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Constructed from simple electronics – wires, light bulbs, relays and speakers – a complex physical and behavioral system emerges as this ‘inside-out’ machine attempts to watch, repeat and perform it’s own audiovisual compositions.
Much like the social networks it mimics, the machine is trapped in it’s own information bubble, endlessly failing in a beautiful network of whispers.
Commissioned by the Perth Institute of Contemporary Arts for the exhibition What I See When I Look at Sound (2014).
Part shamanistic alien construction, and part scientific perceptual experiment, the work is is at once fascinating, disorienting, elusive and soothing – a complex machine organism comprised of wire, electronics, lights and speakers.
Phase Orkestra arises out of in-depth research into ‘psychophysics’ – the study of the relationship between physical stimuli and bodily sensation – and explores the ambivalent roles of technology in contemporary societies.
Commisioned by Werkleitz Gesellschaft as part of the European Media Artists Residency and Exchange Program for the Move.On.Festival (Halle an der Saale, Germany 2015).
Focusing on generative choreographies, this work explores the ways in which machines are ascribed intelligence, while humans are increasingly treated like machines.
Made in collaboration with Dr Philippe Pasquier, a world leading expert in machine learning and director of the Metacreation Lab, and Dr Thecla Schiphort, a pioneer of digital choreography who created Lifeforms, the choreographic computer system used by Merce Cunningham.
Surrey Urban Screen (Vancouver, 2013), Generations (Vancouver, 2015) and Scores + Traces (New York, 2016) and a peer reviewed paper and performance for CHI 2017 (Denver), the premier international conference for the field of Human-Computer Interaction.
The first of several works exploring banality and the sublime through physical and algorithmic choreography.
Using just three basic floor movements, each dancer interprets and communicates their experience of gravity. In so doing, they provoke questions about repetition – how does it comfort and restrict us?
The work has been presented multiple times – usually mapped to complex architecture and/or within live dance performances.
Bus Projects (Melbourne, 2007), Carriageworks (Sydney, 2008), Art and Performance Festival (Malaysia, 2009), Eulogy for the Living with Tony Yapp, Yumi Umiumare (Ballarat, 2011) and Museum of Contemporary Art (Taipei, 2012).
Deep Listening is the result of a long term collaboration with the staff of Museum Victoria and a broad spectrum of the Victorian Koori community. Comprised of 50 interviews with Koori’s from across the State, Deep Listening is a survey of community viewpoints and experience.
Each 45 minute interview comprised a series of questions about aboriginal Culture, Identity, Country, Rights and Family. Generative software was developed to edit and display up to 8 interviewees at once – with clips being selected in real-time that are associativity, emotionally and topically relevant to one another – allowing the audience to truly engage in “the processes of deep and respectful listening”.
Deep Listening is a key media experience in the First Peoples permanent exhibition at the Bunjilaka Cultural Centre, Melbourne Museum
Artists and arts workers were invited from around Australia to have their portraits recorded, forming a unique and colourful record of 84 creative people ‘performing themselves’.
The portrait process was designed to enable a live performance involving a series of improvised vignettes. Whilst participants were provided with an overall structure, there was no rehearsal, script or traditional direction. Participants chose what to wear, what to bring and what to say.
The Perfect Artist was made possible with support from: Arts Victoria, Aphids, PVI Collective, Performance Space, PACT, Head Quarters, Bill & George, Tiny Stadiums and was exhibited at the National Portrait Gallery of Australia (2010)
