Moving Image
This page contains moving image components from several different series and bodies of work.
Mediated by the Digital Lens
In a world of rising sea levels, catastrophic climate change and where societies are out of sync with natural cycles, developing a process of connecting, or, more deeply communing with nature through an immersive process of making, seems important. This work explores the impact of the i-device through ideas of engagement/dis-engagement, ‘being in the moment,' and approaches to making that extend the i-device beyond merely capturing a scene. While the project drew on personal experience with an aim for a healing and cathartic process, the works produced – as with all conscious acts – are inherently political. The work explores ways the i-device could be used to create an immersive experience, experimenting with how the device could enhance our appreciation and engagement with the natural environment rather than as a distraction that disconnected us from being 'in the moment'. The making process involved instantaneous layering of exposures: as the image is made, the layering process became visible & interactive. Movement and blur were due to the subtle movements of nature and the maker. As one moved – whether intentionally or not - the image evolved; each breath taken was reflected in the final image. One's physiological response to the landscape was recorded as part of the image.
Waves series (working title)
Partially inspired by my Mediated by the Digital Lens series this new and evolving series explores the beauty of natural elements- water and light in the controlled space of the studio.
Fixed and dialated (2013) is a 16 minute 45 second single chanel HD video. It was as part of the 2013 MARS Gallery exhibition Peering through the blinds: Stories from suburbia.
Peeping
The "Peeping" installation, crafted from plywood to emulate a 1950s brick veneer house on a 1:1 scale, features components such as a halved and glazed casement window, a Venetian blind, a TV screen mounted within the structure, and two lilly pilly plants. This immersive setup served as the backdrop/housing for a silent, single-channel video that portrays a young woman, presumably returning from work, entering her bedroom. The video captures her as she tosses her mail onto the bed and begins to disrobe, unfolding a private moment within the seemingly safe confines of her home.
The video for peeping, was shot on location in suburban Melbourne, then edited to subtly reflect a retro 1970s aesthetic through colour grading (and house/décor). This creative choice enhances the nostalgic feel of the series, situating the viewer in a time reminiscent of the era's unique visual palette. This treatment not only serves to situate the narrative in a specific historical context but also deepens the emotional resonance of the scenes depicted, aligning with the exhibition's exploration of personal and communal narratives beneath the surface of suburban life, in the era that I grew up in, the 1970’s.
Strategically placing 'Peeping' at the gallery window, this was originally shown as part of a larger solo show at MARS Gallery, was an intentional move to challenge the traditional norms of how art is viewed, aiming to attract a broader audience. This decision was made to render art more accessible, inviting a wide array of passers-by to interact with it both physically and intellectually, thus democratising the experience of art appreciation.
MARS Gallery (Port Melbourne)
The 'Peeping' installation embodies an ethical dilemma akin to the act of peeping, setting the stage for a discourse between the artwork and its viewers. This dynamic engagement, a hallmark of my artistic practice, manipulates environmental and situational elements to weave connections among the artwork, audience, and wider societal motifs. The interaction encourages participants to confront and contemplate their own ethical stances and the invisible societal threads that influence them.