Like a burden

'Like A Burden' was an exhibition developed and presented for Metro Arts Galleries in 2015. It drew together several large scale fabric works 'Heavy Thinking'; 'Quick Draw II' and 'Well Hung' within the gallery space, along with a large series of ink and pencil drawings and a lecture performance recorded and projected as a digital video. This body of work foregrounds the activist feminist voice through quotation, citation and reiteration and is part of a broader practice strategy to re-perform a subjective feminist archive.

Unthinkable

'Unthinkable' is an installation comprising drawings and fabric works, which were placed onto a large-scale wall painting. This work engages with the gender politics of art criticism through strategies of redrawing, in particular the commentary that Helen Frankenthaler's painting practice was 'unthinkable' without Jackson Pollock. 'Unthinkable' was developed and presented as part of BEAF 2013: Brisbane Experimental Art Festival, curated by Rachael Parsons and Stephen Russell, held at the Judith Wright Centre of Contemporary Arts.

Material matters [curators]

The exhibition material matters brings together new works by Amy Commins, Jamie Behrendorff, Grace Kevill-Davies, Zoe Knight, Ruth McConchie and Courtney Pedersen – Brisbane-based artists whose experimental practices engage with materiality in specific ways. These works explore incidental viewpoints, suspended moments, constructed environments, cultural memory and repetitive processes. The artists in the exhibition investigate the temporal in terms of making and experiencing art in various modes – installation, sculpture, video, sound and works on paper. Through these material engagements, the artists question and re-imagine ways of connecting in the contemporary world, drawing together considerations of humour, history, politics, nature and everyday life. This exhibition was part of the 2014 Brisbane Experimental Art Festival, held at the Judith Wright Centre of Contemporary Arts.

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.

Warning constraint limit experience

'Warning constraint limit experience' is an installation comprising drawings, a large scale fabric work, and a performative video. This work explores the performative act of drawing and the limits of language and subjectivity. The fabric work acts as a bodily extension that both facilitates and constrains movement during the drawing process and operates as a provisional structure for viewing the work in the gallery. This work was developed and presented at The Lock-Up Cultural Centre, Newcastle NSW in 2011 and revised for the solo exhibition ‘I build my dwelling’, held at Metro Arts in 2012.

Language is, language is not

‘Language is, Language is not’ is an installation comprising wall drawings, a fabric drawing prosthetic, performance and digital video. This work investigates ‘redrawing’ as a revisionist feminist strategy, taking as it’s starting point Mel Bochner’s work ‘Language is not Transparent’ (1970). 'Language is, Language is not' functions as both homage and critique, drawing on the legacy of conceptual art and questioning the engendering of language that it implies. This work was developed and presented for Bus Projects, Melbourne in 2012, and subsequent versions exhibited at Screen Space, Melbourne and Metro Arts Galleries, Brisbane.

Muscle flex

'Muscleflex' is an installation comprising large scale fabric works, wall drawings, performance and digital video. The large-scale fabric works act as bodily extensions for two performers and constrain movement during the drawing process. These drawing performances are documented and re-presented as digital video works. This work examines the limits of language and subjectivity and offers a feminist engagement with the history of abstract painting. 'Muscle flex' was developed and presented for KINGS Artist Run Gallery, Melbourne in 2012 and revised for the exhibition 'I build my dwelling', at Metro Arts Galleries, Brisbane in 2012.

15 Artists 2014

15 Artists 2014 was a group exhibition of 2D and 3D works held at the Redcliffe City Art Gallery between October 23 - December 6, 2014. My contribution to the group show was a collective series of 10 soft sculptures entitled Organs Without Bodies. These works were composed of latex, plaster, wool, thread, wax and rosin. I seek through my art practice to transform bodily affect into concrete knowledge. My primary motivation can be described as a relational and ethical attempt to find balance between the erotic and the aggressive. These objects are outcomes from an ongoing creative meditation of the simultaneity of dichotomies: inside and outside, cognition and emotion, past and present, connection and differentiation, the erotic and the aggressive. Each of these can be perceived separately with a penetrating focus of attention, yet all are contained within the 'space' of an expansive bodily-felt sense of awareness.

What's in a name - Catherine or Kate?

This paper discusses the art practice of Australian artists Catherine Sagin and Kate Woodcroft, who have been working collaboratively under various monikers since 2008. The duo define their artworks in terms of winning and losing, and play out the division of labour in an artistic practice that employs video, performance, photography and sculpture. Catherine or Kate utilise combative and comparative processes, which challenge notions of artistic collaboration and highlight the inherent tensions and competitive nature of working together.

Superlinear

Superlinear was a group exhibition of 2D and 3D works curated by Jenna Baldock. This exhibition was held at Spiro Grace Art Rooms from June 11 - July 4, 2015. My contribution to the group show was a harmonograph (drawing machine) entitled The Forces of the Earth and two digitally edited drawings (enlarged and printed) that were originally produced on the harmonograph. The work inherently explores the movement and gesture of line independent from the human body, although not abstract from experience. My work discusses the experience of the body, more specifically my body; the pulsing of circulation; the rhythm of breathing; the twitching and trembling of muscles; the sound of the nervous system ringing in my ears. The pendulation of the line in motion corresponds to the body's extension into the world and the constant flow of energy; the weight of gravity, centripetal and centrifugal forces, and orbital oscillations. As the line dances acros the page the harmonograph parallels these peripheral sensations beyond the body.

