TAGS: Hyperbolic,
01.2025
My work draws together science fiction, conceptual mathmatics, physics, and digital ephemera in a collaborative process with my PC to iterate new, fabulated understandings and unlikely answers for the viewers’ experience. I like to write about things, make code, prints, sculptures and video.
I’m a studio resident at LIGHT WORKS, 112 Murray St Boorloo Perth.
In moments spent outside the studio, I like to shoot the breeze, dance, cook and eat food with my loved ones.
2016-2022
Awards
2020
2019
Curtin University
Academic achievement award
ArtSource Industry Award
Curtin Vice Chancellors list
Platform Sculpture Prize, City of Vincent.
GroupShow, 2024
[Mirror, expanding foam, papier-mache, paint.]
GROUP SHOW TWO @ Light Works.
GROUP SHOW TWO included several artists currently working at Light Works. Lightworks is a artist run initiative that operatees from 112 Murray St Boorloo. Primarily a studio they/we have sporadic exhibitions. HYPERBOLIC DISCO OBJECT hung in the yard where people usually congregate for a beer after seeing the exhibition.
GroupShow, 2022
[Installation; PC-Plinth running live video manipulation & rear projection screen, Dimensions Variable]
Curtin Art Degree Show @ Curtin University.
12.2022
More Text
04.2022
Fading images of a warehouse soaked in revenant serotonin.
The overwhelming sensory experience of the commercial unit we sometimes spend Saturday nights in is an incremental buildup of sound, sight and atmosphere. A culture re-performed, a space made for optimistic self - expression, shielded from the gaze of the status quo, inherited from 1970’s Detroit. Black pioneer artists, manipulating and stretching technology, a harmony between human and machine, marked as intergalactic wizardry.
There is a gradual increase in heat and humidity as bodies arrive around me, the beginnings of an exponential curve growing with rhythmic energy as people imbibe and acclimate to the audio. We move in the space, asses the emergent vibes and exchange greetings with familiar strangers and strange familiars. During the early energetic hours the space doesn’t feel truly full, bodies are ferrous fluid, cutting shapes and making movements, filling and reforming the negative space. Movement and energy levels constantly rotate as the DJ strives to stay ahead of the dancers, selecting tracks responsive to their movements. Pacing the dancers riotous flow, circulating between the haze of the dance-floor and the cigarette pocked couches in the car park.
Half aware hands dangle lit cigs, orange coals peaking out, burning meandering lines through my vision and the smokey soupy crowd. At some point in the evening - depending on the dose, my style ratio between practicality and cool, the skill and will of the DJ line up, and the general availability of stimulants - the dance-floor becomes a balance of euphoria and endurance.
From prolonged exposure to the machine-song emerges a flow state. A unified experience of clearheaded-thoughtlessness, mind and body working in unison with the dance-floor around me, flexing and contracting, cutting shapes with the dancers around me. The voyager sound system displaces me, entangling me in the computers erratic pulse, I am the terminal in the machines rhythmic circuit electrons assimilating my stream of consciousness. Sensation saturates, buffer overflowing, all possibility of thought lost, adrift and unconcerned with the meta of it all.
After eons of oonce lost in the voyagers transmission, the sting of the acrid air in my eyes sends me seeking the relief and relative freshness of the cloudy car park couches, joining the other waning revellers, their bodies paused as their mouths pour gluggy tangential tendrils while dew forms on their oversized outerwear.
In the pleasant clarity of mind that follows the dance-floor ritual it’s comfortable to listen, steeping in the conversations of others, not getting deeply involved in the kaleidoscope of solutions to a question nobody can remember asking.
Of course from time to time I get swept up into telling my own story.
Slowly the overwhelming sensory experience fades, the incremental buildup of sound, sight and atmosphere clears as you float out to the road. The interminable pulse fades as the uber turns onto Alexander drive, and Malaga fades into the sunrise.
It's a privilege to visit this mystical space inside the commercial unit. My soul waits for a time thats immune to the pandemic, when we can gather safely again.
