Between States, an exhibition at Watch This Space in Mparntwe/ Alice Springs, 2017.
Obelisk Vending Machine. A functioning vending machine filled with brittle plaster obelisks. The oblisks were pushed out of the vending machine at twenty minute intervals for the duration of the exhibition opening.
Dimensions: 2.2 m (h) x 1.5 m (w) x 0.8 m (d)
Materials: MDF, acrylic paint, steel coils, servo motors, arduino programming board, electrican wiring, LED lighting, perspex, plaster of paris casts
Watercooler monument. A functioning water cooler dispensing “Pure Tasmanian Spring Water”. The watercooler was exhibited as part of the exhibition, and was also used for a performance prior to the exhibition opening.
Dimensions: 1.6 m (h) x 0.8 m (w) x 0.8 m (d)
Materials: Water cooler, “Pure Tasmanian Spring Water” canister, MDF, acrylic paint, wheels, plastic chain, fixings
Documentation of a performative by the artists with the water cooler monument. For the publicly advertised performance the water cooler was rolled from Watch This Space Gallery, three kilometeres through the centre of Alice Springs to a monument known as the John Ross Memorial. A container of “Pure Tasmanian Spring Water” was dispensed from the water cooler to members of the public throughout the journey. The John Ross memorial is a water fountain which has a plaque stating that “water is the source of all life”. The John Ross monument and public water fountain has been switched off since the nineteen nineties, a cage was installed around the monument. Many other drink fountains in the region have been turned off and access to public drinking water and public toilets is extremely limited in Alice Springs.
Performance duration: 5 hours
Between States was developed collaboratively with artist Theia Connell.
Show Room, solo exhibition at Metro Arts, Brisbane, November 2016
Replica “L-Beams” imitating minimalist sculptor Robert Morris’ “perfect form”. These L Beams were clad in faux marble and the centre piece was installed on a rotary display stand, constantly turning through out the exhibition.
Dimensions: 1.7 m (h) x 1.7 m (w), 0.5 m (d)
Materials: MDF, faux marble vinyl, rotary display stand
2. Accompanying video for the Robert Morris “L-Beam” replicas as part of the exhibition ‘Show Room’. The video contained a voiceover of the artists words with a slideshow of images, advertising the replica sculptures.
Video duration: 3 minutes
‘Ultra Spatial’ for the exhibition Shadow Sites as part of Next Wave Festival, 2016
Documentation of the artists installation for Shadow Sites, titled ‘Ultra Spatial’. A custom print vinyl wallpaper showing a stock image of a marble quarry. This work was shown alongside work by Elmedin Zunic (left) and James Tylor (right).
Shadow Sites was curated by Samantha McCulloch and Frances Wilkinson and included work by Léuli Eshraghi (SAM/IRN/VIC), Catherine Evans (VIC), Grace Herbert (TAS), Sophie Neate (VIC), James Tylor (Te Arawa/Kaurna/SA), Rudi Williams (ITA/VIC) and Elmedin Žunić (BIH/NOR/VIC).
Art works for this exhibition were installed in storage spaces at National Storage, Collingwood. Various forms of documentation of the works were shown at the Centre for Contemporary Photography (CCP), Fitzroy.
Dimensions: 3.5 m (w) x 3.5 m (h)
Materials: Self adhesive custom print wallpaper
‘Pandemonium’ for the exhibition Brainstorm as part of Dark MOFO, Hobart, 2016.
Documentation of viewers interacting with the virtual reality video work. ‘Pandemonium’ featured eight virtual reality headsets which were all showing the same video work on a continuous loop. The six minute video work featured an expanded 360 degree montage of destruction seens from Hollywood distaster movies, as well as a sound piece by Tasmanian sound artist, Phillipa Stafford. The video work placed the viewer in the center of these scenes, which were stretched and distorted to fit the 360 sphere.
Brainstorm was curated by John Vella as part of the 2016 Dark MOFO festival and included work by Michael Schlits, Pat Brassington, Matt Warren, Andrew Harper, Scot Cotterell, Amanda Davies, Darren Cook, Grace Herbert and Jacob Leary.
