Grasping Light is a work in two parts; a laser on paper drawing and a video that documents how the drawing was made. On another level Grasping Light is an attempt to understand all of the materials involved in producing the work as a whole. Continue reading Grasping Light (2016)
This show at 55 Sydenham Rd was joint effort between myself Paul Greedy and Sean O’Connell. It was really great working with Sean and Paul on this and I think we ended up creating something together that was a little more than the sum of its parts.
My work for this show was created by burning paper directly with a laser. The paper is attached to a motor that spins it at a variety of speeds. The laser tracks slowly across the spinning paper to create the spiral form. You can see the process that produced these works in the video Grasping Light. The patterns that you see in the smaller works are produced by programing acceleration and deceleration into the rotation of the paper. The patterns emerge at certain speeds and are not something that I’m controlling directly. Its more about dialing in on particular speeds where I find something interesting happening. The laser dot has to be slightly out of focus for these patterns to emerge. I use simple code to program the speed variations. Each new drawing involves slight tweaks to the code that I’ve used to create the previous drawings.
Sean’s work for this show was a bunch of light boxes and prints that he created by placing objects on various types of film and blasting them with high voltage electricity. Here are a few shots of Sean’s light boxes
Paul’s work was this resonating instrument/installation. He pumped tones into the wires that were then amplified and fed back into the space. The copper pipe acted as a resonator. The volume rose and fell in a beautiful and unpredictable way.
Installation shots from the exhibition Standing Wave, October 2015. These works have been produced using a custom built drawing machine and a 445nm laser. Continue reading Standing Wave (2015)
This video was created by placing laser cut black paper over an LCD screen. This obscures most of the image allowing only 18 intermittent lines of pixels to shine through. This work was shown in darkened space. This allowed for the highest level of contrast between the illuminated pixels and the black paper covering the screen. If you saw this work when it was exhibited you would have experienced true black, something that is impossible to reproduce on any monitors or projector that you might use to view the documentation of this work in the video below. Continue reading In Flames: Windy Chaos (2015)
I’ve been drawing with a laser since the beginning of the year and all the work in this exhibition was produced, in one way or another, using a 445nm laser. 445nm is the frequency of light and, as you can see in the video below, it is in the blue part of the visible spectrum. Continue reading Wave Form (2015)
Moments of force is part of the Dimensions of line series of works and is the overarching title for works created through various interfaces that allow me to directly control a robotic drawing machine. This work was originally shown as part of Primavera 2014 (curated by Mikala Dwyer) at the Museum of Contemporary Art, Sydney.
Continue reading Moments of force (2014)
Documentation of the exhibition Dimensions of line: IOU in material thought (2014). This exhibition included a series of drawings, a light projection work and a camera obscura effect created by laser cut slits in the black-out material used in the windows of the space. The effect was particularly pronounced when the sun was hitting the passing cars on Abercrombie street in front of the gallery. Continue reading IOU in material thought (2014)
In this series of works I am attempting to write two different letters by pulling and releasing strings attached to each of the four limbs. This work began with the idea of becoming a kind of mark making marionette and then went through a series of permutations that made the human puppet associations less important. Continue reading Pulling Strings (2004-2006)
This work followed on from the Pulling strings series of works. After dealing with large pieces of canvas, huge amount string and a rather complex install I wanted to simplify things. Continue reading No strings (2007)
I conceived on this work after contingencies of travel led me to eat a custard apple with chopsticks in a public plaza. What started as an act born of necessity turned into an impromptu and undocumented art action. It was just odd enough to arouse the curiosity of passersby but not so strange that it was obviously some kind of performance. When I got back to my room I took out the chopsticks and reflected on the curiosity that the eating of the custard apple had aroused. I was thinking about a biological imperative for curiosity around food and how we eat. I then had the thought that if the chopsticks were pens I could try to write four different letters simultaneously. Continue reading The Chopstick Technique (2002-2011)