presents the full interactive scope of their work. From opening night right through the remainder of the exhibition, visitors of all ages involved and immersed themselves in the performative installation. The sheer variation in people’s reactions almost gave me too much footage to choose from!
Here’s how Rollerchimp describes the work in detail:
“The installation is a compositional abstraction and spatialisation of the information housed in the score of The Ring Cycle. As the audience move and slowly flail their limbs as one would a conductor, separated instrumental elements of the score are activated one note after the other, constructing a non-linear interactive composition that is based on the sonic content of The Ring Cycle. Eventually through enough interaction all sixteen hours worth of musical material can be uncovered across varying instrumental parts at completely different times. The traditional instruments of The Ring Cycle have been sonically reinterpreted by a number of emerging sound designers to create a constantly evolving orchestra with which to perform this non-linear score. Lit Link seeks to deliver the immense amount of musical information involved in the opera in a way that embraces new technologies and their influence over modern day forms of generative composition.”
Recently, I put together a couple of short videos to showcase Rollerchimp’s latest collaborative new media installation. I shot and edited, while the Chimp himself handled the sound.
Lit Link by Andrew Bluff (Rollerchimp) and Dean English, appeared in Wagnerlicht – part of Sydney’s famed Vivid festival this year. The group exhibition – a celebration of Richard Wagner’s 200th birthday – also travelled to Germany and is continuing to evolve and make it’s way around the world as we speak.
This video gives an overview of the buzzing opening night at the Sydney Conservatorium of Music, while the second video focuses in on Lit Link itself.
Dress Code is an interactive work that revolves around the exchange of intimate information. The series explores how pattern – as an attribute of surface – codes, manipulates and intervenes with personal information and intentions.
Family and friends were asked to think about their own personal packaging – their projected public appearance and submit photographic self portraits. They were given some guiding ‘rules’, and were able to interpret the brief in several ways: how they would like to appear, how they think they appear, or how they think others view them.
Reactions varied wildly. One friend decided to send me a portrait wearing nothing but a handyman’s tool belt, while others found the project far too personal to take part in at all. Some sent me their take on all three views, while others asked me what I thought they should be wearing and argued about the rules! The way people dealt with the brief and the specific instructions ended up being just as revealing as the images supplied.
So, after bravely surrendering photos of their outfits with a corresponding object, I proceeded to reinterpret and standardize them into packaging – effectively turning them into a slick patterned surface. Exhibited as large format packages – resembling point of sale advertisements – their representations mingled with gallery visitors.
After the opening night, my sister (who took part in the project, but couldn’t be there in person) wanted to know if she had enjoyed herself! I saw this interaction as breathing life back into surface. Each participant also received a digital print of their own abstraction and a personal lolly package to complete the exchange.
Dress Code has been exhibited in Inkwell (Tap Gallery 2008), The Dean’s List (Verge Gallery 2009) and made it into the 2010 MCAP as a finalist.
Excited to be chosen as a finalist in this year’s Marrickville Contemporary Art Prize (MCAP). My six tiny collage objects Roberta Reconciles were installed in a room at the Chrissie Cotter Gallery (Camperdown) with some intricate and delicately crafted pieces.
The MCAP is an initiative of At The Vanishing Point (Newtown), and is officially part of The Sydney Fringe Festival this year.
Exhibition runs until 19 September.
Feeling very privileged to be chosen for the PICA (Perth Institute of Contemporary Art) Hatched exhibition this year – an annual showcase of selected works from art colleges all around Australia.
Carol was carefully packaged up in a giant Raider’s of the Lost Ark style crate by the good marketing people at Sydney College of the Arts, and shipped to the other side of Australia.
I did not make my way over in a crate, but arrived in one piece just the same. With husband in tow, we took PICA up on their kind offer of an insider art tour of Perth, discovered some of the city’s most secretive small bars and attended the main event: Hatched opening night.
The populace of Perth must have shown up that night too, as PICA’s substantial gallery spaces and corridors writhed with people. This did nothing to quell my opening night stage fright which manifested itself in a stand-off situation with my designated name tag. Several sparkling wines later, I managed to give in to the intensity and slapped on the giant sticker. As a good friend of mine always says on nights like these “It’s showtime!”
For more information on the show including press and artist bios, check out PICA’s website.
Beyond excited to have my work No Junk Mail exhibited in The Marrickville Contemporary Art Prize (MCAP) this year. The series of 30 cards is the result of documenting the seemingly mundane contents of my mail box every day for 30 days.
Every afternoon I faithfully photographed both the shapes of the mail within my letterbox as I found them, along with the textures of each stack. I then used a design program to create outlines from the abstract shapes and place the mail textures within each shape, before printing out a colour photocopy using a very specific kind of toner. This was all in order to transfer the digital collages onto beautiful textured card by hand.
The transfer process involved some fairly noxious acetone and a lot of elbow grease as each copy was drenched with the chemical and burnished within an inch of its life! The final images have a delicacy and incompleteness about them belying their labour intensive process. The cards seem a world away from their lowly junk mail origins as loud, brash, irritating commercialised qualities dissolve into an elevated ethereal aesthetic.
On display until 28 September at ATVP, Newtown.