Selection of video work.
More videos and experiments on my Vimeo HERE
Pistol Powder - Slow Turismo, 2017
OMM/THREES A CROWD, 2017
GIFT OF TIME, 2017
Piano captures a performance by Dr Jenny Gall on her favourite piano in her home in Watson. The video tracks her hands as they move up and down the keys, and before too long her hands begin to separate into different layers, each set running on a different timeline.
Anytime a camera captures a sequence of images and sounds, it creates an entirely new perspective that exists on its own set timeline. By manipulating the structure of how this captured moment is presented I enforce my own authority over the camera’s perspective, and present many moments at once.
Forest Study 03, 2016
Forest study 03 is the third video in a series of experiments interested in over-stabilising and manipulating footage into abstraction.
Check out Forest Study 01 here and Forest Study 02 below.
Forest Study 02, 2016
Forest Study 02 was my contribution to 'PARALLAX', a show organised by the 2016 CCAS residents at the ANU School of Art in 2016.
Running Study, 2016
Running study tracks motion as a figure runs from left to right alongside the camera. The figure spends the majority of the time stationary within the frame, while elements of the landscape come flying past, leaving trails in their wake. This work is highly influenced by the Cubist and Futurist movements, who were obsessed with the tracking and interpretation of objects in motion. In particular, Marcel Duchamp’s 1912 painting ‘Nude Descending a Staircase, No. 2’ attempts to track a figure as it moves up and down a staircase, and express this entire motion in one still frame. By manipulating actual moving pictures where we can precisely track movement over time, I hope to further examine the relationship between time, space, and presence for a contemporary audience.
Lost Canyon//Paradise, 2016
I made this video to go along with the song, which was made by my friend Julian Rouch.
Check him out here: https://soundcloud.com/jujuthejollydragon
This video samples audio from Jeff Bridges and Squarespace's 'Dreaming with Jeff'.
Ways of Seeing
John Berger’s ‘Ways Of Seeing’ is a collection of essays that were adapted from a BBC documentary of the same name. In both versions, Berger discusses the instincts and historical influences that affect our perception when we ‘see’ something. He uses many different paintings, photos, and graphics to illustrate this language of images. After studying the book I noticed how often Berger refers to film and video, and how there are a number of times that he uses image sequencing as an example to make a point. Re-watching the series convinced me of how effective video could be as a medium for expressing these ideas, but I thought they might benefit from being presented in a less laid-out, documentary style. The videos each accompany a different quote from the book, and are each attempts to present a selection of Berger's principals in a way that both outlines and embodies them.
Quote 1, 2014
"When a painting is reproduced by a film camera it inevitably becomes material for the film-maker’s argument. A film which reproduces images of a painting leads the spectator, through the painting, to the film-maker's own conclusions. The painting lends authority to the film maker... In a film the way one image follows another, their succession, constructs an argument which becomes irreversible.”
(John Berger, Ways of Seeing pg 19)
Quote 2, 2014
"The meaning of an image is changed according to what one sees immediately beside it or what comes immediately after it. Such authority as it retains, is distributed over the whole context in which it appears."
(John Berger, Ways of Seeing pg 22)
Quote 3, 2014
“The camera showed that the notion of time passing was inseparable from the experience of the visual... What you saw depended on where you were when. What you saw was relative to your position in time and space.”
(John Berger, Ways of Seeing pg 11)
When I first started out projecting my work publicly I found that the majority of it was very short, and relied heavily on the accompanying audio which often wasn't present. I made the Porridge Projections as 'pre-mixed' image sequences that combine lots of samples together to create a dense, long-form collage.
This work is a study of a wind turbine located at the Capital Wind Farm near Lake George, and is a response to the Simplex Windmill in the Australian Landmarks Gallery of the National Museum of Australia.
Presented in three separate frames, and accompanied by the constant, pulsing audio of the turbine, the viewer is encouraged to spend some intimate time with the structure.