Raster 2019, Single Channel video, loop. Coded with Processing.
Exhibited at No Vacancy Gallery, Melbourne, Feb 2019.
Photographs were once recognized as the epitome of truth. Now photographic information can be manipulated via software to create images that can be an indistinguishable simulation. Raster considers the malleability of the electronic image by transforming the pixel information of an AI generated photograph of a human into flowing abstraction. The work explores how our experience of the world is increasingly based on potentially manipulated information via images, through screens and virtual media rather than tangible reality.
Flow 2018, interactive web project
Exhibited at QueerTech.io Midsumma, Melbourne, January 2019.
Flow is an interactive web project that explores the fluid malleability of the electronic image by transforming the homogeneous generality of the digital screen into flowing abstraction. The work captures the image of the viewer and then deforms it using physics modeling of fluid mechanics. Through this project I was interested in queering the photographic medium by distorting the camera’s visual taxonomies through which people are recognized and regulated into abstraction that can be manifested without recourse to the representation of bodies.
Interact wth Flow here
Proof, 2018, interactive projection installation.
Exhibited at West Projections, Footscray, August 2018.
Proof considers the malleability of the electronic image by creating images of viewers that emerge out of clouds of random data noise. The work explores how our experience of the world is increasingly based on potentially manipulated information via images, through screens and virtual media rather than tangible reality. We are currently in a period of transition from print-based media which was knowledge delivered in a fixed, stable format to a virtual malleable form. As we become more seduced by the screen and its endlessly transformable content, we seem to be entering into a confusing battle between opposing forces of truth vs. falsehood. How can we know what is true?
Presence/Absence 2017, interactive installation
Exhibited at the 2017 Bachelor of Arts (Fine Art) Graduate Exhibition.
This video installation examines human-machine interaction by projecting computer generated silhouettes of the viewer's body. The shadow of the viewer is captured with infrared cameras using motion detection, processed in Max/MSP and then projection mapped onto acrylic panels. The work explores how these shadow representations are predicated on their physical relation to the material world, yet through projection, the image as index is transformed into illusion.
Portal 2017, projection mapped video installation, colour high definition video, loop
This site responsive work was inspired by an article that described how chromakey technology—and the technology of film and video production—create portals through which the viewer can literally travel in time and space. The video installation activates the blue screen by projection mapping a video to the curved backdrop surface. The installation becomes a portal to a composited video image of an oceanscape, and then returns the viewer to the studio. Shot on location at Point Addis on the Great Ocean Road.
Homage 2017, three channel video installation, colour high definition video, loop
This installation was a homage of Diana Thater’s Oo Fifi, Five Days in Claude Monet’s Garden. I used three projectors to split the video into separate channels of Red, Green, and Blue. The channels were projected off-registration, resulting in vibrant abstraction.
Paradox, 2017, four channel video installation, colour high definition video, loop.
Exhibited in the 2Q18 group show at Testing Grounds, Melbourne, February 2018.
Paradox is a four channel video installation that explores the malleability of the electronic image and its effect on photographic veracity.
Spectres, 2016, colour high definition video, loop
Exhibited in the Between Realms Group Show at First Site Gallery, Melbourne, March 2017.
In the last twenty years, there have been major technological revolutions within photography. Due to the increase in accessibility and usage of contemporary technology, photographs have now dematerialized from objects to digital information in which the image is reconstructed onto the screen. Spectres explores how we are interacting with the screen and the immateriality of the digital image itself.