Billboards Detroit, Detroit, 2015
Documentation of 2/4 installations by the artist installed on ‘junior’ billboards around the Hamtramck area of Detroit whilst on residency with Popp’s Packing. These vinyl images, installed on the billboards, show particular sites accross the Detroit industrial area, Poletown, which used to be a neighbourhood of 5000 residents. The City of Detroit seized land from home owners to give to private companies using a legal process called ‘Eminent Domain’. Through this process the City of Detroit set a Nation wide legal precedent for taking land from homeowners to give to private companies, arguing that it was for the “public good”. Around 5000 houses in the Poletown area were seized and demolished by the City of Detroit, who then gave the land to General Motors to build factories. These factories only ever employed around 1200 individuals, and many areas of the inductrial zone are abandoned and desolate today. The locations for these installations and the locations of the images themselves were researched by the artist through an interview process with Detroit residents who were displaced from their homes or who worked for General Motors.
Documentation of these installations was exhibited in various forms at Popp’s Packing (Detroit), KINGS ARI (Melbourne) and online with the art publication Infinite Mile.
Billboard dimensions: 4m (w) x 1.5 m (h)
Materials: Self adhesive vinyl print of artist image
‘Our Kind of City’ for the exhibition (in a blessed parenthesis, in a vacuum of promise), Dunedin, 2015.
Documentation of an installation of the steeples of New Zealand’s “First Church” on top of reclaimed land at the edge of the Otago Bay region.
The First Church is a highly valued and preserved building in Dunedin’s CBD area. The church sits atop a a man made hill. The hill and the church were built by enslaved Maori people.
The location of the exhibition (in a blessed parenthesis, in a vacuum of promise), was in the warehouse precint of Dunedin. This precinct was once responsible for New Zealand’s economic success and was a major workers zone. Since an industrial downturn in Dunedin, buildings in the warehouse precinct have been left empty and unkempt. The buildings of the warehouse precint are much loved by Dunedin residents for their historic relationship to the working class. A number of the buildings in this precinct were secretly demolished without planning approval, one was demolished overnight, and the properties were turned into car parks.
During a residency in Dunedin, the artist researched the demolition and disposal of these warehouses and traced their rubble to a reclaimed area of the Dunedin bay. There was a strong link between the timing of land reclamation and development at the edge of the bay and the timing of unnapproved demolitions in the warehouse precinct. Demolished buildings make for extremely cheap rubble in land reclamation.
Whilst working in a building in the warehouse precinct the artist also discovered a set of steeples from the “First Church”. Weighing around 150 kilograms, the artist pushed these steeples on a trolley for 5 km to the reclaimed area of the bay. The act was intended to contrast those structures which we value highly (buildings representative of religion, prevailing power structures and colonisations) with those which we so often don’t (buildings of the working class, every day structures). The steeples were left at the edge of the bay.
Documentation of the work ‘Our Kind of City’, for the exhibition (in a blessed parenthesis, in a vacuum of promise).
‘Our Kind of City’ was a nineteen seventies city planning report for Dunedin. The report was found by the artist during a residency in Dunedin. Material from this report was used to structure the artists residency, performative actions and final installation using the First Church steeples.
The artist reproduced an altered copy of this planning manual for the exhibition.
Golden Ruin, Hobart, 2014
Documentation of artists installation in a condemned Hobart house. 23 karat gold leaf was installed through out the inside of this Hobart home. The home had sat empty for a decade and was demolished in the months prior to the artists installation to make way for a new housing development. Residents of the area had campaigned for this home to receive heritage listed but were unsuccessful.
Dimensions: Approximately 4 m x 3 m
Materials: Wall paper, 23 karat gold leaf, gold size glue
Documentation of the artists installation installed on a large scale light box as part of Hatched National Graduate show at PICA in 2015.
Dimensions: 2 m (h) x 1.2 m (w) x 0.2 m (d)
Materials: Recycled timber, flourescent lighting, backlit print, perspex, wiring