Orally transmitted paintings inspired by censored Greek music from the 19th century.
Accompined by 3 vocal pieces - Jail 3:22min, Lament 4:01min, Tavern 3.42min
Throw me in, 2017, Acrylic on canvas (1800x2350mm)
When a human is born, 2017, Acrylic on canvas (1600x2500mm)
More oil, 2017, Acrylic on canvas (1800x2500mm)
Future Ancestors - 2017 Paris - plaster, 15 x 25cm
A poetic gesture attempting to speak to the future through sculpture as a time capsule. This work opens a portal to the concept that a future’s understanding of reality can manifest itself in present action.
Going beyond the borders of time and knowledge, communication can be instilled in an object, creating a way point between the self and future ancestors.
A Life in Titles (Card Deck) 16/30 - 2017, 7x15cm, Paris - Ink on card.
A collection of covers for books masquerading as tools of divination.
Metah - 2017 Paris, film stills - 4.13 mins
How does a human being reintegrate into society after an emotional impact, emergency
or personal crisis?
Filmed by James Watkins
Ghost Potential, 2017, ceramics 150 kilos, various sizes, Calais, France.
This sculptural work addresses the lethal nature of ghost-nets in the ocean (nets disgarded by
fisherman that capture sea life) and the entanglement of refugees caught in geo-political networks and
This piece, performed in Calais to mirror the current issues facing refugee's on Manus Island, is made up
from 150 kilos of ceramic rings and functions as a performance, sculptural, photographic and audio work.
Illegal Hits, 2017 performance with Rioko Tega, Black Cat Gallery, Melbourne
Combining illegal moves in wrestling and mixed martial arts with illegal songs from Greece and Japan.
Where I stand in Paint Today 1, 2017 - Paris, charcoal and coffee on bed sheet - (114x150cm)
Where I Stand in Paint Today 2 , 2017 - Paris, charcoal on canvas bed
Where I Stand in Paint Today 3, 2017 - Paris, charcoal on bed sheet.
Underneath these impulsive charcoal drawings taken from life, are elaborate oil paintings in conflict with themselves imbued with too much attention to visual resolution.
To confront the myth of originality in contemporary painting, I’ve covered the works in my bed sheets and offered this response.
They are self portraits in the form of my immediate peers; my goal is not to show what could be considered my conventionally strongest work, but my strongest questions.
S O A P, 2017, Paris film stills 03.02 mins
A film about the dilemmas and paradoxes facing the way we kill time, in an age of limitless cultural apocalypses and the beauty and horror in the romanticisation of self and nature.
Practice should get me there, 2017, Tarraleah, Tasmania, 50 mins. Photo stills.
Set in an abandoned hydro electric town, the musicians were placed in different rooms in a cottage. The musicians were instructed not to musically respond to each other but to focus solely on the space they were in and their process. Only the audience could hear the accidental unity and interactions of the sounds made.
The Negative Space of Interpretation, 2017, Paris, performance stills.
Vocal Work for 5 Non-Singers
The Negative Space of Interpretation is a remediating of information, an exercise in surviving interpretation and producing it anew; embodying the relation between us and our environment and how we can make better sense of it by filtering, digesting and remixing.
The symbols of the score were constructed from the negative space found in the letters of ‘La Femme Roque’ a French novel by Simone de Beauvoir. With a group of people who don’t identify as singers, the work requires the performers to step into a previously unoccupied space utilising gesture, listening and trust where we encounter a re-skilling of the performers in real-time. The action transforms the idea of the singer versus the non-singer and redistributes the way sound and language is communicated.
11 years, 2016, Salt Museum, Istanbul, Turkey, 11 hours, live stream stills.
A performance exploring the nature of intimacy and distance, how sound and music act as currencies and how the medium of exchange between two improvisers replicates a long-term
The space occupied by the performers represents possibility and the table at which they sit symbolises the everyday objects that witness and facilitate communion.
Each hour of the performance portrays a year. Their 11 hour endurance narrates the commitment needed to sustain any union. Over time, through an accumulation of exchanges the environment gradually responds and transforms their connection.
Traces, 2017, Sydney, film stills 12.01 mins
Traces is inspired by Cathy Milliken's piece Memorial/Traces, 2012. A class of 8-10 year olds from Currambena Primary in Sydney silently interpret a series of graphic cards. Asking to be seen as they are, mapping out a trace of their selves through silent expression.
Where Symbols Lie, 2017, sculpture, polyester/wool on found objects
If society can so easily discard the objects that were looted and taken from colonial strong holds then it can do the same with members of society?