The drawer and the drawing

"The drawer and the drawing" is an installation that is a direct response to the Deakin artists books collection. Using original drawing, hand colouring, computer enhanced artwork, paper-cutouts, photographs, I created a glimpse of what the “book” tells me about the artist? I created "artworks, the books and the ephemera that was left over and behind when the “artbook” was taken away and placed in a gallery.

Dreamweavers

Dreamweavers is a touring show Curated by Simon Gregg at the Gippsland Regional Gallery, touring Nationally from 2011 until April 2013.

The exhibition explores the contemporary preoccupation for the Fantastic through a range of national and international art practices, that are united by an enduring fascination with darkness and dark places. Dreamweavers is a multi-sensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast.

Dreamweavers features the work of six artists. James Gleeson (1915-2008) was Australia’s pre-eminent Surrealist, and one of the country’s most acclaimed twentieth century artists. In his work massive, heaving and largely unidentifiable forms meld with apocalyptic skies and earth in twisted biomorphic shapes.

Souvenirs of the senses - Handdunes

This series of works "Handunes" were in response to a curatorial premise that my colleagues, Patrick West and Valerie Jeremijenko produced for a invited workshop and in tensive fabrication. The premise was to re-think the notion of the souvenir and how things are mad in a place by starting with a sensation of place and building an object (reverse engineering it) from that sensation or experience. this works against the notion of an miniature icon. these objects and documented processes were exhibited at the end of the one week intensive workshop.

SCOPE Galleries Art Award: Art Concerning Environment

Curated by Liza McCosh, a major exhibition of pre-selected artwork that includes painting, drawing and sculpture. The exhibition included fifty five preselected artists/artworks from across Australia.The Art Concerning Environment Award is a national biennial award and the exhibition attempts to provide a platform that facilitates debate and promotes art as a catalyst for change.  The exhibition was supported by a public lecture on Climate Change (June 2, Warrnambool Art gallery) and facilitated by Guy Abrahams (guest judge).

See:  
www.scopegalleries.com
www.warrnambool.vic.gov.au/index.php?q=node/1266
Ziegeler, Bonnie, "Artworks with a green hue vie for %5000 award in Warrnambool", The Standard, June 3, 2012.

Castlemaine Art Gallery and Historical Museum : history and collections

A publication of works from the permanent collection and a history to mark the centenary of the Castlemaine Art Gallery and Historical Museum. The photographs have been produced using superimposed exposures of polarised and non-polarised light; a technique for the optical and digital enhancement of colour saturation, reflection reduction and surface effects in reprography of painting developed by James McArdle.

Why is there nothing rather than something? An essay in the comparative metaphysics of nonbeing

The paper is an essay in the comparative metaphysics of nothingness that begins by pondering why Leibniz thought of the opposite question as the preeminent one. In Eastern philosophical thought, like the numeral ‘zero’ (śānya) that Indian mathematicians first discovered, nothingness as non-being looms large and serves as the first quiver on the imponderables they seem to have encountered (e.g. ‘In the beginning was neither non-being nor being’ RgVeda X.129). The concept of non-being and its permutations of nothing, negation, nullity, receive more sophisticated treatment in the works of grammarians, ritual hermeneuticians, logicians, and their dialectical adversaries, variously across Jaina and Buddhist schools, in respect of the function of negation /the negative copula, nãn, fraying into ontologies of non-existence and extinction; not least also the suggestive tropes that tend to arrest rather than affirm the inexorable being-there of something. After some passing references to interests in non-being and nothingness in contemporary (Western) thinking, the paper dwells at some length on Heidegger’s extensive treatment of nothingness in his 1927 inaugural lecture ‘Was ist Metaphysik?’, published later as What is Metaphysics? The essay however distances itself from any pretensions toward a doctrine of Nihilism.

Indelicacies

This work combines the forms of photography, creative writing and wire sculpture, and explores the collisions of personal and public psychic interactions with the practices of logging of native forests in Victoria. It uses processes of creative research. Displayed at Gallery One-Three, Little Bourke Street, Melbourne, as part of the Love Forests Exhibition presented by The Wilderness Society, Sep 1-7, 2013.

