Digital Proposal 2020

Working title: Eavedropper

Inital testing

Testing stills

Eavesdropper is an audio-visual ecological expedition through the Botanic Gardens of Melbourne a journey to both see and hear 7-10 of Melbourne’Fungal Species. Currently proposed to be designed as an augmented reality and spatial audio work downloadable as an app for mobile devices, it will both function as a site-specific public artwork and a digital archive of these species, accessible by anyone. Inspired by ecological science-fiction and scientific research, ‘Eavesdropper’ aims to slow things down through immersive AR installations that use technology to foster attention rather than to distract. Using tools and platforms from a range of fields including video games, computer generated images and film.

Rumours 2019

Companionships not for a herd
Laminated Newspaper Clipping, ink jet print, cartoon
55x 75cm

Companionships not for a herd, collages three archived elements which speak to discrete infiltrations of social and economic structures. The first an illegitimate newspaper clipping features an overheard rumour detailing the theft of a family’s dead dog in a suitcase, mistaken for DJ equipment, at Flinders street station. Second a photo, taken by the artist, documenting a Chisenhale Gallery attendant removing a donor’s name off the vinyl ‘friends list’ advertised to visitors at the gallery’s entrance, indicating the withdrawal of funding and documenting the end of a relationship. The final element a hand drawn cartoon conjures up a relationship usually associated with a type of shiny opportunity which is ‘too good to be true’ complete with a gross power imbalance the type of relationship which makes you feel both envious and scandalised.

Melbourne’s 10 highest-earning speed camera locations
Laminated Newspaper Clipping, eleven fully used coffee loyalty cards
55x 75cm

Melbourne’s highest-earning speed camera locations, collages archived elements which speak to discrete infiltrations of social and economic structures. The first an illegitimate newspaper clipping made to spread the rumour that the City of Melbourne doesn’t host the yearly Formula 1 race to make money off the race weekend itself but in order to cash in on the speeding fines the race inspires in the area throughout the rest of the year . The eleven coffee loyalty cards continue the same line of ‘customer loyalty' as regular speeding offenders , caffeine & speeding, through the universal loyalty cards offered at most cafes.

Lost and found recovery 2019
Fifteen hats were sourced, from Public Transport Victoria’s Lost and found recovery system.
Once collated the acquired hats where processed by the following experts in an attempt to gain more information and assist in finding their owner.
  1. Described by an Evidence officer, Melbourne City Police
  2. DNA tested by Dr Mike Clark and Melbourne university.
    Though only 3 hats had enough mitochondrial dna for a test
  3. Read by Asha an Object based Psychic at Spell box Melbourne on Swanston street
  4. Profiled by an infomercial sales pitch by Pip Gahah

Waiting for Tear Gas 2019
Waiting for tear gas follows a descriptive physiognomy of the first person to arrive at a riot chronicling a moment of civic solemnity, urban anxiety and carnival. Serving a counter to the serialized media coverage of these contexts and the romanticized individual figure in solidarity an anti-photojournalist approach is employed: no flash, no telephoto lens, no gas mask, no auto-focus, no press pass and no pressure to grab the one defining image of dramatic violence. Instead this violence is a fleeting hallucination of sound as the blast of stun grenades and tear gas canisters reverberate. These charted fragments have had contextual landmarks and excess information removed so that collectively the film might extend beyond its location in this an era of mass social movements.

How does one negotiate the boundary between participant and spectator? How is one conscious of being a ‘performer?’ To what extent are the police encountered as a force or as individual people with their own mix of adrenaline and nervousness that quite likely mimics that of individual protesters? And, amidst the drama, fear, and energy of a riot, how does the ordinary lurk just beneath the surface?

Installation View, Margaret Lawrence Gallery