I’m very excited to be attending the 8th International Video Poetry Festival in Athens in December 2019. I’m doing a live spoken word performance with my video floodtide; another video Game Over – Grand Final Edition will be shown as part of a collection curated by Marie Craven; and I’ll be taking part in an extended symposium / workshop on how we make video poems.
The Wrong is a massive international project of on-line digital art organised into a series of pavilions, embassies, routers and events running through November 2019 and potentially beyond that. I’m delighted to have videos in two different pavilions.
with my eyes closed: imaginary midline was one of the first videos I made, originally as part of not absolute, a collaborative exhibition I did in 2009. It’s been picked up for the in absentia pavilion of The Wrong. This collection will be touring sites in Italy in 2019/2020.
Game Over: Grand Final Edition is part of Poetry + Video curated by Marie Craven, which has its own pavilion in The Wrong. This collection also will be touring during 2019/2020, … Click here for more.
My video dog days is an official selection in the Artists’ Film Category of the Aesthetica Short Film Festival in York, UK. It will be screened on Thursday 7th and Saturday 9th November (yes, twice!). Here is a little interview I did for it…
Generated out of the AGITATE:21C collaboration, using a single video sample each from Sylvia Toy St Louis, Camelia Mirescu, Patrick King, and Ian Gibbins with audio samples from Sylvia Toy St Louis and Camelia Mirescu. The video was processed with Isadora 3 and Final Cut Pro X, and the audio was processed in Logic Pro X. No material other than the samples was used.
The title “let me go” comes from an auditory illusion of coherent speech created from part of a processed audio sample that repeats throughout the piece.
Sean Williams’ new book Impossible Music (Allen & Unwin, 2019) tells the story of a young musician who becomes deaf, and how he overcomes this dramatic change to his life. Vocem Video is a long video based on that work that was screened at the book’s launch in Adelaide (28th June, 2019).
The text follows the order of Impossible Music, chapter by chapter, and the underlying audio is from sound files that Sean made many years ago. The animations are triggered by various components of audio files: frequency, volume, time code, modulated to varying degrees by random number generators, sine waves, and more. The sequence of the audio files follows Sean’s numerical file names.
Most of the video realisation … Click here for more.
non-compliant is an amazing new project by Angelique Joy and Brent Leideritz bringing a wide range of subversive arts together. Existing at the intersection of culture, art, activism & thought leadership, non-compliant is a curated, quarterly publication available online & in-print.
My video, unvoiced, is one of the most extreme language manipulations I have done so far. Its source is the text of Articles 18-22 of the Universal Declaration of Human Rights. However, I have removed all the vowels, rendering the text unvoiced…
If you like what you see, please consider supporting non-compliant via the links below.
Two of my videos 42nds and SPSS were screened at the Adelaide Festival Centre during April 2019 as part of their Screening Artists program. 42nds was on a giant LED screen overlooking King William Road, one of Adelaide’s main thoroughfares, while SPSS was shown on a large LED screen in the main foyer of the Festival Theatre itself.
Click here for a link to the Adelaide Festival Centre info.
You can watch the videos themselves below.
BRIDGE is a large collaborative exhibition held in The Packing Shed, Hart’s Mill in Port Adelaide as part of the 2018 Adelaide Fringe Festival art program. I was invited to contribute a soundscape to the installation Water Under the Bridge, by exhibition curator, Tony Kearney.
The work is installed in massive disused steel silo, which has extraordinary echo and reverb characteristics. My soundscape is built from sounds recorded at the nearby Birkenhead Bridge. The order of the sounds in the piece roughly follows the crossing of the bridge from one side to the other.