The constructional geometry of early Javanese temples

The early development of Hindu Javanese architecture can be traced through interpretation of epigraphs, archaeological excavations, and comparison of extant temples with other traditions. However, while many scholars have speculated on connections between Javanese Hindu temples and presumed antecedents in India, these have been made on the basis of visual comparison and epigraphic interpretations. No Indian temple has been conclusively shown to be a model for the earliest Javanese temples. Archaeologist and temple historian Michael Meister has shown in his analysis of the geometric composition of early Hindu temples in South Asia how a ritual sixty-four square mandala was the geometric basis of temple construction during the formative period (fifth to eighth century) of the Indian architectural tradition. Working from an understanding of temple construction sequence as well as their ritual underpinnings, Meister found that the sixtyfour square mandala's dimensions correlate closely to the constructed dimensions at the level of the vedibandha (which corresponds with the plan level of the sanctuary threshold). Furthermore, he shows how the horizontal profile of the cella depends on the number of offsets and the proportional relationships between ech offset based on the subdivision of the sixty-four square grid. The authors have investigated whether a similar compositional basis can be found for the earliest Javanese temples on the Dieng Plateau in the highlands of central Java, despite differences in architectonic and symbolic expression. The analysis of relationships between ritual geometry and actual temple layouts for these buildings has the potential to furthering our understanding of the connections between Hindu temples in Java and those in India.

Transformasi rumah tradisional bali di kawasan wisata : sebuah proses perjalanan arsitektur tradisional Bali

The traditional Balinese house is a house traditionally accommodating domestic and sociocultural activities inspired by Hindu Balinese religion. Cultural activities inspiring setting of the house have attracted tourists where the increase has stimulated people to transform their houses through constructing new structures that often change the ideal form and setting of the house. These changes give rise to a question about the form and the setting as owner's interpretation to accommodate their activities. Through visual documentations and interview, this paper explores the transformation in tourism areas as a process of the house development and the needs of spaces to accommodate occupants' activities.

Microscopic / telescopic (universes unfold)

This exhibition was inspired by lens based observation; what is observed through the microscope – plankton and single cell organisms – finds its origin in what is observed through the telescope – stars and galaxies. The project explores two spatially divergent contexts. Artist, Melinda Capp explores the micro-scopic with porcelain objects, artist books and images derived microscopes and Daniel Armstrong references the macro-scopic with video, photography, lens based objects and installation of interactive sculpture / optical instruments to create an experiential connection between celestial phenomena/images and the viewer.

The design of architectural dialect and local identity as Islam strategy in promoting its thought in Indonesia

The design of mosques in Indonesia uses basic principal form of Hindu temple with its roof taking the form of layered pyramid (3, 5, 7). This architectural dialect design approach was effective in promoting Islam in most regions of the Indonesian Archipelago. The detailed explanation about architectural dialect will be elaborated in my full paper. This paper discuss about a friendly approach by using Hindu Building as mosque. It has given a greatly impact to the surrounding society to Accept new religion. Such temple-styled mosques have a history dating back to 1200 AD and form the basic inspiration for mosque designs in all parts of the country. The layered pyramid mosque’s architectural dialect design proves that architecture has played significant role in promoting Islamic doctrines in Indonesia. 85% of the total Indonesian population is Muslim. Based on these statistics, it is widely evident that the use of dialect design as a political strategy by Muslim scholars was effective in introducing and promoting Islamic ideologies in Indonesia. The strategy facilitated psychological acceptance of Islam by the local populations who were initially Hindu believers and were accustomed to the temple. Additionally, the design ensured the peaceful introduction and spread of Islam in the region. Moreover, the fact that the dialect design was based on local identity, combined with local architecture that had highly recognizable building elements (roof and ornament) promoted the spread of Islam in Indonesia.

Digital light

Artists Description: Moving rooms and domestic objects pass through the interior of the translucent house as we peer into it. At night they softly emanate a glow much like the glow of a television in the living room. The animated space is choreographed and timed in its movement, broadcasting the contents of the house. There is an interplay between real object and virtual object: the house is made of transparent/translucent glass while the interior objects are virtual images on the screen; total internal reflection occurs so that the image can be seen from certain angles only; the glass is a medium which distorts the animated image, while the animated image permeates the glass with its colour, movement and glow.

Leaf light

A leaf captures light energy and transforms it through the process of photosynthesis. This glass leaf-like form also, in a sense, captures light and transforms it as it bends and refracts the rays, containing it in the deep dimensional reservoirs of the piece.