Image: Doug Hendry, Skateboard #5, 2004.
To gain insight into this work, it is essential to broaden the experiential domain. Morrison may well be speaking to us through the scrupulously edited moments of randomness and indeed timelessness, about a special place in his life which he knows well. He seeks, through his creative process, to establish composite poetic form. We understand in part that technically this is constituted by a tightly bound relation between sound and image. The sound, which in some instances is almost transparent and set at a subtle cognitive threshold, at first simply fills space. Something we seem to pass through, like a mist all around us and of limited impedance. Eventually we experience the sensation of a complex mix of primitive oscillations from the natural world. Oscillations that have accrued in our consciousness over eons. The sound of wind blowing through grass. Soon we become aware of the repetition of motion. As we dwell on this artifice, we begin to mediate on notions of sustainability and resilience. This resilience is appreciated through the inherent strength of grass stems, not by any control over the prevailing force of the wind itself. We read into this our lives. As the wave motion expresses pressure and release, we understand the wind to have variable pressure points. The motion of grasses reveals this and we know then that force is rarely or constantly applied. We sense the analogy through memory of moments in our lives.
Image: Scott Morrison, installation view, 2007.
Oceans apart, Oceans between examines the topology of social and political difference across government and the broader community. Somewhere between satire and sobering reality, these screen prints combine potent symbols of distance and displacement with political iconography. Can Australians and their government of the day have greater morality and more understanding toward asylum seekers? Can we come together to present a unified view? This series encourages the viewer to stand in another’s shoes, reflecting on what we have and what they do not. By valuing humanity over selfish preoccupation it might just be possible to bridge chasms of difference wherever they are found.
The artist would like to acknowledge Millan Pintos-Lopez for printing the work.
Surya Bajracharya, Don't Hold Your Breath (2015) detail, screen print, 168 x 76 cm. Photography by Brenton McGeachie.
"Canberra based sound artist Shoeb Ahmad presents Whirlwind Lullabies, an audio-visual installation that is inspired by the unique aural textures of his parent’s homeland, Bangladesh. Using manipulated tape recordings of various environments over a four year period, Ahmad creates loop-based pieces for close listening that explore intricate audio worlds that travel from the densely populated metropolis of Dhaka to the near-silence of the Chittagong Hill-tracks. The use of tape and the idiosyncrasies of it’s degradation process married with a collection of dream-like imagery taken from his various trips provide a hallucinogenic quality to the work."
"hellosQuare recordings will also present an evening of solo performances by improvising percussionist Sean Baxter from Melbourne, local tonesmith Orbits with Travis Heinrich on visuals and Shoeb himself, developing themes of minimalism, exoticism and intricacy through their unique sound palettes."
Last Man to Die collective’s self-titled hybrid-arts show is an engrossing piece of futuristic fantasy, the performance is cleverly structured so you “get it” as it goes along, and the audience participation is non-threatening and often a lot of fun. The Last Man to Die was Last Man to Die's major work for 2010. This one-hour interactive, cross-artform work was performed throughout Australia and, in particular, was featured in Brisbane Festival 2010's Under the Radar program and The Blue Room's season "Young Enough to Do It Anyway" (Perth).
"Triple X Bitter is one of 7 performance-for-video works produced for Eric Bridgeman’s multi-dimensional project “The Sport and Fair Play of Aussie Rules” completed between 2008 and 2009. This performance-for-video work examines a hyper-real pub scenario involving key player Boi Boi the Labourer, a group of boisterous pub-goers, two black babes and an inflatable pool. With Bridgeman as Boi Boi the Labourer, the artist constructs and oversees the unfolding events, allowing the participants to explore their own perceptions, fears and understandings of rules of behavior that govern our experiences in Australian pub environments."
From Momentum Worldwide vimeo of Triple X Bitter.
Eric Bridgeman, video still, 2010.
Growing out of time spent on the Heron Island Research Station and on South Bruny Island in Tasmania, paintings in Spacious explore the elusive qualities of the sea - its vastness, dynamism and strange peace. They create feelings of openness and fluidity and suggest correlations between the forms and inner actions of the deep sea and far space. Drift crosses several boundaries, ... roving through the territory of story, metaphor and myth (Nada and the Whale) and the realm of abstraction where the formal and aesthetic qualities carry the experiential load directly, in and of themselves (the Sea paintings). The thread that weaves through and unites them all is the sense of endless kinetic interaction between material and immaterial force.
Botany Bay today is a meeting place of many historical, industrial, social and ecological forces, some harmonious, many not. We have tried to evoke this complex mix while suggesting that the power of deep time lies within this, strangely, or at least potentially, unifying conflict.
Totaalvoetal is a Dutch term meaning total football. It came to life in the 1970s and when executed changes a formation into fluid movement that gives the game it’s beautiful principles. This was the first time that within the tactics of football an aesthetic value was ascribed. This show is taking elements of football imagery and imbuing them with artistic value. It’s a transgression that moves the audience from the stadium to the white cube.
Image: James Lieutenant, 4-5-1, 2010.
"Careful Messenger is my current residency and project for the State Library. It was inspired by my grandfather Stirling Blacket’s time as a dispatch rider in Gallipoli, relaying and confirming messages from command on his horse. In the two-channel work a horse gallops in the left panel while in the right panel the horse pants exhausted with closed eyes, turning its head towards the viewer. Here Blacket’s horse appears as a modern day messenger, a search engine working overtime for research. In formally combining these two resonating images, the work suggests that the labour and commitments of research and information delivery, is just as critical to us today as Blacket’s missions and should be approached with the same caution and vigilance."
Image: Tim Plaisted, still from Careful Messenger (right panel), 2008.