The feeling

In this video, a thumping house-music track is accompanied by lines of rotating text, which resemble computer screen-savers. The text is sourced from websites offering tips for dating and seducing potential lovers. This work engages with the language of online forums. It reworks text from online advice forums and mixes them with visual codes of computer graphics. By extending on some of Nicolas Bourriaud’s ideas around ‘postproduction’ and the creative and critical strategies of ‘editing’, it offers new speculative perspectives on the relationship between screen realities, desire and romance.

Bang

In this video, a male voice performs a script combining stories sourced from an anonymous confessions website. On screen, imagery of fireworks repeats into increasingly kaleidoscopic patterns. This work engages with the relationship between screen culture and contemporary subjectivity. It contrasts private confessions with the public spectacle of fireworks to question the ways screen cultures are informing constructions of subjectivity. By extending on some of Nicolas Bourriaud’s ideas around ‘postproduction’ and the creative and critical strategies of ‘editing’, it offers a speculative understanding of the contemporary tension between public and private.

The way

In this wall-mounted sculpture, a car stereo is mounted into a photographic image of a redwood forest. It plays a sparse and evocative guitar soundtrack. The supporting cabinet is finished with timber veneer to resemble a retro home stereo or piece of designer furniture. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

The switch

In this video, text types across the screen one line at a time set to an emotive stock music soundtrack. The text combines two teen film plot descriptions into one story. This work engages with the language of Hollywood narratives. By emphasizing the potentially abstract and convoluted qualities of linguistic communication, it challenges our capacity to assimilate information into conventional narratives. It draws specific attention to the conventions of Hollywood plot development, and questions the mechanisms by which they construct and communicate meaning.

Windows

In this video, words emerge out of an abstract, ‘digital’, animated horizon line. The words are accompanied by a female voice-over who narrates a seductive relaxation and visualization activity. This work examines the nature of consciousness and identity in a contemporary context. It mixes the languages of meditation, new age philosophy and pop-psychology. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

Matter

In this video, an abstract swirling colour-field animation is accompanied by a female voice-over that describes facts and analogies about the earth, the universe and our place in it. This work engages with scientific language and the signifying processes of analogy. It questions the capacity of language to describe epic ideas like the qualities and quantities of the universe and our place in it. By emphasizing the absurdity of describing the scale and formation of the universe through analogies with the ‘everyday’, this work draws attention to the limits of verbal language and its assumed relationship to rational thought.

Peace unknown

In this freestanding sculpture, domestic ‘in-wall’ speakers are mounted in custom-built cabinets. The speakers play a calming stock music soundtrack. The cabinets are faced with photographic mural wallpaper of a stereotypical waterfall scene. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

It will be tonight

In this wall-mounted sculpture, speakers are mounted into a shelf-like object finished with timber veneer. The speakers play a corny groove stock music soundtrack. On top of the shelf sits a digital photographic image approximating a fireplace floating against a colour-gradient background. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography, digital graphics and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

Particle wave

“Particle Wave” is comprised of six lenticular panels hung in an even, horizontal sequence. Each panel alternates between two solid colour fields as you move past it. There are six colours in total, with each colour represented twice in the spectrum. From left to right, the panels move through yellow, orange, magenta, violet, blue, green and back to yellow. The work’s title refers to the two competing theories of light, which can be understood as either paradoxical or complementary. Like these theories, the experience of viewing the work catches us in a double bind. While we can orient ourselves to see solid colour fields one by one, we are never able to fully capture them all at once. In fact, it is only through our continual movement, and the subsequent transitioning of visible colours that we register the complete spectrum. Through this viewing experience, “Particle Wave” actively engages with our peripheral vision and the transitory nature of perception. It plays with the fundamental pleasures of colour and vision, and the uneasy seduction of being unable to grasp multiple phenomena simultaneously.

Hankering

As a man and woman take turns reciting their favourite simple pleasures, text fades in and out on screen. The visible words, which float against a starscape, are approximations and variations of those being spoken. As the video progresses, the voices and the correlating texts start to overlap slightly. What at first seems to be a testiment to small, saccharine satisfactions starts to become a passive-aggressive race for modest contentment. Rubbing the fine line between sweet and sour, “Hankering” plays with the indirect messages that float through our desires, relationships and the languages we use to communicate them.

Auric Variations

A female voice softly recites physical and psychological associations of aura colours. On screen, individual words fade in and out rhythmically amid a field of swirling and morphing colours. The animated words correlate with the words being spoken, but not every word is displayed, therefore enabling an alternative range of verbal associations to emerge. “Auric Variations” plays with the mix of affirmation and anxiety that can underscore contemporary subjective experiences and the new age techniques we sometimes used to understand them.

Mingling

In this video, white words and phrases fade quickly in and out amongst small bursting dots of colour. Set to an energetic, synthesised soundtrack, the animated text combines, and sometimes confuses, an internal monologue with dialogue and overheard conversations. The unfolding narrative follows an unnamed narrator through a crowded social event. By visually and textually mixing self-conscious reflections with polite conversations, “Mingling” explores the social niceties and nervous behaviours that often inform our interpersonal experiences. Through its fast-paced and disjointed rendering of verbal communication, the work playfully draws out the sometimes-awkward and uncomfortable dialogues that exist between personal and social, internal and external, imagined and actual. This work was commission by the Museum of Contemporary Art, Australia (Sydney), to celebrate the organisation’s major redevelopment and acknowledge the generosity of individuals and organisations who supported the capital project.

Outlook

This wall-mounted sculpture features eight photographic prints displayed on a computer monitor mounting system. The eight panels each swivel and articulate separately. Together, they combine to create an abstract landscape based on a desktop background image of an idyllic tropical setting. Recalling the workstation of a futures trader, logistics manager, or design guru, the screen armature draws out the simultaneously romantic and vacuous characteristics of the imagery. By combining the visual languages of both physical and on-screen desktop environments with the pictorial traditions of landscape and abstraction, this work questions how and where we deploy nature, desire and wonderment in our increasingly technologised lives.

Peter Alwast talks to Grant Stevens

This interview was published in the catalogue for Peter Alwast's solo exhibition, "Future Perfect", at the Institute of Modern Art, Brisbane, in August 2011.

Grant Stevens : Are You Upset with Me?

Grant Stevens is ambivalent. The young Brisbane artist made his name with a series of computer-generated animated-text videos that explore clichés but seem undecided as to whether they are trivial and vacuous, profound and authentic or somehow both at once. Stevens plunders mass-media sources (the familiar image repertoire dished up by Hollywood, television, pop music and the Internet) as readymade content. He explores this everyday language, sometimes for its ambiguity, but more often for its almost uncanny lucidity. Resembling meditation and relaxation guides, his recent videos beg the question: what made us so anxious? This book examines Stevens' artistic output over the first ten years of his practice. It includes essays by Mark Pennings and Chris Kraus.