With Fluidity is a project with Susie Pratt that consists of two parts: an audio walk and an artists’ book, which examine the tensions between Ōtākaro/Avon River as a founding icon of Christchurch city, and as a major contributor to the city’s destruction through earthquake induced liquefaction. The project takes the constantly shifting flows of Ōtākaro/Avon River as a model to propose alternative ways of thinking about and inhabiting the city.
The audio walk invites participants to be guided along the river while listening to audio that includes found sounds, manipulated sounds and fragments of spoken text. The artists’ book poses a series of questions, “How do the river and the city choreograph each other? What turns is the city making?” and responds to these through a visual essay.
Competition entry with Freya Robinson, Vivienne La and Nick Rebstadt.
Acoustics consultant: Dan Griffin, textiles consultant: Lijing Wang.
Finalist RMIT Meeting Pavilions competition.
A.ジュド6 formalises ideas of meeting and collaborative production through the layering of gridded surfaces to produce moiré effects. Both creative conversation and the moiré are emergent conditions dependent on dynamic material and interpersonal relationships. The geometries of the space are developed by analysing movement, rhythm and gesture, a process inspired by ‘kata’, a Japanese term for detailed choreographic sequences. The reticulated textile suspended within the structure advocates ideas of openness and collaboration, also permitting sight-lines into the space.
‘Interior Turbulence and the Thresholding of Atmospheres’, my paper on the installation project Cloud Sound has been published in the Interstices issue ‘Atmospheres and Affect’ edited by Andrew Douglas. The full paper is available here.
Abstract: Turbulence, understood as a disruptive process of coming together, offers a productive metaphor for making sense of the complex dynamics involved in the formation and design of atmospheres. This paper extends the idea of turbulence to spatial, material, experiential and disciplinary registers, and examines the varied and sometimes contradictory forces that exist between them, with reference to an architectural installation project, Cloud Sound.
An understanding of atmospheres as always in negotiation across a region of turbulence, rather than a static well-defined boundary, is developed. Cloud Sound sustains this uncertainty by keeping things unfixed and in play, part of an active process that I call thresholding. This concept is supported by a discussion of the ambiguity of atmospheres and how they disrupt distinctions between organisms and their environments, something that has implications for expanded disciplinary practises.
While at a recent research workshop hosted by Lyndall Jones at the Avoca Project, Mick Douglas, Scott Andrew Elliott and I took some time to attune to the qualities of things around, some brought, some found. We improvised and played with material relationships based on qualities present and anticipated. A short film was recorded by a digital camera precariously suspended from a tree branch. Edited video coming soon.
INDEX, the RMIT Interior Design graduate exhibition, celebrated the work of the program’s graduating students with an opening event and exhibition in the Weylandts furniture warehouse in Abbotsford. The event is the culmination of a year of hard work planning, fundraising, designing and making by the graduating class and their tutors. I coordinated the year’s activites and was lucky enough to work with Pandarosa who took care of the identity, publication and environmental graphics, as well as with Rob Sowter, Nick Visser, Linda Hum and Rohan Bevan who greatly assisted the student group with the exhibition build.
I have been invited to judge the Melbourne/Victoria regional finals for the national architecture student competition SuperStudio. Students across Australia will be issued a brief on Friday night and have 24 hours to develop a idea-led design response. More details on the SONA website.
With this experimental writing project we are trying to write between, and around, and extend, an idea of tentativeness, and develop this experience through writing and reading. We are doing this by writing together, either simultaneously into the same document, or cutting and editing two separate texts together using a variety of strategies. These texts are then re-worked and re-edited to draw out new and unexpected concepts, and to creatively generate uncertainty.
Over the ANZAC weekend, Australasian members of the Immediations research project gathered together in Melbourne for three days of experimentation and discussion. Knotty problems such as “How to amplify and expand in order to slow down?” and “How to pass on an act of listening?” were workshopped through practical experimentation and improvisation.
Electronics, software, air and breath. Visualisation programming by Jeff Hannam.
Exhibited in the group show THISNESS.
BUS Projects, Melbourne.
April 9 – 26, 2014
Inspired by the experience of exhalations being made visible in the cold, dry, wintertime air before dissipating into the wider atmosphere, this project uses breath as a way to understand the reciprocal relationships present in the making of oneself through and with the environment. Breath Clouds makes perceptible flows and exchanges of energy, using aural and visual responses to set up feedback loops between our individual presence and the atmosphere of the gallery space.
My paper “Atmospheric—Making” has been accepted for the upcoming Transdisciplinary Imaging Conference “Cloud and Molecular Aesthetics” which is to be held in Istanbul, Turkey from June 26–28. Further details are available here.
Taking turbulence as both conceptual driver and organisational strategy, this paper gathers together recent drawing, installation and performative works, and examines the dynamics of this collection, drawing out and articulating the forces at play. Turbulence is understood as forceful and transformative, occurring in the space between, and as a result of, dramatic changes in atmospheric pressure. Projects are developed through an experimental practice of “atmospheric–making,” accreting particles across a range of scales to the point that these individual constituents become subsumed within a larger atmospheric condition. This two-way dynamic between the particular and the atmospheric seeks points of tension, where new qualities emerge from the interplay between particles and systems.
Three modes of crossing–between the particular and the atmospheric will be discussed. The first is developing relations between material and immaterial media to inhabit a threshold position between these two. Secondly, these (im)materials are used to activate spaces of betweenness, drawing attention to these liminal zones. The final crossing–between aims to disrupt a clear and defined epistemology, instead privileging an approach that embraces uncertainty, vagueness and changefulness.
These approaches question the idea of a defined and knowable world that is able to be captured through representational techniques. In its place it suggests a bodily process of figuring out, requiring immersion and active participation in making sense of atmospheric conditions. This bodily engagement results in the blurring of a distinct sense of self, and challenges participants to take part in a process of co-formation between environmental surrounds and distributed presence.