Catalogue Photography, Menzies June Auction, 2015

I carried out a recent series of photography for the Menzies June catalogue.

Pictured is a spread from the catalogue of a Bronwyn Oliver sculpture, and the shot:

Exhibition: 'Glitch', Sept 11 - Oct 2, 2014.

'Glitch' is a video installation by artists Robbie Pitts and Albert Wolski, and opens on Thursday Sept 11 at 6pm, at Kreisler Gallery.  Pitts produced the moving images, whilst Wolski did the soundtrack.

You can join the Facebook event HERE.

Still from Glitch.

Still from Glitch.

Artists' Statement:

Just as the household mirror offers visual feedback for the assessment of our physical appearance, the television, in the case of GLITCH, acts metaphorically as the mirror for the video signal. With a signal process of video camera to television back to video camera, the recorded imagery of GLITCH becomes a byproduct of technological self-portraiture - where self-reflection is symbolised by the infinite looping of the video signal. The hyperbolic vibrancy and abstraction of the image not only aims to beautify the visual characteristics of the used video formats but also to embody a counterargument to the existential dilemmas these formats face. By utilising forgotten forms of video equipment, GLITCH subconsciously examines the link between clarity and obsolescence within video imaging technology. Contemporary digital shortcuts may pride themselves on the artificial replication of the analog form, but GLITCH intentionally works within this real-time image-making process, where physical interaction is essential to the production and composition of the image.

Sound was composed subsequent to the completion of the visual, offering the piece synchronised aural accompaniment. Primarily concerned with the use of electronic instrumentation, the composition offers an appreciation of the beauty that is often dispelled in electro-acoustic feedback, distortion, and atonality. Its haunting undertones reflect the ghost-like state of near obsolete media formats, yet the insistent rhythmic propulsive suggests that death is not so certain, as the format has perhaps attained a state comparable to that of the ‘afterlife’. The synthetic hisses that pepper the composition were created by recording electro-magnetic energy produced from recording equipment itself, generating a similar rendering of feedback embodied in the visual composition of the piece. Analogous to visual impurities, the musical composition concludes that beauty is authentic in the ephemeral nature of errors; as GLITCH attempts to not discount these inaccuracies, yet celebrate them.

British India, Live Stream, today 2pm.

Ok, so I didn't know what a Google Hangout was until a few days ago when Emily a music publicist from Death Proof approached me about doing a live stream from my (NBN!) office and studio.

The subject for the Hangout is local band British India.

You can watch the stream at 2pm today.

Click here to watch.

Emily and Dean setting up the Google Hangout.

British India, Google Hangout, 242 Victoria St, 3056.

British India, Hangout, wide shot

British India, Hangout.