Spectral Values

This series of drawings takes a diagrammatically creative approach to understanding the economic theories and personalities at the centre of the Global Financial Crisis. Mimicking the form of US currency, the work removes labels from common economic diagrams and portrays financial titans in repose as a way to express a personal and ambivalent experience of contemporary capitalism.

Animal Spirits

Animal Spirits is multi-channel video portrait of key personalities involved in the Global Financial Crisis. The four-screen installation displays these twelve decapitated apostles of free-market economic theory in a tableau of droning pontification. Trapped in a purgatorial loop, they endlessly spout vague and obfuscating explanations and defenses of their ideologies and (in)actions. The work takes a creatively quotidian approach to understanding the language of economics and the financial services industry. Through its endless loop of sound, image, and spoken text, the installation examines some of the ideas, narratives and power dynamics that foster and reward hubris and greed.

Kafka on the Shore

Kafka On The Shore consists of three simple concrete letterforms floating on a gallery wall. Reminiscent of minimalist sculpture, the mathematical expression of the letterforms states that ‘r’ is greater than ‘g’. Despite this material simplicity, the solemn presentation of the formula suggests a sense of foreboding, a quiet menace. The work was created as a response to the economic theories of Thomas Piketty presented in his book Capital in the Twenty-First Century. The primary finding of Piketty’s data-driven research is the formula presented by the work; that historically, wealth and inequity both flourish when the rate of return on capital (r) is greater than the rate of economic growth (g). With this simple mathematical summary the book acts as a sobering indictment on the present state of economic inequality.

Trickle Down

This work expresses the complicated and cyclical sense of economic aspiration and ambivalence so prevalent in the lived experience of contemporary capitalism. The three-channel video animation depicts a single US dollar bill falling in a dark void-space. These fragments of negotiable value, evidence of a laborious hand-drawn process, tumble in slow-motion into and out of each video frame, towards an unseen ground and uncertain future, acting as an elegiac expression of a deep sense of economic precarity.

Dialog

This work, commissioned by Campbelltown Arts Centre, was created as part of an online residency in Western Sydney. The residency took the form of an online survey of students in Western Sydney schools that queried participants on their favourite moments, characters and dialogue from film and television. Using this information as a starting point, the work used appropriated footage to weave together a 6-way cross-screen conversation. Spouting occasionally recognizable phrases that then devolve into meaningless cliché, the narrative content of this fragmented back-and-forth hovers somewhere in between familiarity and non-sense.

Every face on Vanity Fair’s Hollywood covers 1995-2008

‘Every face on Vanity Fair’s Hollywood covers 1995-2008’ renders an ethnographic-like study of Hollywood celebrity as a cinematic experience. Viewers are presented with constantly mutating portraits that violently twist and shear into other faces, while an immersive soundscape echoes the turbulent painterly surface. Through technical processes of scaling, looping and image morphing; the work explores a positive affectual response to the seductive power of celebrity imagery. Conceptually, given Vanity Fair magazine’s prestigious stature, the work also performs an ethnographic-mapping of the popularity of Hollywood stars over time, while at the same time creating in-between, ‘mutant’ versions of their visages. The installation explores the potential for fan-based responses to pop culture to lead to artworks that enable a more critical response to the subjective and intersubjective dynamics of celebrity portraiture. Questions are raised about how these cultural forms impact pop culture fans, and their role in the mapping of culture and social experience.

Conditions of Compromise and Failure (The Dickensian Aspect)

‘Conditions of Compromise and Failure (The Dickensian Aspect)' acts as a re-enactment of the common trope of television detective dramas. A result of the artist’s repeated immersions in the television program ‘The Wire’, the work forms a node-map of all the named characters featured on the show. While each coloured thread represents and connects together the Byzantine narrative between all of the characters, the sheer mass of connections obfuscates any clear reading at all.

Untitled (after Steven and John)

'Untitled (after Steven and John)' takes inspiration from Spielbergian tracking shots and Baldessarian collages to create ghostly apparitions that explore the affective power of the cinematic close up. By appropriating and obfuscating this common filmic convention, the work investigates the intersubjective potential of the moving image.

A stunning experience

‘A Stunning Experience’ pits Oprah Winfrey and David Letterman against each other in an infinite interview. Through simple editing and compositing, both parties are rendered mute, positioned at either edge of a black void. The interviewer/interviewee dynamic is playfully reconfigured into an awkward exchange comprised entirely of blinks, breaths and head-nods. Accompanied by the sound of a curious and whispering studio audience, this wordless clash between the two talk show titans becomes emblematic of their infamous sixteen-year feud. The quasi-staring contest upends the cult of personality surrounding these iconic television hosts, while also creating and proposing a space for reflection upon the experiential and even meditative potential of watching television.

