Victorian College of the Arts - Theses
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Itemfor a conversation, now, sometimes, oops- oh no... sorry, i mean, somewhere… for a conversation, somewhere( 2023-11)This practice-led research asks: is it possible to hold a conversation in space forever? It suggests we can find and hold the materialisation of a conversation once it’s left the people that have had it. Over the course of this research, an important strategy became attempting to think not in time, but rather, in space. Thinking in space allowed the ability to wonder not when something was but where it is. In this project conversation has been utilised as inspiration, methodology and material. The exhibition at the Fiona and Sidney Myer Gallery builds a space for a conversation to happen and a space where the remains of those conversations can stay. The project focuses on divine conversation, where the content and outcomes are not important, what is important is that two people share the desire to talk to each other. The space holds two performative representations of conversations. They are: (i) a continuous conversation, where over 50 participants take part to help hold a constant conversation over the duration of the exhibition. (ii) what you are doing, where two actors sporadically perform a scripted dialogue of the narration of their conversation, told through the other. Being inspired by thinking in space - the gallery turns into a piazza consisting of several elements holding these conversations: performance furniture which are structures for the performers and participants to engage with, being designed around places where the vibrations of a conversation might linger, like a horizon or a corner constructed from steel, paint and plywood. Object/Sculpture Characters, which are two operated neon lights, simulating day and night, and a water fountain constructed from steel concrete and water flowing help hold the particles of saliva from the conversations spoken. The dissertation shifts through poetry, comparisons to other artists and theorists, personal accounts and stories. It discusses the process of making this artwork, from its muses to the conversations had during the two years it took to realise the project and the materials used. The writing brings the artwork into conversation with: theorist Carlo Rovelli; writer bell hooks; playwright Caryl Churchill; artists Sophie Calle, Ragnar Kjartansson, Lisa Radford, Damiano Bertoli, and Gian Lorenzo Bernini; choreographers Simone Forti and Pina Bausch; performances by Forced Entertainment, Tino Seghal, Aphids, and Back to Back Theatre company; comedians Andy Kaufmam, Kurt Braunohler, and Kristen Schaal; and poet-artist Madeline Ginns and artist- architect Arakawa.
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ItemNo Preview AvailableFinding space: expanded scores as compositional tools for interdisciplinary practice( 2022)This research considers the expanded musical score as a framework through which to develop a compositional practice as a form of post conceptual art. Drawing on extramusical ideas such as cultural dislocation and spatial experience, this project seeks to represent non-musical objects as score, instrument and musical vehicle. Through a series of studio-based experiments, this development of compositional practice also produces a secondary framework through which to better understand the artist’s parallel practices as composer and interdisciplinary artist.
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ItemYou, Me and Everybody Else: Explorations of self through filmmaking in the domestic setting( 2020)The self plays a central role in artistic practice, as artists have long used their work to explore conceptions of the broader human condition. In film, the temporally reflexive nature of the medium has allowed filmmakers to create a positioning of characters, sharing emotional experiences with an audience. However, to position oneself in film is perhaps less clear and more complex than that of a protagonist. This dissertation draws upon the practices of filmmakers Jonas Mekas, Max Draper, Chantal Akerman, Michelangelo Antonioni and Moyra Davey, to discuss how key elements of film, including diarism, duration and place, can inform an exploration of the subjective condition. As an accompaniment to my own moving-image artwork, You, Me and Everyone Else., the dissertation draws parallels between each artist’s use of visual techniques and my experimentations in practice, to initiate an intimate unravelling of self. I find the acceptance of the banal and the everyday through diarism and durational techniques clarify a process for examining self. Likewise, the embeddedness of these filmic techniques within the deeply personal context of my own home, emphasises the importance of place in affirming; and reinforcing, undulating and shifting notions of self. I additionally note, however, that the forces of context and place uncover deep insecurities and strong negative internal emotions greatly impacting artistic voice. Here, the subjective self emerges through elements of my personal artistic condition, that appears to exist beyond the influence of conscious structure, technique and the influence of others. While the making of a singular artwork may demonstrate hints of the self to both audience and maker, the recurrent, self-reflexive making of artworks clarifies the unseen self only to the artist. Thus, I conclude that there is no firm understanding of self navigable through techniques alone.The artwork is merely the by-product of a process that recognises that the self is as whimsical and subject to change as the forces which surround it.
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ItemThe Presence of Space: Embodiment, Vision, and Art( 2019)The dominant Western conception of space remains the Cartesian paradigm - despite many possible alternatives. This is further reinforced by ubiquity of perspectival space, and the dominance of photography, which reifies this paradigm. This project investigates the self’s relation to space by examining personal, artistic and social frameworks of experiential observation, in doing so, it seeks to evoke these broader conceptualizations of space. The research firstly establishes a framework of references related to the cosmos, the earth and the solar system, with concepts around locating the body in space, and notions of alignment, movement, distance, scale and pattern. The body of creative works which include site-specific installation, wall painting, drawing, photography and animation, are collectively titled the Gnomon Experiments, and explore various uses of the term ‘gnomon’ which refers to locating ones’ self in space, point-of-view, and alignment. The research also examines the reflexive nature of systems of representation of space such as linear perspective, photography, screen and optics in influencing the expression and experience of space, through the theories of Erwin Panofsky and Vilem Flusser who respectively examine these ‘learnt perceptions’ as ideologies encoded with complex symbols and metacodes. This research investigates the possible applications, implications and readings these ideologies might have in spatial arts practice and other works that engage the embodied experience of the viewer. Using various techniques of merging the appearance of two and three-dimensional space the artist endeavours to understand how photography influences spatial practice even in the absence of lens or print. Many of the works incorporate visual illusions and anamorphic distortions where movement and the embodied experience of the participant activates the work. The work questions how we come to feel located in space, and how we construct a sense of space not just around us, but from within us. The project culminates in a minimalist room scaled installation that embodies spatial experience. The percentage split of this research is 75% creative practice, and 25% written dissertation.