Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.

'Public Sculpture (The Social)' 2010

Commisssioned by Frieze Art for the Frieze Sculpture Park The project presents the image of a sculpture as a sculpture, installed in the form of a large scale digital print on vinyl stretched over a 14 x 28ft (4.2 x 8.4m) stretcher supported by a scaffolding structure. The image itself depicts a futuristic public sculpture, an ‘impossible’ artwork, referencing Ballard’s descriptions in his book ‘Vermillion Sands’. The work also draws upon examples of rococo ornamentation and the compositional conventions of ‘images of sculpture’ (in art magazines, catalogues, publicity photos) including examples sited in Regents park in previous years. Technical details: The image is printed on vinyl, stretched over a 14 x 28ft (4.2 x 8.4m) wooden stretcher and fixed to a deep buttressed scaffold 8m long by 6.23 deep with IBC water tanks on the back edge as kentledge (4 x I tonne IVC water containers - 1 per bay). The structure is constructed from clean silver Layher system scaffold and wrapped by a dense black mesh netting.

xero, kline & coma

xero, kline & coma is an artist run project space at 258 Hackney Road, London. It’s program, curated by Pil and Galia Kollectiv, focuses primarily on solo exhibitions by internationally established as well as emerging artists. Work by recent graduates King Conny Wobble and David Steans is being shown alongside projects like the Museum of American Art – Berlin, previously included in the Venice and Istanbul Biennales, Jeffrey Vallance, whose recent solo exhibition was at the Warhol Museum, and Plastique Fantastique, whose work has been shown at Tate Britain and the Pratt Manhatten Gallery, New York, with the aim of raising the profile of lesser known artists and allowing others to experiment with work that more institutional contexts don’t always permit. Some of the themes this program has explored have included fictional identities, a-chronological art histories and the mediation of ritual in time-based media. A commitment to critically engaged art is also central to the ethos of the space, and future shows include an exploration of unionism in art by Sophie Carapetian. As well as displaying new work, the gallery hosts events, talks and screenings. Most recently these have included meetings of the Political Currency of Art research group, a discussion and film screening dealing with the theme of ‘hostile objects’ led by Evan Calder Williams and Marina Vishmidt, a book launch for New Lines of Alliance, New Spaces of Liberty by Antonio Negri and Felix Guattari and an event dedicated to the theatre work of Slovenian art collective NSK, featuring a screening of unreleased documentation and a discussion about the future of total performance.

The story of Temple Bar: creating Dublin's cultural quarter

The paper conceptualises and explores the links between cities, commerce, urbanism and cultural planning by drawing on Temple Bar in Dublin as an example of how, by linking these concepts to practice in real concrete situations urban life or urban culture can be created and/or revitalised. Temple Bar is Dublin's emerging cultural quarter, an experiment in urban revitalisation which is deliberately focused on culture and urbanism as ways of rediscovering the good city. It has attracted considerable interest from across Europe, and has secured EC funding to kick-start the process of renewal. The author was appointed by the Irish Government to prepare the area management and development strategy for Temple Bar in 1990. Wary of the dangers of property led regeneration, of the destructive impacts of sudden or cataclysmic change, the agencies in Temple Bar have deliberately adopted a strategic management approach to the area. This is referred to as 'urban stewardship', a process of looking after and respecting a place, and helping it to help itself. The paper explores whether there is a 'culture of cities' and whether it is possible to recreate an urban culture. Following Raymond Williams, an anthropological definition of culture is employed, "... a particular way of life, which expresses certain meaning and values not only in art and learning but also in institutional and ordinary behaviour". Rather than being simply an add-on to the serious concerns of economic development and the built environment, culture has both helped shape, and continues to develop in, the streets, spaces and buildings of the city.

No Haus Like Bau

The project consists of a live performance taking the 2005 IKEA riot as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. It is accompanied by a film series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The performance, staged at the Berlin Biennale, continues this research into re-enactment and post-1989 politics, using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. By re-evaluating biomechanics and Bauhaus theatre theory, these explorations of consumerism and revolution propose that the mechanized movement developed in conjunction with industrial labour survives as a historical re-enactment in the wake of manufacturing work in the west. In the absence of a visual language apt to the contemporary, No Haus Like Bau uses re-enactment as a retrogarde tactic. Its purpose on the one hand is to invoke trajectories for alternate futures that never materialized at an originary moment. On the other hand, the clash of past forms with present content serves to accentuate the historical changes that have thrown into question these forms. Rather than reflecting the present, the projection of the past into a fictional future aims to destabilize the dominant narrative that suggests the current configuration of art, politics and human nature has always been this way. The project has been widely exhibited internationally and supported by Film London and Arts Council England. A theoretical essay on re-enactment as a strategy for performance has been published in Art Papers and in Memory [MIT]. The project also formed the basis of a solo exhibition at Te Tuhi Art Centre, Auckland.

