Lead, thread, printed card, sunlight and audio.
3 x 5.5 x 2m approx
shown at Phatspace ARI, Sydney, Australia.
data_cloud makes tangible a bodily relationship to data’s cloudy characteristics: indeterminacy, vastness, plurality, obscurity, lightness and ephemerality. It also alludes to the formal systems that underpin the construction and collection of data. It examines the interplay between the system and its mobile content.
The work posits that the system of weather data collection is not one of abstraction (leading to an understanding of clouds and their operations) but one of substitution. The collection of data mirrors the sky above and replaces one dynamic ephemeral condition with another; data is also boundless and immaterial.
Constructed computer gaming environment with dolby 5.1 sound.
digital documentation 2 minutes
performance duration 11 minutes
performed using two computers, video and audio mixers as part of the Version experimental media festival, Auckland, New Zealand.
Performance assisted by Ben Stevens.
Points of reference include string theory, the music of the spheres and the Eames’ film, Powers of Ten for this digital environmental work. Originally completed using a modified computer gaming engine to create an environment that treated sound in the manner of architectural detail, this project was re-worked as a performance piece allowing for a real-time filmic experience of the project.
Embossed paper construction, light, audio.
3.2 x 4.3 x 2.5m approx.
shown at Canary Gallery, Auckland, New Zealand.
This installation sought to take the ephemeral atmospheric condition of a white out and to articulate its spatiality via the discipline of architecture. Its seemingly limitless condition becomes a failed geodesic construction, crystalline in appearance.
In a white out, the entire visual field is overwhelmed by whiteness via a process of light/information being diffused through each particle of water vapour. This denies a perspectival understanding of space and flattens depth-perception to an all-over field. Diffusion creates an over-presencing of information and a seeming blankness, yet one full of encoded meaning. The blankness of the white-out, threatening in the natural environment, in the gallery context becomes a space of potential where the magical and meditative can exist.
The overwhelming quantity of coded information and a concern for non-visual modes of navigation introduced the subtle manipulation of surface through repeated embossings of axonometric details taken from the site. A real-time sound piece took noises from in and around the gallery and manipulated them into an aural field of site specific textural “noise”.
Mixed media/digital video.
2 minutes 50s
shown in Viewfinder, Auckland Public Library/New Zealand Film Archive.
April – May 2006
now in the collection of the New Zealand Film Archive.
This video piece documents an architectural project concerned with repetition, subtle variation, memory and the body as a measure of space. Plans and sections are moved across, giving a partial experience of the space. The multiple screens act to highlight similarities and underscore differences. Materiality and inhabitation is suggested through the use of sound.