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Carlie Norma Germs


Boorloo (Perth), Western Australia.

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Bio



I'm an emerging artist living and working on Boorloo country, in Western Australia.

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.

In moments spent outside the studio, I like to shoot the breeze, dance, cook and eat food with my loved ones.

CV



Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education Education 



2016 - 2022
Bachelor of Fine Art with Honours, Curtin University

Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience Practical Experience 


2022 - Current
New Media Art Technician, Curtin University 

Gallery and Collections Assistant, John Curtin Gallery

2020
Curtin Art Degree Show Comittee; Co-Ordinator & Co-treasurer

Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions Group Exhibitions 


2022
‘Feedback-Entanglement-Sequence’
[Installation; PC-Plinth running live video manipulation & rear projection screen, Dimensions Variable]
Curtin Art Degree Show @ Curtin University.

2020
‘xDimension Phase Translator Tele-Link version 2.0 [xPTL]’
[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 ply30 x 30 fundraiser

‘Tensegrity Vessel’
Aluminium piping, buildersline and lazer cut cardboardFulcrom

2019
‘Immersed Sandcastle’ Found objects and re-temporalized sandcastle in aquarium
Rottnest Show

Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards Awards 


2020
Academic achievement award

ArtSource Industry Award

Curtin Vice Chancellors list

2019
Academic achievement award

Platform Project, category winner with ‘Immersed Sandcastle’

Artist in their Studio with xDimension Phase Translator Tele-Link version 2.0 [xPTL]


 Interpreting Intra-activity  Interpreting Intra-activity Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity  Interpreting Intra-activity Interpreting Intra-activity


Abstract
In 2022 my Honours project asked how intra-activity and diffractive methodologies can be used to understand artist-artwork-viewer relationships within installation and digital media art practice. The term Intra-activity was proposed by quantum physicist and intersectional feminist scholar Karen Barad as description of the interconnection between matter. By adapting intra-activity to the context of installation and digital media art, the artist, artwork and viewer can be understood as entangled. Building on this understanding, My research explores the possible applications of intra-activity within art practice through the sharing of creative agency. In order to examine the significance of this application, I use the new materialist method of diffraction to read the research through the methods, outcomes and relationships which together co-constitute the creative practice. Subsequently, I find intra-activity to be entangled with digital and installation art practice through experimental debugging techniques, dance-floors, and machine-human collaborations. By diffracting digital installation practice with interpretations of intra-activity, patterns can be found which support alternative understandings of artist, artwork, and viewer relationships. Ultimately, intra-action is found to provide a frame though which both the artist’s relationship with the computer as a tool, and the viewer’s relationship with the computer as an art object, can be understood as being capable of distributing creative agency.

This project produced Feeback-Entanglement-Sequence, an interactive new media installation, documentation of the exhibition can be found here, and if you would like to enjoy a further 5198 words about this you can follow this link.
Please note this document includes images quotes and ideas that are not my own. I have choosen to leave this document intact [aka left in the research images that are not mine, with references to their sources]. If you own one of these images and disagree with my use of them here, please get intouch over email or dm.



Documentation of viewers interacting with Feedback-Entanglement-Sequence at the 2022 Curtin Fine Art Degree exhibition captured by machine vision or found on social media, captured and shared by viewers.
 Machine processed and screenprinted image from the dance-floor.

10/04/2022_Art_Thoughts


  seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself

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.




liquid air father christmas leering over the voyagers festively festooned stacks


07/03/2022 Art_Thoughts


  seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself seeing yourself

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.




guy with cool shoes experincing Beside Myself by James Turrell @ MONA Foreground: Armana (AKA the worlds nicest patio) by James Turrell & focal point: Spectra by Ryoji Ikeda @ the grounds of MONA



xDimension Phase Translator Tele-Link version 2.0 [xPTL]

These Photos are of Dimension Phase Translator Tele-Link version 2.0 as shown at the Curtin Fine Art Degree Show in December 2020. These images were captured by amazing Photographer and generally excellent human Bo Wong.
I feel as if I would like to thank this project and this artwork specifically. [xPTL] has focused my practice and allowed me to better understand my process through language and subject matter. This project isnt finished, however this is an excellent stopping point for reflection.


Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong Documentation of xDimension Phase Translator Tele-Link version 2.0 [xPTL], Photo Credit: Bo Wong

12/11/2020 Art_Thoughts


  no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm no bad project title ideas in a brainstorm

4D TELEBRIDGE, 4DTELELINK, Perceptive Dimension Link, 4D ECHO CHAMBER, HyperEcho, Deviant Echo, Perceptive hyperlink, echo-perception of the fourth dimension,


Thoughts on the fourth dimensions relationship to Fred Jameson’s discourse on the disappearance of utopia from the conceivable future:


I was reminded of some of my initial project aims after speaking about my work to some different folks last week prompting me to review my Artist Statement. I’m not sure if these thoughts will make it into the final statement, I think they may still fall into the category of [broader art practice /too complicated-unresolved to explain coherently /too hard basket].

[INSERT TITLE HERE] represents a body of work seeking to relate the unimaginability of a future radically different from our current state and the imperceptible nature of the fourth dimension.

Both concepts are; inextricably related through time, Einstein’s theory of relativity, and in recognition of capital exploiting linear time as an oppressive force; and both are directly immaterial. I absolutely cannot argue that capitals accretion of material worth through the exploitation of linear time is immaterial, although money is conceptual and the materiality of wealth inequity is so wide spread it’s difficult to quantify, because it’s almost every shitty thing…you see what I mean by ‘too hard basket’.

I have employed hyperbolic geometry’s proximity to the fourth dimensions exponent nature as a method of manifestation for the accreting thickness of time.


To explain more didactically the projection is a kind of live image filter of the viewer in space, the viewer can see their past movements lingering in the projected image. What I was trying to achieve was a kind of momentary thickening, something like Donnie Darko’s tubular experience of himself with the spooky rabbit but ideally less cliché, or at least cliché in a different way. Hopefully there is a aesthetic resonance with the matrix also echoed it’s shared relationship with simulacra.




Documentation of test install 5/11 Documentation of test install 5/11 Documentation of test install 5/11