Silver palace

Silver palace is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The exhibition examines the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context.

across the sea

'Across the sea' is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The work is informed by new wave cinema, feminist film theory and emergent ideas of a female gaze. across the sea considers both the role of the artist, as well as the auteur in cinema, to question how the outcomes differ when a female rather than a male gaze is writing, directing and filming the imagery. The screen-based installation of 'across the sea' seeks to further examine the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context. across the sea investigates the spaces that exist between the gallery and the cinema, in an effort to consider notions of femininity that exist between and throughout the varied spaces of film and art.

The knowledge: a project by Boxcopy at Post-Museum, Singapore

‘The Knowledge’ was part of the Next Wave/Asialink project 'Invisible Structures: Australian artist collectives in Tokyo, Singapore and Yogyakarta' in January 2011. For this project, Brisbane ARI Boxcopy undertook a two-week residency at Post Musuem in Singapore. In this project, the Boxcopy artists Channon Goodwin, Joseph Breikers, Timothy P Kerr, Daniel McKewen, Raymonde Rajkowski, Tim Woodward, attempted to acquire an intimate knowledge of the city of Singapore by forming a free delivery company, The Boxcopy Publics Carriage Office of Singapore (BPCOS), which provided services around the city by foot, bike and public transport. In addition to committing to memory and documenting the streets and sites of Singapore, the BPCOS team also performed tasks such as delivering goods or messages, travel a particular route or visit a site, as requested by the people of Singapore. The project comprised this process of public interaction as well as an exhibition and website.

Great expectations : a project by Boxcopy for Federation Square, Next Wave Festival 2008

Part of the Next Wave MEMBRANE Project, Great Expectations draws attention to the parallels between our expectations of art and new technology to make the world a better place. The theme of the 2008 Next Wave Festival, ‘Closer Together’, refers to the way society is ― for the better or for the worse ― becoming increasingly connected by media and communication technologies. Sceptical of the acclaimed social achievements of new technologies, Boxcopy: Contemporary Art Space, a Brisbane-based artist-run initiative, explores the futility of human activities, including art production and consumption, with a collection of works created by young and emerging Brisbane artists. Works for this project include: Early machines such as the Commodore 64 were tape-based, and hence had their games distributed on ordinary cassettes (2009) by Tim Kerr & Extra Features (2008) by Tim Woodward; Spine (2008), Joseph Briekers; Whiteout (2008), Channon Goodwin; Explosive Revelations (2008), Daniel McKewen.

Metropolis: Part I–III

Video installation, Metrolpolis: Part I-III, using 1-channel HD video with surround sound. At the end of the first decade of the twenty–first century, contemporary culture appears increasingly seduced and absorbed by apocalyptic reveries. Scientists are racing to cryo-preserve genetic material from animals and plant matter in underground bunkers, while filmmakers use the spectacle of computer-generated imagery (CGI) to speculate on the outcomes from dramatic climate change, that we are not yet ready to confront in reality... Premier's new media art prize 2010: http://www.qagoma.qld.gov.au/exhibitions/past/2010/premier_of_queenslands_national_new_media_art_award_2010/chris_howlett

Argarmenia

ARGARMENIA consists of a series of real-time gaming environments designed over 3 months both within real and virtual environments that both challenged players’ ability to problem solve, and develop their imaginations whilst learning how to manipulate narrative structures. A post studio art project.

Actor 1 (Icecream Coles Polygon)

A sculpture made of polyurethane, epoxy resin, pigment and lacquer depicting a ice-cream melting into the form of a nine sided geometric figure.

Inner voices

Video works,paintings and photographic collages installed as part of an international group exhibition in Japan. The exhibition dealt with how women born after 1960 negotiated ideas of globalisation, feminism and identity and was accompanied by an exhibition catalogue.

The passage of indeterminacy in the intensification of being

The passage of indeterminacy in the intensification of being is a digital video projection by Daniel McKewen. The work used digital visual effects and experimentation with time-based video synchronisation to manipulate images of celebrities plundered from the internet and television. The result was a sequence of images that served as both portrait of the constructed nature of screen-based imagery, as well as portrait of the pop culture audience that consumes such constructions.

