Vending Machine, Grace Herbert and Theia Connell, for the collaborative exhibition ‘Between States’ at Watch This Space, Mpwarntwe/ Alice Springs/ 

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




‘Show Room’, Grace Herbert, Metro Arts Gallery, Brisbane, 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




2Accompanying video for the Robert Morris “L-Beam” replicas as part of the exhibition ‘Show Room’ at Metro Arts. The video contained a voiceover of the artists words with a slideshow of images, advertising the replica sculptures.

Video duration: 3 minutes



Pandemonium, Grace Herbert, for the exhibition 'Brainstorm' as part of Dark MOFO, 2016

This image shows viewers interacting with the virtual reality video work Pandemonium. The work featured eight virtual reality headsets which were all showing the same video work on a continuous loop. The six minute video was constructed from a montage of destruction seens from Hollywood distaster movies. The scenes were stretched and distorted into a 360 degree, three-dimensional sphere that positioned viewers at the centre of the scene. The work included a sound piece by Tasmanian artist, Phillipa Stafford. 

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, 1/4, Grace Herbert, 2016


One of four site-specific installations titled Billboards Detroit . This series of works included vinyl images  installed on ‘junior’ billboards around the Hamtramck area of Detroit.  The vinyl images show details of one of Detroit’s industrial zones, Poletown. Before it’s reincarnation as an industrial area, Poletown was a thriving Detroit neighbourhood. 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 awarded the land title to General Motors. The factories that were subsequently  built in this area went on to employ a maximum of 1200 individuals, and the vast majority of the inductrial zone is 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



















Mark
CARGO COLLECTIVE, INC. LOS ANGELES, CALIF. 90039—3414