03.2022
Seeing yourself seeing
in 2021 i had the opportunity to travel to Tasmania and go to David Walsh's institution of art MONA - I would reccomend it to anyone, there is something there for everyone - however I felt as if it was (almost) all there just for me - proving once again that i am a teenage boy trapped in myself - just as David is clearly a teenage boy living out his cosmic wet dream fantasy in a throughly damp Hobart.
the work i saw at MONA by James Turrell and Rioji Ikeda has been living rent free in my head ever since - these are some thoughts that I transmogrified into text as research for Honours recently.
Turrell describes his light installations as non-vicarious art, they must be experienced first hand by the viewer to understand the work. This for me is the necessary precondition for a work to be "viewer activated", the work cannot be adequately documented through video, photograph and sound recording and transmitted to an off site viewer. When Turrell's artwork is operating without a viewer its just some LEDs changing colour in an empty meditation egg - sort of like a tree falling in a forest with no witness - perhaps this is a bit human-centric but I have no way of asking the photons produced in Seen Unseen if they are enjoying the experience. It's existence is unremarkable - in this state my bedroom can be described as a (poor) facsimile of a turrell work - a sparse room with a couple LEDs changing colour.
A camera cannot document the ultimate outcome of the work, it can document the architecture, but neither a photo nor video can document the unique patterns that the light creates upon meeting an optical nerve (and its
human container) within the works self contained environment. You could go as far as to say the materiality of James Turrell's work is ultimately human - through the manipulated stimulation of a viewer, artwork is achieved.
Super Symmetry however operates independently without a human viewer. The human experience of viewing it is almost unpleasant, the extremely digital sound palette, the computation pace of information display, eyes continually adjusting between the brightly backlit silica ball platforms and the dark corridor of data screens, to slow to make sense of the constant visual activity. Initially writing this I was totally focused on the "interaction" that I experienced in the Turrell work, all I could see was its absence in Ikeda’s work. After reflecting on it and speaking to my friend and the person who I experience the work with I realised the closed loop was perhaps part of its point. Fully independent of human interference these elements are merely a by product of its function as a totally dehumanised perceptual system. Its continual function in the absence of human viewers is more a statement about the relationship between human and computer or possibly more specifically data. Perhaps this is how Ikeda felt as an artist at CERN or perhaps that's the relationship he observed between the research scientists and their subject particles. This might be relevant to Barad's description of Bohr’s reality questioning assertion that "there is something fundamental about the nature of measurement ... that given a particular measuring apparatus, certain properties become determinate, while others are specifically excluded."[Quote from Page 19 of Karen Barad's 2007 text Meeting the universe halfway]. I think this speaks to Super Symmetries closed loop.
I want to clarify that I feel the transitory experience of entering a museum, gallery or considered installation space and viewing any artwork ~painting, digital media work, sculpture all alike~ usually offers us the "aura" that Walter Benjamin pontificates on, I value this experience, its choreography, ritual and reverence. I have no wish to belittle its significance to artists, gallery's or viewers - in fact I think it can be a little bit forgotten in art school where we do a lot of research, reading about and looking at images of conceptual art and not alot of going to gallerys to view artworks.
2022
Other images are various collages and glitches made in the course of 2022.
GroupShow, 2020
[Installation; 112 aluminium & stainless steel tessellations, 1 Kinect, 12 steel ropes, 12 hooks & a live video program running on Processing, Dimensions Variable [approximately 1.5m x 4m x 1m] Curtin Art Degree Show @ Curtin University.
‘Dimensional Abberision’
[Cyanotype on Fabriano UNICA]
What grows on trees @ Paper Mountain.
'I.T [Intense Technicion/ Interdimensional Transmission]' Paper lithography and high visibility spray paint on ply
30 x 30 fundraiser.
‘Tensegrity Vessel’
Aluminium piping, buildersline and lazer cut cardboard
Fulcrom.