Regards, the Pit

A solo exhibition by Joseph Breikers included in the MetroArts 2011 galleries Program. The exhbition comprised a series of predominantly sculptural works that reflected the artists ongoing interest in medieval, gothic and death metal visual motifs. The exhibition thus acted as a ironic meditation on ritual, belonging and cultural identity.

I fucking love you

A solo show by Courtney Coombs held at MetroArts in Brisbane as part of the 2011 Allies Program. The exhibtion comprised a series of sculptural, photographic, text and video works that each employed motifs evocative of romantic love combined with the artist self-effacing and ambivalent relationship to the art world and its male canon. The resulting exhibition acted as a meditation of female authorship in the studio and the contradictory impulses of critique and adoration.

Future perfect

"Future Perfect" is a solo artist exhibition featuring a 9 channel video installation, which is comprised of looped computer animation projections. In the first room, the big one, there are nine projections of looped computer animations. Many of these look like representations of gallery spaces containing sculptures, including rotating interpenetrating discs, bouncing coloured coffins, and jostling cardboard cubes (the cubes are blank, then covered in drawings, then covered in photographic imagery). In one video, a man and a woman walk towards one another but never get together. In the second room, an animated video on a flatscreen suggests an origin story. The subtitles tell how, in Russia, my great-grandfather made a joke about Stalin's child bride that cost him his life. That one isn’t a loop; it has a beginning, middle, and end. Lying on the floor, in front of the video, are two slightly crumpled mural prints of photographs of the ocean. There's also a clear Perspex cloud shape on a wall. Viewers will see themselves reflected in it, as if it were a distant hovering mirage. The first room of the exhibition, where objects are set in perpetual motion, is about departure. The second room registers some sense of arrival. The future perfect implies looking back on something that hasn't happened yet; future and past are conflated and the present is somehow deferred. The future perfect combines anticipation and reflection, and it relates to my interest in combining 3-D animation with other mediums like drawing, painting, and shot video. In my work, the virtual and actual coexist in tension, just like experience and expectation in the future perfect.

Relics, 2007, in touring exhibition, Selectively Revealed, 2012

“Selectively Revealed investigates the blurry line between the public and the private in artistic practice. The artist is presented as voyeur, muse, subject, performer and social commentator. Using a variety of screen based practices, each artist pushes and pulls at the notion of what is private and what is public, choosing precisely what, when, how or when not to reveal their subjects or themselves. Ultimately, everything is presented for scrutiny; an innermost feeling, a personal moment, a fear or failure, an everyday encounter, an experience of rapture, a banal endeavour. Much is revealed, celebrated and critiqued.” Sarah Bond (Asialink) and Clare Needham (Experimenta)

Collective coverings, communal skin

Collective Coverings, Communal Skin is a large-scale site-specific installation that grows with community contributions created for the 2012 Liverpool Biennial. The work involves transforming objects used in conflict (second hand hunting and camouflage t-shirts) into objects of comfort (hula hoop rag mats) . Many of the shirts were either donated or purchased from thrift stores in Los Angeles and Liverpool. With the massive help of the Liverpool community we transformed individual t-shirts through weaving them into a communal skin that covers the existing internal architecture. There was a workshop space with instruction video, inside the installation where visitors could sit and work on patchwork body-pillows. During structured workshops I talked with the community about meditating while they weave so as to contemplate the spiritual and conceptual dimension of the project. The hula-hoop weavings grew throughout the space for the duration of the 10-week Biennial. The community contributed 770 weavings. This project was funded by the Australia Council for the Arts and FACT.

Aggregate Icons/Combat Drag

A series of large-scale photographic collages and videoworks installed in the 2010 The Beauty Of Distance: Songs of Survival in a Precarious Age, Sydney Biennale Cockatoo Island, Sydney (cat.)The work addresses her ongoing interest in feminist strategies for negotiating individual and collective identities, equality,and social activism.