Found Found Found

Through time-lapse and pixilated animation, recorded on the run through Serbia, Europe, international air travel through Australasia, and including recordings at the 2013 Christmas Markets in Dusseldorf, this short roaming personal narrative contemplates our current pre-occupation with mobile technologies and the concomitant reshaping of everyday life and public space. It features one extreme response to technological and political change: Alex Jones’ Infowars radio program. The film suggests surveillance, metamorphosed from avant-garde and minimalist cinema, as the ‘new norm’, and witnesses the new stasis that hypermobility institutes globally and the florid thinking it elicits.

Empire

Empire re-animates found historic stereographic photographs predominantly of Melbourne’s city centre between 1927 and 1940 when the colonial trace was slowly receding. Melbourne’s main Flinder’s Street Intersection is unsettlingly transformed into a Cubist perceptual maelstrom through repetition and flicker.

The house that eye live in

Migrating by sea from Holland as an eight-year-old, Dirk de Bruyn went on to be a doyen of Australian experimental cinema. But as this intimate film reveals, his work is suffused with the trauma of migration, and the struggle to recognise himself as a ‘new Australian'. In conversation with documentarian Steven McIntyre, Dirk guides us through more than 40 years of his filmmaking: the early years exploring technique and technology, a subsequent phase of unflinching self-examination brought on by upheaval and overseas travel, and more recent projects where he attempts a fusion of personal, cultural, and historical identity. What emerges is an inspiring, rugged, and at times poignant portrait of an artist committed to self-expression and self-discovery through the medium of film. The House That Eye Live In features spectacular footage of Dirk's renowned expanded-cinema performances, and newly transferred excerpts from his extensive filmography, some of which are seen here for the first time.

Scanning Animafest: the 24th Animafest

Animafest’s 24th iteration in Zagreb, Croatia brought two innovations. The Animafest Scanner Symposium and the third outdoor screening at the Zagreb Museum of Contemporary Art (MSU), both noted by Daniel Šuljić, the Festival director, in his introduction to the festival’s dense and detailed catalogue. The amount of quality animation and the array of technique on display in the specialist showcases, the student and competition programs overwhelmed. So many sweets, so many bitter pills, so much technical innovation in search and in service of the human condition.

Op-Objects

The work relates to Australian history in that it reconfigures the found objects - furniture, paintings and narratives - to move implicate the viewer in unexpected ways.

East meets West

Abstract flickering animation presented digitally, making an asset of the luminous scratches, dust and letraset materially present on the original film, all to the layered beat of Viola Smith’s drumming.

The unstable print: Material challenges in printmaking and the moving image

The past few years have seen an emergence of printmakers motivated by moving-image technology to use print as performative creative practice; in film and animation, as installation and in various processes of thinking and production. Notions of movement and change that could be said to identify much of our contemporary world reflect the interests of a number of printmakers who utilize printmaking characteristics of multiplicity and reproduction by integrating the digital and the handmade within the moving-image. There seems to be a restlessness by some artists who wish to explore an unbounded, experimental approach to printmaking; perhaps it is a natural progression for printmakers to relate their processes of thinking and production to concepts of frame-by-frame production – to additive and subtractive methods, multiple imagery and the reproduced or copy. But what happens when printmaking that has entered the realm of multimedia technology returns to the physical, material print? This paper presents and discusses printmaking as moving image, and in particular the practice of printmaking that utilizes the copy and multiplicity while exploiting qualities of change through, for example, organic non-archival materials. Drawing from my own print projects and practice as well as the work of other Australian printmakers, the paper asks: can the physical print convincingly perform, not only represent, movement and change as analog experience through its materiality, and how is it to be valued within printmaking conventions concerned with longevity and permanence?

Listening in

Two neighbouring glass houses, with large ears protruding from their structures, sit quietly. They seem to be listening carefully. Are these sentient forms? They are each broadcasting animations from within – revealing their contents and their inner selves, and blurring the division between personal and public space.

Vodnick one

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Vodnick two

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition one

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition three

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene three in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition two

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.