The digital-bricoleur: Contemporary screen-based visual art practices

This paper describes a practice-led methodology that combines contemporary art theory and processes, as well as concepts of fan studies to construct a space for the critical and creative exploration of screen culture. The research promotes new possibilities for purposeful creative engagements with the screen, framed through the lens of what I term the digital-bricoleur. This performative, link-making approach documents the complicit tendencies that arise out of my affective relationship with screen culture, mapping out a cultural terrain in which I can creatively and critically ‘play’. The creative exploitation of this improvisational and aleatory activity then forms the creative research outputs. It appropriates and reconfigures content from screen culture, creating digital video installations aimed at engendering new experiences and critical interpretations of screen culture.

Unthinkable

'Unthinkable' is an installation comprising drawings and fabric works, which were placed onto a large-scale wall painting. This work engages with the gender politics of art criticism through strategies of redrawing, in particular the commentary that Helen Frankenthaler's painting practice was 'unthinkable' without Jackson Pollock. 'Unthinkable' was developed and presented as part of BEAF 2013: Brisbane Experimental Art Festival, curated by Rachael Parsons and Stephen Russell, held at the Judith Wright Centre of Contemporary Arts.

Warning constraint limit experience

'Warning constraint limit experience' is an installation comprising drawings, a large scale fabric work, and a performative video. This work explores the performative act of drawing and the limits of language and subjectivity. The fabric work acts as a bodily extension that both facilitates and constrains movement during the drawing process and operates as a provisional structure for viewing the work in the gallery. This work was developed and presented at The Lock-Up Cultural Centre, Newcastle NSW in 2011 and revised for the solo exhibition ‘I build my dwelling’, held at Metro Arts in 2012.

Language is, language is not

‘Language is, Language is not’ is an installation comprising wall drawings, a fabric drawing prosthetic, performance and digital video. This work investigates ‘redrawing’ as a revisionist feminist strategy, taking as it’s starting point Mel Bochner’s work ‘Language is not Transparent’ (1970). 'Language is, Language is not' functions as both homage and critique, drawing on the legacy of conceptual art and questioning the engendering of language that it implies. This work was developed and presented for Bus Projects, Melbourne in 2012, and subsequent versions exhibited at Screen Space, Melbourne and Metro Arts Galleries, Brisbane.

Scopophobia/Scopophilia: electric light and the anxiety of the gaze in postwar American architecture

In the years of reconstruction and economic boom that followed the Second World War, the domestic sphere encountered new expectations regarding social behaviour, modes of living, and forms of dwelling. This book brings together an international group of scholars from architecture, design, urban planning, and interior design to reappraise mid-twentieth century modern life, offering a timely reassessment of culture and the economic and political effects on civilian life. This collection contains essays that examine the material of art, objects, and spaces in the context of practices of dwelling over the long span of the postwar period. It asks what role material objects, interior spaces, and architecture played in quelling or fanning the anxieties of modernism’s ordinary denizens, and how this role informs their legacy today. Table of Contents [Book] Introduction Robin Schuldenfrei Part 1: Psychological Constructions: Anxiety of Isolation and Exposure 1. Taking Comfort in the Age of Anxiety: Eero Saarinen’s Womb Chair Cammie McAtee 2. The Future is Possibly Past: The Anxious Spaces of Gaetano Pesce Jane Pavitt 3. Scopophobia/Scopophilia: Electric Light and the Anxiety of the Gaze in American Postwar Domestic Architecture Margaret Petty Part 2: Ideological Objects: Design and Representation 4. The Allegory of the Socialist Lifestyle: The Czechoslovak Pavilion at the Brussels Expo, its Gold Medal and the Politburo Ana Miljacki 5. Assimilating Unease: Moholy-Nagy and the Wartime-Postwar Bauhaus in Chicago Robin Schuldenfrei 6. The Anxieties of Autonomy: Peter Eisenman from Cambridge to House VI Sean Keller Part 3: Societies of Consumers: Materialist Ideologies and Postwar Goods 7. "But a home is not a laboratory": The Anxieties of Designing for the Socialist Home in the German Democratic Republic 1950—1965 Katharina Pfützner 8. Architect-designed Interiors for a Culturally Progressive Upper-Middle Class: The Implicit Political Presence of Knoll International in Belgium Fredie Floré 9. Domestic Environment: Italian Neo-Avant-Garde Design and the Politics of Post-Materialism Mary Louise Lobsinger Part 4: Class Concerns and Conflict: Dwelling and Politics 10. Dirt and Disorder: Taste and Anxiety in the Working Class Home Christine Atha 11. Upper West Side Stories: Race, Liberalism, and Narratives of Urban Renewal in Postwar New York Jennifer Hock 12. Pawns or Prophets? Postwar Architects and Utopian Designs for Southern Italy Anne Parmly Toxey. Coda: From Homelessness to Homelessness David Crowley