Flexural properties, microleakage, and degree of conversion of a resin polymerized with conventional light and argon laser

Objective: To evaluate the flexural strength, microleakage, and degree of conversion of a microhybrid resin polymerized with argon laser and halogen lamp. Method and Materials: For both flexural test and degree of conversion analysis, 5 bar samples of composite resin were prepared and polymerized according to ISO 4049. The halogen light-curing unit was used with 500 MW/cm(2) for 20 seconds and the argon laser with 250 mW for 10 and 20 seconds. Samples were stored in distilled water in a dark environment at 37 degrees C for 24 hours. The flexural property was quantified by a 3-point loading test. For the microleakage evaluation, 60 bovine incisors were used to prepare standardized Class 5 cavities, which were restored and polished. Specimens were stored in distilled water for 24 hours at 37 degrees C and thermocycled 500 times (6 degrees C to 60 degrees C). Specimens were then immersed in art aqueous solution of basic fuchsin for 24 hours. Longitudinal sections of each restoration were obtained and examined with a stereomicroscope for qualitative evaluation of microleakage. Fourier transform (FT)-Raman RFS 100/S spectrometer (Bruker) was used to analyze the degree of conversion. Results: ANOVA showed no statistically significant differences of flexural strength between the photoactivation types evaluated in the flexural study. Microleakage data were statistically analyzed by Mann-Whitney and Kruskal-Wallis tests. Enamel margins resulted in a statistically lower degree of leakage than dentin margins. No statistically significant difference was found among the 3 types of photocuring studied. ANOVA also showed no statistically significant difference in the degree of conversion among the studied groups. Conclusion: According to the methodology used in this research, the argon laser is a possible alternative for photocuring, providing the same quality of polymerization as the halogen lamp. None of the photocured units tested in this study completely eliminated microleakage.

Changing community perceptions of 'place'

In May 2002 the Australian Department of Defence announced its intention to divest the Defence land at Portsea on the Mornington Peninsula, Victoria. At the same time nominations were invited for membership of the Community Reference Group (CRG) established as part of the Portsea Defence Land Master Planning Project. The author actively participated in this voluntary advisory group which provided input on matters of interest to the community relating to the project, provided a medium for information sharing and addressed the sometimes competing needs of different stakeholder groups (such as government, business and residents). A major role of the CRG was to provide a focus for community input on aspects of technical issues, particularly in relation to the planning for the future use of the site, flora and fauna issues, infrastructure provision, traffic and access management, heritage and archaeology, and the integration of the site with both the natural environment and existing community facilities, including the township of Portsea. The author's professional background in art and architectural history, in teaching and in research specifically in heritage related areas; her record of community work both in hands on work and in leadership positions, in Melbourne and on the Nepean Peninsula, enabled her to make a significant and useful contribution to the CRG in contributing to the understanding of the rich, diverse, multilayered cultural and natural heritage of the entire site.

Using this specific example, this paper examines the process of participating in Australian society through engaging communities - engaging women. It examines the invitation to participate, the nomination and selection process, the brief given to the community reference group, the development of the consultative process over the six months of deliberations, and the important role that women played in the project. It looks at what can be learned from the experience: how women in particular led the way in changing perceptions of place within the local community, and consequently in the broader framework of the project. It examines the success of the outcomes both in terms of the specific task of writing the Master Plan for the Portsea Defence site and of the process of community participation: the dynamic inter-relationships in the group; between the group and the consultants; between the group and the Department of Defence and between the group and the Federal Government. It comments reflectively and critically on the effectiveness of the whole process.

Image featuring for retrieval of multimedia documents

The utilization of massive multimedia documents collections, such as multimedia documents in the global Internet, needs search engines which can rank using both text and image evidence. Massive size and (dynamic) nature of collection can make manual indexing prohibitively expensive in such situations. Traditional search engines utilize only text components of multimedia documents. But there are information needs, which require the utilization of image evidence. In this paper, we investigate image-feature for large and heterogeneous collections. Both the nature and complexities of information needs are key elements for an effective retrieval. Retrieval needs that depend on perceptual similarities (as found in art galleries, building architecture) require the utilization of visual cues. In such situations, the retrieval of multimedia document based on image ranking can provide higher effectiveness. Experimental results show that effectiveness of ranking based on image feature can be higher where perceptual similarities are key elements for retrieval than the retrieval effectiveness of algorithms based on text ranking algorithms