Deep Solitude asks us to occupy this subjectivity - the isolated body seeing with a modified gaze. It thereby evokes a sense of shared experience with the naked forms decorating the floor of the exhibition. Venerable and ornamental, organic and affected, Deep Solitude asks us to remember what it feels like to be alone, with ourselves, with the world outside us somehow always distanced by our gaze.
The exhibition has been a massive success, many thanks to David Greenhalgh and the entire Archive Team for helping me with this body of work.
glistening like dew
riding on pride
my ghostly side
Here are some photos of the installation and the opening night:
And here is every Mossy up close:
Arteles have published their new catalogue, I’m featured for the months of July-August. Published via ISSUU, you can find a link to the catalogue here, or view my featured pages below:
Last week Dr Michael Goddard presented at the Cloud and Molecular Aesthetics conference in the beautiful Istanbul. It was a pleasure to meet other creative researchers in the field such as Jussi Parikka, Frederik De Wilde and a large host of COFA friends. If you’d like to read our presentation, please find a copy here: Networked Image talk PDF
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.
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
The other day I finally received my letter, I am officially a Master! My thesis will be available via UNSW online and open libraries, but I thought I ought to post it here as well.
So, without further adieu, you can view it here: Grace+ – Identifying and Exploring the Nature of Online Identities as Expressed through the Platform of Social Networking Sites.
The new addition of the Arteles Catalogue is out now, and it features an article about my practice during the studio residency right here.
Of course the best part is reading about all the other residents work, it shows the extent of the possibilities available at this amazing organisation.
PDF available here: arteles_catalogue_septembers
Grace+ is a social ‘habitat’, translating social networking from its online form, back into the real. So interconnected that there may not be any more room for you to fit within it. The items that make up a space for living are accessible from all sides, yet you cannot live comfortably in this space.
The printed catalogues were hand sewn with white wool in a Japanese stab-binding style. But if you weren’t lucky enough to get one of them you can find the full catalogue here:
This is a transcript of the presentation I originally gave at the NIEA Experimental Arts conference at UNSW, and then re-presented at the Scandal in Culture Conference in Wrocław, Poland. There will soon be a peer reviewed journal of the conference published, in which I’ve contributed a full article.
The definition of what constitutes as a body has long been debatable within metaphysics. However, it’s potential for extension with technology for enhancement of human interaction and perception aided by machines is only six decades old if we begin to count from the Macy Conferences on Cybernetics that took place between 1943-1954. The specific reasons and variations for those wishing to engage in these practices are numerous, and however recent, I argue that the acts themselves are derived from and are motivated by ancient body modification rituals. Bloody Machine, my performance piece, specifically appropriates the motif of the human figure physically plugged into the machine. This is a common trope amongst contemporary sci-fi and has been made famous by films and comics such as Masamune Shirow’s Ghost in the Shell franchise and The Matrix. The outcomes of technological addition to the body in such texts almost always renders the wearer ‘superior’ to that of a normal human being, the conclusions being that machines are stronger then humans and their union benefits both parties. However in Bloody Machine, I wished to subvert these assumptions and perhaps highlight their ultimate vulnerability. (Continue…)