Your Melting, 2023
Your Melting, December 2023. Installation, dimensions variable. Materials: mylar, furniture blanket, concrete pavers, melted aluminium, stainless steel stand, 2 glass tanks, 2 mirrors, steel grill and ice. Acknowledgements: stainless steel stand fabricated by Ben Storch; and invaluable assistance from partner, Richard Woodall!
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Exhibition at TCB Gallery, Brunswick
December 7-17, 2023 and January 10-14, 2024 “….It was summer all winter. It was melting and it was going to melt. The last glacier fits in our warm hands.” Extract from “Thirteen Ways of Looking at a Glacier” by Craig Santoz Perez, 2016. The installation “Your Melting,” offers the opportunity to reflect on the passing of time, transformation of states and our vital interconnection with our planet’s natural systems: humans have a unique and dependant relationship with ice. Melting ice represents sea ice and glacier loss due to climate change. Summer artic sea ice helps keep the planet cool by reflecting sun back into space. Nasa Climate Change information,[2] indicates that it has been shrinking by 12.6% per decade and glaciers, that provide water supply for millions, are retreating and disappearing. Melted lawnmower parts from Bunyip State Park bushfire 2019, are a reminder of potential climate change impacts closer to home. It is acknowledged that materials used in the installation themselves contribute to global warming: mylar, steel, glass, concrete and ice.[3] [1] NASA Global Climate Change, Vital Signs of the Planet. https://climate.nasa.gov/vital-signs/arctic-sea-ice/. [2] Cement and concrete production contributes 7-8% of global CO2 emissions, according to the World Economic Forum. https://www.weforum.org/agenda/2023/11/near-zero-cement-concrete-net-zero/. page under construction |
Reflect, 2022
Reflect offers four elements: ice melting into a mirrored glass tank on a mirror base with a polished steel support, creating reflections and shadows on the wall; two glass tanks with videos of water projected into them; and one floor projection. The viewer may be implicated through their reflection. Acknowledgement: Stainless steel support component fabricated by Ben Storch. The work reflects my interest in time, materiality, metaphysics and transformation and explores the interaction of light, surfaces, reflection and projection. The installation offers the opportunity to reflect on the passing of time, transformation and our vital interconnection with water – the essence of life. Reflect may prompt considerations of climate change. |
Summer Artic sea ice has been shrinking by 12.6% per decade according to NASA Global Climate Change, Vital Signs of the Planet. Arctic Sea Ice Minimum Extent | Vital Signs – Climate Change: Vital Signs of the Planet (nasa.gov)
Click on the link below to view a time lapse of sea ice change:
Video: Annual Arctic Sea Ice Minimum 1979-2022 with Area Graph – Climate Change: Vital Signs of the Planet (nasa.gov)
Click on the link below to view a time lapse of sea ice change:
Video: Annual Arctic Sea Ice Minimum 1979-2022 with Area Graph – Climate Change: Vital Signs of the Planet (nasa.gov)
'Reflect' installation view. Image courtesy Kenneth Suico.
Mixed media, installation, variable dimensions, videos: 22 mins and 2 x 20 mins. Stainless steel support component fabricated by Ben Storch.
Mixed media, installation, variable dimensions, videos: 22 mins and 2 x 20 mins. Stainless steel support component fabricated by Ben Storch.
Part installation view: video link
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pond reflection: video link
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Walking 2021
Walking is an ephemeral laneway intervention, comprising a video projected on a fabric screen which spans and blocks the lane. The video of a person walking is positioned so as to be superimposed on the real. The fabric moves with the breeze, creating an unstable image, suggesting the fallibility of memory.
The laneway is re‐imagined as a site of memory. The person walking away references the waves of communities who have passed through. The walker is of Italian descent and well remembers playing in this lane as a small child. There are few remaining of the migrants who came to Carlton in the 50s: most have moved away. The white fabric references the role many took up as tailors in Melbourne.
The work, with spatial and temporal dimensions, offers a re‐presentation of the real and a disconnect of time as well as space. The slippage between reality and the image emphasises this. Time is referenced through its ephemeral nature as well as the different layers of ‘time’ present (time of the walk and first video, time of the re‐presentation of the video, and time of viewing the work here).
The laneway is re‐imagined as a site of memory. The person walking away references the waves of communities who have passed through. The walker is of Italian descent and well remembers playing in this lane as a small child. There are few remaining of the migrants who came to Carlton in the 50s: most have moved away. The white fabric references the role many took up as tailors in Melbourne.
The work, with spatial and temporal dimensions, offers a re‐presentation of the real and a disconnect of time as well as space. The slippage between reality and the image emphasises this. Time is referenced through its ephemeral nature as well as the different layers of ‘time’ present (time of the walk and first video, time of the re‐presentation of the video, and time of viewing the work here).
click here to view walking : Vimeo
Which Reality? 2017
Materials/equipment: melting ice, glass container, two 40 x 50cms and one 40 x 90cms mirrors, TV monitor 32cms, camcorder, short throw projector and 47.5 minute video (looped), extract from 148 minute video.
This installation, includes melting ice, 3 mirrors, video playing on monitor, and a live projection across two walls. Various images and reflections can be seen simultaneously.
The installation considers the replication of images through providing a simultaneous experience of the image and the real and re-presentation through a video of the same object at a different times, and multiple reflections of both video and the live projection. The multiplication of images considers relationships between the image and reality which are of interest in a time where images, often distorted or altered, construct our world.
The installation’s disruption of perception may make the viewer aware of the act of looking, their ‘gaze’. Dissonance between the live projection, the real and the video reveals and highlights the time slippage present in the work.
This installation, includes melting ice, 3 mirrors, video playing on monitor, and a live projection across two walls. Various images and reflections can be seen simultaneously.
The installation considers the replication of images through providing a simultaneous experience of the image and the real and re-presentation through a video of the same object at a different times, and multiple reflections of both video and the live projection. The multiplication of images considers relationships between the image and reality which are of interest in a time where images, often distorted or altered, construct our world.
The installation’s disruption of perception may make the viewer aware of the act of looking, their ‘gaze’. Dissonance between the live projection, the real and the video reveals and highlights the time slippage present in the work.
'Corridor intervention' 2017
In today’s ‘post truth’ world saturated with images, and ‘news’ that may or may not be fake, images and digital screens perversely seem to be treated as more real or more absorbing than the world around us. The work is created by hanging fabric across corridor, taking a photograph, downloading to laptop, projecting image onto the white material, placed precisely to continue the illusion of the real space. This iteration was one of a series of ephemeral interventions that consider time, the nature of reality and image and relationship between them in today’s world of virtual communication. The viewer might notice the dissonance between the two, and the impact of time and perhaps be aware of their act of perception.
Partial Views 2018 |