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(2003)ThesisTo be able to write about this work I needed to divide it up. This seemed so ironic given that a lot of the work over the years is about the very thing of separating one thing from another. Almost an impossibility, as each work, each object and each space are in a foggy, indefinable way inseparable. For a long time I have worked with a sense of immersion and osmosis in things, in bodies, and in buildings. I have selected nine or so exhibitions done over the past seven years. I have cut them into their own separate scenarios, like different acts in the one play. Many themes continually recur around notions of time, memory, subjectivity, sex, the divided self, vertigo, mutant geometries, TV, theatricality, formalism, minimalism, containment, architectural intervention, the cubby house, objects relations, osmosis, possession, and the curious relationship between the art object and the audience. Always in the making of the work it seemed like one piece bled into another. It has always been difficult for me to find a stopping point. Sometimes it is the simple fact of an exhibition opening to the public, or exhaustion that gives me an endpoint. I think that this comes about through investigating openness as opposed to closure for too long. More recently I have started looking at the idea of limitation. Material, objects and ideas continually recycle themselves from one work to another. They mutate along with the thinking in the process of finding, investigating and making mistakes into happy accidents and then the wonderment of seeing something materialise beside and beyond what you intended. This is what drives the work, the unexpected, the unknowable twists of experience and learning that sometimes an artwork can generate. It is a surrender to an idea that all matter is conscious.
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(2007)ThesisThe project aims to produce an immersive video installation titled 'The Glittering City’. This project investigates contemporary cultural issues within the context of critical/specific geographical sites. These locations are the Australian coastal border, and a refugee camp near the Kenyan/Sudanese border, known as Kakuma. 'The Glittering City'is an installation that incorporates elements of video, sculpture, sound and electronics in a kinetic 2 channel immersive video and (multi-channel) audio installation. The key aims for the project are to raise awareness of the issues facing refugees and asylum seekers in relation to their sense of home. In order to accomplish this aim the research will extend upon prior research into embedded video sculptures. A subset of the key aim is to seek funding for the project. The installation is the third and final work from a trilogy of works that explores the themes journey, arrival and departure, respectively. The Glittering City is contextualised within four key areas inherent within the research practice. These key elements are 1. hybrid documentary art, 2. expanded cinema, 3. Technology and art, 4. culture and identity. Key outcomes of the research are the production and installation of The Glittering City at Campbelltown Arts Centre, May 2007. An educational program also took place at the Centre to raise awareness of the themes the installation poses. The production of a catalogue for The Glittering City is an important device for disseminating the core concepts. For the costs of making the multi-channel production, the project successfully sought grant funding from Arts NSW. This resulted in a grant through their Western Sydney I Artists' Fellowship program. The Glittering City used further funding from the Campbelltown Arts Centre to cover catalogue production, invitation design, mail out and installation costs.
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