Made with footage of the ground taken while climbing Ward Hill in the Orkney Islands, this video slowly tracks up the wall of the space in which it is shown. It forms a vertical section of the landscape, capturing the diversity of flora in response to altitude and the sensitivity of plant life to these conditions.
The accompanying sound is a recording of my heartbeat matched to my pulse rate while climbing, which reinforces the physicality of the work.
Series of seven digital prints.
420 x 297mm
shown at rm103 gallery, Auckland, New Zealand.
These works map the movement of weather systems across New Zealand over a one-week period. Reducing the map to sites of data collection and their readings disrupts the boundaries between geographical and meteorological readings. The landform appears cloud-like, while the atmospheric data begins to conform to a recognizable landmass.
Each image is grounded upon the International Meteorological Organization index for the numerical descriptions of weather conditions. Containing phrases such as “36: Slight or moderate drifting snow (below eye level)”, it shows the imprecision and subjectivity of this rationalist project carried to an absurd extreme.
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.