Global positioning systems : altered representations of place

Global Positioning Systems: altered representations of place, presents an exegesis from the practice led research submitted for the degree of Master of Fine Art at the Victorian College of the Arts. The thesis proposes a particular understanding of altered states of consciousness that is relevant to my practice.  This is outlined by Charles Tart and supported by the Altered States of Consciousness Consortium and explores a psycho-aesthetic experiences and does not involved transcendental states or spiritual associations. These experiences are transformed by an exhaustive application of digital technologies, where mosaic-like complexity emerges that induces sustained disorientation and surrounds a viewer in an immersive space.

Global positioning systems: Middle Eastern & Australian landscapes

A solo exhibition held at the Australian Embassy Kuwait in 2009, explores the similarities and differences of interior and exterior landscapes of Kuwait, Oman, the UAE, Jordan and Australia. The work makes reference to the GPS coordinates of each location as a means of interrogating the position of the artist within each realm.

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.

Fell away….

‘Fell Away….’ is text for photography by Rozalind Drummond, Flows & Catchments art exhibition, in association with Kuyang exhibition at Warrnambool Art Gallery, 9 February-7 April 2013.

Fly rhythm

This book contains 2 essays, a forward and 15 colour plates on hand made paper. The text supports research in the form of 13 images taken with a digital pinhole camera in an unconventional way ie with subject and author in motion.  The images are further removed from traditional photography by light distribution in Photoshop and printing methods displayed in the book. The essays and forward explore the phenomena of light, photography in a digital age, body memory and 'capture' of images contextualising the work in philosophical (Rosalind Krauss,Merleau Ponty) and art historical (James Turrel, Doug Wheeler) terms.

The prevalence and risk factors of epiretinal membranes: the Melbourne collaborative cohort study

Purpose
To determine the prevalence of epiretinal membranes (ERMs) in Melbourne, Australia and its risk factors in this population.

Methods
The Melbourne Collaborative Cohort Study is a prospective study investigating the role of diet and life style in the causation of common chronic diseases. Eighty-six percent of participants were of Northern European origin born in Australia or United Kingdom and 14% were migrants from Greece or Italy (Southern European origin). Nonmydriatic digital retinal photography was implemented at Melbourne Collaborative Cohort Study follow-up. The ERMs were recorded as cellophane macular reflex without retinal folds or preretinal macular fibrosis (PMF) with retinal folds.

Results
A total of 22,406 participants had retinal photography, 95% (n = 21,241) were eligible for ERM grading. The ERM prevalence were 8.9% (1,882); cellophane macular reflex, 4.9% (1,047); and preretinal macular fibrosis, 3.9% (835). After adjustment for age, sex, level of education, smoking status, level of cholesterol, body mass index, waist-to-hip ratio, waist measurement, blood pressure, diabetes, and stroke, increasing age and Southern European ethnicity was significantly associated with ERMs. Overall, in Southern Europeans, ERMs odd ratio was 1.97 (95% confidence intervals, 1.67–2.31), P < 0.001; preretinal macular fibrosis was 1.82 (95% confidence intervals, 1.43–2.31), P < 0.001; and cellophane macular reflex was 1.93 (1.57–2.38), P < 0.001.

Conclusion
In an older Australian population, the prevalence of ERMs was 8.9% and was almost two times higher in participants of Southern European origin than Northern European origin.

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.

Travelling without gods: a Chris Wallace-Crabbe companion

Wide-ranging in theme and context, it explores the imaginative effects of his writing. A tribute to Chris on the occasion of this eightieth birthday, in many ways it suggests an alternative cultural history of Australia since the 1950s.

Containing biographical and critical pieces, poems (including new work by Chris) and essays that respond to his career Travelling without Gods takes account of the decades in which he has written. It illuminates, celebrates and critiques his work in its various contexts.

Correspondences: A personal photographic journey between past/Iran and present/Australia

This project is an autobiographical photography series entitled: Correspondences; A personal photographic journey between past/Iran and present/Australia. This series of photographs are partly influenced by being born at the beginning of 1979 Islamic revolution in Iran . Also, having the experience of living almost thirty years in Iran and immigrating to Australia afterwards. This display consists of presentation of photographic images and will be presented in two series.

Tourist snapshot : the mediating gaze of the Sydney Opera House

There has already been much scholarly work produced about the Sydney Opera House, discussing the production of its architecture, historical and political context, and its symbolic meaning to Sydney. However little scholarly attention has been paid to the way this building is represented through tourist practices of photography. The essay attempts to bring an architectural perspective to the study of this tourist practice, which is usually addressed from the disciplines of cultural geography, sociology and anthropology. The essay considers the above questions by the analysis of some 300 images sourced from the photo sharing website Flickr (www.flickr.com). It draws on John Urry's notion of the 'tourist gaze' which describes how places are structured and regulated by the visual. The essay then uses Jonas Larsen's work, which position tourist photography as a performance of social relations to argue that the activity of photographing the Sydney Opera House is more than a ritual of consumption, and can be seen as an embodied performance located at the intersection of space, experience and image.

'Shadow-lands' : the suffering image

"Folio X documents the exhibition '"Shadow-lands': the suffering image" held at Dennys Lascelles Exhibition Gallery, Alfred Deakin Prime Ministerial Library, Deakin University, Waterfront Campus, Geelong, Victoria, Australia, April 18-May 18, 2012. The project was part and parcel of the author's PhD study, "Visual agency in art and architecture" .... and an experimental representation of the values embedded in the photography and film-essays of Chris Marker..."

Padangustasana with dadakulaci

The dadakulaci is an amphibious sea snake, commonly found in the waters around Kadavu, Fiji. Straddling existence in the sea and on land, this graceful creature is obscured by myth. Although it is often dismissed as a passive sea snake with a jaw too small to injure a human, the dadkulaci is able to disarticulate its jaw to 180 degrees. Furthermore, it has the ability to withhold its powerful venom. This work was made for the exhibition Diasporadic 679.
DIASPORADIC679 was a public exhibition of Fiji artists living in diaspora. Timed to acknowledge Fiji Independence Day and pay homage to the Fiji telephone prefix, +679, the artists reflect on Fiji Islander identity and diaspora experience from seven diverse positions.

All living in diaspora, the artists are Margaret Aull (NZ), Torika Bolatagici (Australia), Tagi Qolouvaki (USA), Sangeeta Singh (NZ), Dulcie Stewart (Australia), Ema Tavola (NZ) and Luisa Tora (NZ).

Collectively, the selected artists’ practices represent investigations into text and urban landscapes, feminism and sexuality, militarism, power and struggle. In the form of posters, the artists’ works are installed in the windows of six venues in and around Otahuhu Town Centre, South Auckland.

Finding the six venues and experiencing the exhibition in its entirety gives audiences a taste of Otahuhu, home of three of the seven artists, the Auckland Fiji Community headquarters and a significant Fiji Islander community.