Sacred Plates and Cloud Paintings, 2018
Wood, unprimed canvas, seven voices, single channel audio, composition for septet choir, 240cmx180cm, 120cmx180cm.
Mould, Monument, Voice, 2018,
These works endeavour to give form to the invisible forest of the voice. A network of co-dependant structures that sing of the many voices contained within the one. Tina Stefanou creates livings sculptures and singing paintings that speak to the dissolving of the individual. The works blur, blend and provide a voice for the moment to create its own meaningful matrix. Compression, composition, construction, imprinting and poetry give form to the works. Like the mould, the voice is a material, medium and technology for remembering, labouring, transforming, and informing the social-economic landscape. Whilst the mould and voice support the gravity of the material, it also assumes its own critical and emotional significance. The sound of the human voice originated from phenomena within the landscape, signifying the mysterious undercurrents of the ways we engage with the world and with each other. Seven voices take the form of metaphorical clouds that move together and are never static. Like the plates, these temporary constellations are on the edge, ready to fall, smash and echo. The vocal clouds and the environment create reactions to trigger one another into acting out their parts in a play directed by coincidence. The artist seeks to perform cultural and imagined stories through voice, paintings, sculpture and performance, acting in unison to reflect a totality of experiential knowledge as felt through the ideas of origin and states of being-ness. The artist can never comprehend the totality of the work. She takes part in the field of tension between the visual parameters and the vocals, which allows the materials and composition to co-author the work.
Can I Bear children? 2018
Found objects, enamel, acrylic paint. various sizes, two channel audio.
A collaboration with Nicholson Street Public School, Daniel Silver and composer Joseph Franklin.
Transported into the exhibition space these childhood relics act as questions marks. The objects are not limited to themselves but to space and time. Once a sound is made it is never unmade - it ripples infinitely. Like the materials that form a bigger narrative, the components are orchestrated to decompose at different rates - the child, the rock, the cardboard, the wire - all move with us and beyond us in this living morphology of beingness. Not seeking to resolve or produce, Can I Bear Children? explores fluctuations and indeterminate factors of being in time as felt through the artist’s ageing female body.
Orally transmitted paintings inspired by censored Greek music from the 19th century. Accompined by 3 channel audio installation of the artist singing laments.
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)
Yia Mas, 2018, 6:33, single channel video, silent
Welcome to the family.
A mini empire of conflicting values and shared microbes, all taking a seat at the table. Each family member shares there struggle to reconcile there person-hood in the face of cultural expectations that center around identity, sexuality, immigration and survival in the modern world. The artist has used real footage and parts of the conversation to blur the line between what is said and what is meant, sharing her filter of the Greek/Australian family unit.
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.
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.
A photographic work inspired by the transitivity of memory - idea into object. A collaboration between maker and material.
Photography within the work are photos taken by Australian composer and musician Joseph Franklin and feature on his album Rites.
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.
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.
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.
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.
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.
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?
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.