I build my dwelling

'I build my dwelling' was an exhibition of works including ‘Muscle flex’, ‘Language is, Language is not’, ‘S.O.S’ and the ‘Studio Remix’, held at Metro Arts Galleries, Brisbane in 2012. This body of work pursues a feminist engagement with art history and philosophy, engaging with pictorial, literary and vernacular quotations in order to replay and reveal the complexities of gender politics, representation and language.

Characterization of hot deformation behavior of Zr-1Nb-1Sn alloy

The hot deformation behavior of beta-quenched Zr-1 Nb-1Sn was studied in the temperature range 650-1050 degrees C and strain rate range 0.001-100 s(-1) using processing maps. These maps revealed three different domains: a domain of dynamic recovery at temperatures <700 degrees C and at strain rates <3 x 10(-3) s(-1), a domain of dynamic recrystallization in the temperature range 750-950 C-degrees and at strain rates <10(-2) S-1 with a peak at 910 degrees C and 10(-3) S-1 (in alpha + beta phase field), and a domain of large-grain superplasticity in the beta phase field at strain rates <10(-2) s(-1). In order to identify the rate controlling mechanisms involved in these domains, kinetic analysis was carried out to determine the various activation parameters. In addition, the processing maps showed a regime of flow instability spanning both alpha + beta and beta phase fields. The hot deformation behavior of Zr 1Nb-1Sn was compared with that of Zr, Zr-2.5Nb and Zircaloy-2 to bring out the effects of alloy additions. (C) 2006 Elsevier BN. All rights reserved.

Effect of laser surface treatment on microstructure and properties of MRI 230D Mg alloy

A creep resistant Mg alloy MRI 230D was subjected to laser surface treatment using Nd:YAG laser equipped with a fiber optics beam delivery system in argon atmosphere. The laser surface treatment produced a fine dendritic microstructure and this treatment was beneficial for the corrosion and wear resistance of the alloy. Long-term linear polarisation resistance and Electrochemical Impedance Spectroscopy measurements confirmed that the polarisation resistance values of laser treated material were twice as high as that for the untreated material. This improved behaviour was due to the finer and more homogenous microstructure of the laser treated surface. The laser treatment also increased surface hardness two times and reduced the wear rate by 25% due to grain refinement and solid solution strengthening.

Random existence of charge ordered stripes and its influence on the magnetotransport properties of La0.6Sr0.4MnO3 perovskite substituted with diamagnetic ions at Mn sublattice

Phase-singular solid solutions of La0.6Sr0.4Mn1-yMeyO3 (0 <= y <= 0.3) [Me=Li1+, Mg2+, Al3+, Ti4+, Nb5+, Mo6+ or W6+] [LSMey] perovskite of rhombohedral symmetry (space group: R (3) over barc) have been prepared wherein the valence of the diamagnetic substituent at Mn site ranged from 1 to 6. With increasing y-content in LSMey, the metal-insulator (TM-I) transition in resistivity-temperature rho(T) curves shifted to low temperatures. The magnetization studies M(H) as well as the M(T) indicated two groups for LSMey. (1) Group A with Me=Mg, Al, Ti, or Nb which are paramagnetic insulators (PIs) at room temperature with low values of M (< 0.5 mu(B)/Mn); the magnetic transition [ferromagnetic insulator (FMI)-PI] temperature (T-C) shifts to low temperatures and nearly coincides with that of TM-I and the maximum magnetoresistance (MR) of similar to 50% prevails near T-C (approximate to TM-I). (2) Group-B samples with Me=Li, Mo, or W which are FMIs with M-s=3.3-3.58 mu(B)/Mn and marginal reduction in T-C similar to 350 K as compared to the undoped LSMO (T-C similar to 378 K). The latter samples show large temperature differences Delta T=T-c-TM-I, reaching up to similar to 288 K. The maximum MR (similar to 60%) prevails at low temperatures corresponding to the M-I transition TM-I rather than around T-C. High resolution lattice images as well as microscopy analysis revealed the prevalence of inhomogeneous phase mixtures of randomly distributed charge ordered-insulating (COI) bistripes (similar to 3-5 nm width) within FMI charge-disordered regions, yet maintaining crystallographically single phase with no secondary precipitate formation. The averaged ionic radius < r(B)>, valency, or charge/radius ratio < CRR > cannot be correlated with that of large Delta T; hence cannot be used to parametrize the discrepancy between T-C and TM-I. The M-I transition is controlled by the charge conduction within the electronically heterogeneous mixtures (COI bistripes+FMI charge disordered); large MR at TM-I suggests that the spin-ordered FM-insulating regions assist the charge transport, whereas the T-C is associated with the bulk spin ordered regions corresponding to the FMI phase of higher volume fraction of which anchors the T-C to higher temperatures. The present analysis showed that the double-exchange model alone cannot account for the wide bifurcation of the magnetic and electric transitions, contributions from the charge as well as lattice degrees of freedom to be separated from spin/orbital ordering. The heterogeneous phase mixtures (COI+FMI) cannot be treated as of granular composite behavior. (c) 2008 American Institute of Physics.

Production of psi(2S) Mesons in ppbar Collisions at 1.96 TeV

We have measured the differential cross section for the inclusive production of psi(2S) mesons decaying to mu^{+} mu^{-1} that were produced in prompt or B-decay processes from ppbar collisions at 1.96 TeV. These measurements have been made using a data set from an integrated luminosity of 1.1 fb^{-1} collected by the CDF II detector at Fermilab. For events with transverse momentum p_{T} (psi(2S)) > 2 GeV/c and rapidity |y(psi(2S))| psi(2S)X) Br(psi(2S) -> mu^{+} mu^{-}) to be 3.29 +- 0.04(stat.) +- 0.32(syst.) nb.