Featured video
open home was published in Uneven Floor (2016), where you can read the text.
Cataplexy was published in e•ratio 21 (2015), where you can read the text.
SPSS was published in Cordite Poetry Review, 2015.
For more videos,
Video
Game Over: Grand Final Edition
This piece uses text sampled from The Advertiser and is published in otoliths 40 along with another animated poem: The Various Contrivances By Which….
The images here are screen grabs from the video-poem below:
anthologised and short-listed poems
Sensurious / Sensoriales, with Judy Morris, in Frame to Frames: Your Eyes Follow II / Cuardo a Cuadros: Tus Ojos Siguen II, curated and edited by Sarah Tremlett (Poem Film Editions, Liberated Words, Bath, UK, 2024).
RISE – inaudibly, repeatedly, with Pascalle Burton, in Author Unknown, Red Room Poetry (2024).
Firefront and Questions of Impropriety in From The Ashes: A poetry collection in support of the 2019-2020 Australian Bushfire relief effort. (ed CS Hughes, Maximum Felix Media, 2020).
dog daze in Solid Air: Australian and New Zealand Spoken Word (eds David Stavanger & Anne-Marie Te Whiu, UQP, 2019).
No Vacancy in Dark Skies Dreaming: An Inland Skywriters Anthology (ed, Merrill Findlay, IP, 2019).
Dial Tone. Third place in University of Canberra Health Poetry Prize, 2017.
sensurious. Video-poem featuring drawings by Judy Morris, short-listed for the Red Room Company New Shoots Poetry Prize, 2016.
Afterthoughts. Short-listed for Ron Pretty Poetry Prize, Five Islands Press, 2014.
Rearrangement 1. Satura Prize for Best Poem in the Friendly Street Poets Anthology 38 (2014).
Firefront in The Best Australian Science Writing 2014, ed. Ashley Hay, NewSouth (2014).
Starlight Grey. Poem of the Month, Friendly Street Poets, April 2013.
Probably A Sacrifice, With Body In Mind … Click here for more.
The Library Project
In March 2014, Ian was the inaugural Poet-in-Residence at the Adelaide City Library, supported by the Library and Spoken Word SA.
During his time there, he developed a sequence of poems, images and sounds based on material in the Library, called How To Read. Much of the written work used samples of text such as library brochures, titles of books in particular sections of the library, overheard snippets of conversation, and answers to a questionnaire.
Click here for the text of “How To Read”.
New versions Ian’s poems for the project have been published: 994.231 (General History / Australia / Adelaide) in Rabbit #16: Biography Part 2 (2015), True Crime in Australian Poetry Members’ Anthology 4 (2015) and The Guide in e•ratio 25 (2018).
Here is an excerpt from 994.231 (General History / Australia / Adelaide):
(Clara)
When a friend fell off her bicycle on the foreshore at Glenelg,
everyone thought it would be the end of her. “Watch out for sharks!”
we advised, just in case she listened. “They love the smell of blood!”
Seagulls swooped for pie crusts, chip-squash, gravel-grazed gumdrops,
casual sandwich orphans, ignored furtive intercepting flight paths,
veered north or … Click here for more.
featured poetry performances
Ambient Loopscape. Poetry / improvised music / real-time video generation with Jutta Pryor, Masonik (Baziz Psanoudakis and Mark Martin), and Eiichi Tosaki, The Loop Project Space & Bar (Melbourne CBD, July, 2019).
Ambient Brainstorm. Poetry / improvised music / real-time video generation with Jutta Pryor, Masonik (Baziz Psanoudakis and Mark Martin), and Eiichi Tosaki (Bundoora, July, 2019).
Paroxysm Press – The Showcase Series. Video poem and live performance. Adelaide Fringe Festival, Broadcast Bar, Adelaide, February, 2019.
Surf’s Up! ART meets SURF at Christies! Poetry feature with musicians Nick West and Khristian Mizzi. Arty Records HQ, Christies Beach, SA, February, 2019.
Back at the Red Rhino Room. Poetry feature with musicians Fergus Maximus and Khristian Mizzi. Red Rhino Room, Hilton, SA, February, 2019.
The Poetry of Science. Panel and performance. Quantum Words. Writing NSW, Callan Park, Sydney, November, 2018.
Southern-Land Poets Chapbook Series 6 Launch. Poetry. Garron Publishing, Halifax Cafe, Adelaide, October, 2018.
Narratives of Brain and Body. Workshop and performance. Vital Signs: The Healing Power of Story, Queensland Poetry Festival, Judith Wright Centre of Contemporary Arts, Fortitude Valley, Queensland, August, 2018.
The Hearth: “The Sea”. Poetry and panel. The Jade, Adelaide, June, 2018.… Click here for more.
not absolute: audio & video
Thoracic 2 includes some of the text and sound installation from the exhibition. The sounds were recorded by Catherine Truman in her workshop and in Ian’s laboratory.
Metal (you’ll be in trouble) is the audio from a section of one of the installation videos. The sounds include comments recorded accidentally during an anatomy class.
Ian made three video installations collectively called with your eyes closed for the exhibition. Here are some excerpts from them.
To see all Ian’s videos, click on the vimeo button.
The Microscope Project
The Microscope Project
Flinders University Art Museum & City Gallery, 26th July – 21st September, 2014.
Ian Gibbins, Catherine Truman, Deb Jones, Angela Valamanesh and Nicholas Folland, curated by Fiona Salmon and Madeline Reece.
For much of his time at Flinders University, Ian managed the main microscopy research facility, contained divers kinds of sophisticated microscopes. In 2012, several old scanning electron microscopes, some fluorescence microscopes, and other ancillary equipment were decommissioned. Once state-of-the-art, they were now largely dysfunctional and no longer practically operational. However, they had long histories of contributing to internationally-recognised research into the nervous and cardiovascular systems, the gut, and much more.
… and then there was all their supporting documentation: schematic diagrams and plans, manuals, advertising brochures, catalogues, certifications of performance, packing lists.
Although much of the equipment had been disassembled down to their component parts, it was all to valuable to be dumped for scrap. There were many more stories to be told about these instruments. Perhaps we could re-imagine their pasts, their futures, the people who had made them, maintained them, used them…
So, over more than 12 months, the artists collaborated with these elements in the unique shared environment … Click here for more.