Here You Are is a project based on data collected from Facebook check-ins; I monitored the check-ins of my friends to discover the places people wanted to be ‘seen’ at. To help me achieve this I collaborated with Google/Spotify programmer Nic Cope, who designed a web based program using AppEngine, Python, and the Facebook Graph API to monitor every check-in made from the people within my friend’s feeds. The installation is geographically aligned with the area and based on a to-scale map of a 1km radius of the gallery, in which 1mm = 1m. The drop pins are positioned to reflect the number of check-ins at each location, where 1cm = 1 check-in, for example, Thai Riffic received 7 check-ins, so is positioned 7cm from the floor. The data was hand counted to exclude duplicates, and collate any doubled-up venue locations, for example, there were separate entries for the ZanziBar and their event, Birdcage. I wanted to create a new topographical map to investigate the landscape of ‘cool’ within the area.
The scrolling LED sign features anonymous check-in statuses from my Facebook friend feed. Separated from their usual online context the writings appear as humorous and absurd, parodying the self-advertising nature that identity crafting on social media encourages. I have amplified this absurdity by using clashing colours, kitsch fonts and turning the sign’s brightness up to it’s maximum capacity.
These pictures were taken at the three most checked-in places in Newtown, at the most checked-in time. Aiming to embody the spirit of these establishments by impersonating the other patrons in the most common kind of photograph accompanying check-ins, the selfie. They have been edited with imitated Instagram filters and printed on glass, as these kinds of images are usually viewed through a glass covered device like a mobile, tablet or computer.
I was very lucky to have David Greenhalgh write my catalogue essay for Here You Are.
You can find the PDF here: Roomsheet Here You Are.
Michelle dropped by Archive_ Space to view Here You Are for CNET, the leading source for technological news and trends.
“If you could visualise your friends’ favourite hang-out spots in your area based on information collated from Facebook check-ins, what would it look like? For artist Grace Kingston, it looks like a collection of plumb bobs or fishing sinkers suspended from the ceiling, swaying or twisting gently in the air currents. It looks like a series of selfies and a garish LED sign flashing on the wall. “
You can find a direct link here.
I’m very grateful for the kind review that Here You Are received in Sydney’s The Daily Telegraph today, you can check out the full story here:
I’m very pleased to announce that Jesse Ray has asked me to contribute to the one year anniversary of Art Party – at the Red Rattler Theatre, Marrickville. I will be doing live rope installation projects throughout the night, and you’re invited to be a part of it! Come and join us as the Red Rattler and its inhabitants are progressively engulfed in my rope network…
I’m very excited to announce my fourth solo exhibition – Here You Are
Running from the 7th-19th of October, opening night is Wednesday the 9th of October from 6-8pm, I hope you’ll join me for some wines to celebrate.
The exhibition investigates Facebook check-ins. I have teamed up with a programmer friend, and all around techno-genius, Nic Cope; to monitor the check-ins of friends on my Facebook feed. I’m exploring this because the presence of social media has become ubiquitous in contemporary culture. Yet, despite being able to socialise with anyone, in any corner of the globe, we still long to ‘be’ somewhere. It is this desire that has lead to the rise of the check-in on Facebook, Foursquare and other social media sites. Usually accompanied by a picture and text, these updates serve as largely rhetorical acts of promotion and records of a person’s life, broadcast to an ambiguous audience. Consequently, they become an interesting reflection on the social trends and culture of an area. In reference to Sydney’s inner-west, I have acted as an artist-anthropologist, studying the city as it is seen in the real world, and as it is seen through the screen. To do this I have created three works to investigate each facet of a check-in: the place, the picture and the text. In doing so I hope to better understand where I am located culturally, and in the art world.
This exhibition has kindly been sponsored by Marrickville Council, who have awarded me a $3000 Independent Artist Grant for the production and exhibition of this work. Many Thanks!
You can download my most recent Portfolio here:
My article ‘Bodies in Flux’ is available in the newly published Scandal in European and American Culture Volume 1. This publication comes from the the Taboo – Trend – Transgressions conference I spoke at in November of 2011 in Poland and features much of my MFA thesis findings. It is my first international publication, and I’m very grateful for all opportunity to be involved in the first volume of this exciting project.
More information on the publication can be found here
I have been selected to exhibit some of my Moss Stencil works with a host of talented American artists for the Triangle and Amuse Bouche exhibition, curated by Stephanie Browne and Kay Ottinger. Opening this Friday, April the 5th at 8pm, 476 Jefferson Street Brooklyn, NY 11237, there will be performances from 9-10pm. The website is an artwork in itself, so I recommend you check it out here: TAB Brooklyn.
TAB presents dynamic exhibitions which intend to stimulate new pathways for the perception of the arts. TAB programs unify diverse forms of visual art, dance, performance, music, film, and interactive media into a live and audience-centric format.The partnership of Triangle and Amuse Bouche (TAB) lends energy and support to artists from diverse artistic backgrounds who make the leap to work collaboratively. The platform provides the opportunity for artists who are working with an idea, to further deepen their investigation through sharing their processes of experimentation and interpretation. By involving artists from Brooklyn, the US and abroad, it is also an agent in developing the “glocal” arts community.The exhibition methodology derives from questioning the role of audience perception. We interrogate the idea, How does an audience receive multiple artworks within one timespace?, and the subsequent ideas, How may live art forms “activate” static forms? How does painting or sculpture cohabit in the present moment along with ephemeral performance? How does the audience “perform” in an exhibition timespace?