Wild Atlantic Way
2021
Photographs, video, sound, family archive material.

Made for Photo2021.
Exhibited at SEVENTH, New Photographers, February 25 - March 13.

The Cliffs of Moher are located on Ireland’s west coast in Co. Clare and extend for around 14 kilometers on the edge of the Burren region.

As a first-generation Australian and someone who spent part of their childhood living in Ireland, I have never really felt at home in Australia.

In this artwork I respond to the unfortunate low quality images that I was able to capture upon my last visit to the Cliffs with my partner in 2019. The images did not capture the magnitude of that environment and location. In the improvised sonic response I wanted to try and emulate the intensity of the location and the event of being there with the one that I love. This reminded me of photographs of my parents in the same location as young lovers in 1971. These family archive photographs are also included in the work.

Quantum Art Space: Event Potential in Practice, 2019.
PhD Project
Video projections, sound.

Quantum Art Space is the exhibited final artwork from my PhD project. The exhibition was held at Magnet Spatial Studio in Melbourne in October 2019.

Quantum Art Space: Event Potential in Practice investigates how a practice-led arts inquiry might productively correlate the understandings of quantum as the basis of scenarios for making and viewing creative arts experiments.

Using lens-based explorations of photography and video along with performance, sound, and observational recordings, this practice-led research project draws upon, extracts and operationalizes ideas and applications of quantum deploying a combination of (concepts, descriptions of physical events from) quantum mechanics, philosophy, and visual art theory to create new knowledge regarding the actualities of events within artworks and the creative process. Rather than merely redeploying quantum to describe art-making, this research seeks to directly rethink a practice of art making through the logic of quantum and puts to the test how some key concepts of quantum might open up new ways of thinking through the making of art. Quantum is called upon to press both the artist and the art making project to behave differently, and further, to rethink the practice from the event to the reception of that practice.

The practice-led investigation finds the potential of visual material and attempts to re-consider the experience of making through the reflective (creative practice and speculative process) quantum theory. For example, the key quantum concepts, such as the frames of entanglement and formlessness, underpin this practice-led research and press us to think systematically. This has become paramount within the practice-led component of this PhD project. The project uses quantum as an active participant that provides triggers to prompt ideas within the exchange between an artwork and the viewer and not as a fixed quantifiable moment.

This research examines where and how the fields of quantum, philosophy of event and visual arts, intersect and work together, offering a new quantum focus throughout the creative process by directly addressing and deploying the actualities of interactions between processes and events for creative ends.

Appropriation Prompt, 2017

Giclee prints, 100cm x 50cm.

Exhibited at Sally Walker Project Space, in Art and Performance by Research, Deakin University, Geelong, VIC.

The Appropriation Prompt series investigates lines of logic. Inspired by Reichenbach’s Principle of Abstraction (1957), it features the transformation of individual abstractions collectively forming a new whole, representing not only a transference of visual characteristics but also of energy, and this energy can be characteristic of a system. 

Lines of Quantum Potential (2017)

This exploration combines visual investigations from two separate trials in an attempt to identify potential for emergence, transformation and many worlds within imagery.
The initial collections of material were developed to explore hidden variables and effects of observation individually.

Dissonant Counterpoint(ed) (2016)

Video and audio (10 minutes), 2016.

Exhibited Carlton Club, Melbourne in Five Rooms, 2016.

In attempting to define Quantum as a field space for studying visual arts there are issues with regards to macro and micro variables and the inexactness of measurement to explore these counterpoints.

Through abstract logical procedures a Dissonant Counterpoint can be explored: If combinations of stimuli are harmonious, will we choose to devote attention to them in a different manner to combinations that are dissonant, and at what point is dissonance not harmonious?

Emergence : Inference, 2015 (excerpt)

Video and audio, 25 minutes.
Looped projection.

Honours project.

Abstract:

Emergence : Inference (E : I) is an abstract photographic composition with an accompanying soundscape that is specifically designed to allow the viewer to experience the sensitivity of visual perception and how this affects us emotionally. Showing a series of photographs taken on 35mm film, a piece of textured glass slowly changes in hue, luminosity and definition over twenty five minutes.

The underlying issues presented within E : I focus around vision: how we consider what we see, and how what we see affects us as an experience. E : I activates our perceived visual sensitivity not only through encounters with light and illusions created by light and colour, but also by challenging our recognitions and attentiveness in an attempt to stimulate our consciousness.

Experiments with slide film and gummi bears.