World peace for video art

A single channel video projection with image, text and sound components. It was projected so as entirely fill a 3 x 3.5 wall in a 6 x 3.5 metre gallery space. The work deals with the role of humour and the fictocritical in exploring the relationship between politics and art.

Stone baby: An exploration of affect and trauma in visual art

Stone Baby: An Exploration of Affect and Trauma in Visual Art was held at the Block, QUT Creative Industries Precinct on August 27-28, 2014. At the conclusion of my Masters project, this exhibition was a showcase of the outcomes of my material and digital explorations in the form of installation, sculpture and film. My primary motivation can be described as a relational and ethical attempt to find a balance between the erotic and the aggressive. This is experienced in the self as feelings of attraction and repulsion in response to the new and unknown "other". Consequently creative practice is necessarily a complex affair that is experienced as a completely immersive and self-contained psychological space. It is within this space that both physical sensation and raw emotion are able to tangibly and conceptually interact with psychoanalytic theory, and concrete materials video and sound.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

Sheet Metal Department Sign

This is a black and white photograph of a sign for the Sheet Metal Department of the New York Trade School likely created by the department. It contains ornate metal work and displays the year 1938, probably the beginning year of the Sheet Metal Department.

Sheet Metal Examples

A wall in the Sheet Metal Department at the New York Trade School shows many examples of duct work, pipe, and decorative metal work that students learn to produce. Black and white photograph that is starting to fade.

Abrasive metal finishing : employee health and safety practices.

Mode of access: Internet.

Principles and methods of sheet-metal fabricating.

Includes bibliographies.

The Sheet metal worker's instructor : [for zinc, sheet iron, copper, and tin plate workers, and others; ] containing a selection of geometrical problems, also practical and simple rules for describing the various patterns required [in the different branches of the above trades] /

Mode of access: Internet.

Modern letter engraving in theory and practice; a manual for the use of watchmakers, jewelers and other metal engravers ...

Mode of access: Internet.

Contemporary metal home furnishings

Includes index.

The ornamental arts of Japan /

Some of the plates are chromolithographs, photoaquatints or carbon prints.

American standard safety code for forging and hot metal stamping.

Mode of access: Internet.

The treasure of the Oxus, with other objects from ancient Persia and India , bequeathed to the Trustees of the British museum by Sir Augustus Wollaston Franks ...

At head of title: Franks bequest.

An analysis of the effect of process parameters on the formability of sheet metal

This investigation is in two parts, theory and experimental verification. (1) Theoretical Study In this study it is, for obvious reasons, necessary to analyse the concept of formability first. For the purpose of the present investigation it is sufficient to define the four aspects of formability as follows: (a) the formability of the material at a critical section, (b) the formability of the material in general, (c) process efficiency, (d) proportional increase in surface area. A method of quantitative assessment is proposed for each of the four aspects of formability. The theoretical study also includes the distinction between coaxial and non-coaxial strains which occur, respectively, in axisymmetrical and unsymmetrical forming processes and the inadequacy of the circular grid system for the assessment of formability is explained in the light of this distinction. (2) Experimental Study As one of the bases of the experimental work, the determination of the end point of a forming process, which sets the limit to the formability of the work material, is discussed. The effects of three process parameters on draw-in are shown graphically. Then the delay of fracture in sheet metal forming resulting from draw-in is analysed in kinematical terms, namely, through the radial displacements, the radial and the circumferential strains, and the projected thickness of the workpiece. Through the equilibrium equation of the membrane stresses, the effect on the shape of the unsupported region of the workpiece, and hence the position of the critical section is explained. Then, the effect of draw-in on the four aspects of formability is discussed throughout this investigation. The triangular coordinate system is used to present and analyse the triaxial strains involved. This coordinate system has the advantage of showing all the three principal strains in a material simultaneously, as well as representing clearly the many types of strains involved in sheet metal work.

Crop

Solo exhibition of sculptural works that use the portrait bust as a vehicle for problematising notions of subjectivity, authority and representation. The exhibition comprised three life-sized figurative busts, each portraits of the artist, sparsely positioned throughout the gallery space to convey a sense of isolation and abandonment. By emphasising the fragmented nature of the bust format by removal of all supports (ie. Socle, plinth or alcove) the works sought to address the vulnerability that frmes this apparently authoritative Enlightenment portrait format. In so doing the exhibition aimed to offer, by example, a new way of seeing and interpreting the portrait bust in history. The exhibition was exhibited at the Institute of Modern Art (Brisbane) and the Perth Institute of Contemporary Arts. Works fro the exhibition were included in group shows at Linden Centre for Contemporary Arts, Ballarat Fine Art Gallery. Work from the exhibition was purchased for the collection of MONA, Hobart.The exhibition received favourable reviews in Eyeline, Art and Australia and Machine magazines.