673 Bourke Street Basement, Melbourne, 2009

Winner 'Best of Visual Arts', Melbourne Fringe Festival, 2009

‘The lure of echo’ saw the public descend down a nineteenth century stone staircase to the meditative yet ominous heritage site-specific sound score. This dark ‘catacomb-ish’ six hundred meter square basement consisted of several rooms extending off rooms, spatially disorienting the viewer once entombed. The audience gradually encountered flour, ethereally sifting from several dimly spotlit suspended black square sieves. Over the course of several weeks, two tonne of flour sifted in sync to the vibration of the artist's soundscape. The sonic composition sculpturally translated the building’s aural landscape including its old cage lift, dilapidated penthouse ballroom and nearby railway underpasses. The architecture physically responded to the work’s acoustic resonance, immersing the viewer in this intimate, visceral labyrinth.

(c) The design of this artwork is protected by Copyright.

in medius res

Seven Thousand Oaks Festival, Melbourne City Square, 2010

‘In medius res’ was a site-responsive installation to Melbourne’s City Square as part of the Seven Thousand Oaks festival, exploring issues of sustainability. With the artist's predilection for immersive environments, the challenge was how to transform the atmosphere of a public arena, altering perceptions of space and place. Intuitively referencing the subterranean, this work anchored awareness towards our primordial foundations and what lays hidden beneath. Buried in the sand lay two hundred meters of tubing with six hundred outlets. Haze periodically and surreptitiously emanated, immersing the unsuspecting public, before wrapping the city skyscrapers. 

Shift, 2013

(Scroll down for film documentation)

Line & Pulley Installation throughout Victorian College of the Arts warehouse studio rafters. 

Winner of National Gallery of Victoria Award, 2013

Shift’ was huge multi-level string and pulley work installed throughout the steel rafter-space of a four thousand square meter warehouse. This two-kilometer line neurotically wrapped itself around one hundred hand-turned custom pulleys, throughout the heady industrial beams. Rectilinearly piercing space, the subtle dynamic system surreptitiously coursed overhead, before viewers realized it pervasively permeated everywhere. This closed circuit traversed different building floors, passing through the floor to ‘touch’ the ground at one point, anchoring the complex interweaved system akin to an electrical earth. This sculptural iteration of a drawing line was architecturally far-reaching, activating an immense empty volume that usually suspends unnoticed. 

Hull

Ink on Paper

25 x 25cm

Counihan Gallery, Brunswick. Australia, 2013

(Scroll down to the second image for film documentation)

'Sift' consisted of a dimly lit, suspended black square sieve, sifting flour directly in response to the vibration of sound. This ambient meditative sound score was composed from recordings captured from the local abandoned brick factory and town hall, including huge industrial cogs, squeaky council chamber chairs, corridor grandfather clocks and pigeons. Appreciated trans-culturally across millennia as a humble life-engendering medium, flour was venerated into an ephemeral sculptural column, translating the unseen aural landscape. This intimate and arresting meditative work saw hundreds of kilograms of flour accumulate at its base, avalanches eventually occurring whilst tremors resonated and interfaced with peoples’ stillness in the space.

(C) The design of this artwork is protected by Copyright.

2019

gold plated bronze

dimensions variable

lift

Exhibited as part of the Notfair Melbourne Art Fair 2014

(Scroll down for film documentation)

‘Lift’ consisted of an ethereal ten metre vibrating column, responding to the towering abandoned space of a disused post-office. Formerly established as a site of transportation and communicative networks, this accumulation of oscillating lines sonically activated the space. The audience sensing something, yet having the work evade them initially, was typically caught unaware upon realizing its elusive presence. The commanding column contrasted heavily with its constituting vulnerable wires. The formal verticality confounded viewers as the seemingly unsupported erect lines exited seamlessly beyond the exposed roofline. 

Shift Beneath, 2014

Soundscape

Toured as part of the annual award exhibition of VCA Honours Graduates, 'Future Now 2014', exhibited through regional Victoria, including Warnammbool, Castlemaine and the Cowwarr Art Space. 

This spatial acoustic score was composed from the artist's haunting yet peaceful installation ‘Shift Beneath’; a site-specific appropriation of ‘Shift’ (2013) to the dusty architecture of a decommissioned electrical substation built at the turn of the twentieth century. Whirring around dozens of pulleys, this line coursed throughout the building's one hundred year old brick foundations, typically concealed from the public. Prohibited to venture beneath, viewers physically crouched at a tunnel threshold, experiencing the frenetic yet meditative flux of this rectilinear spatial surveying. At a single point in its journey, the line pierced the boards of the floor above, extending vertically to touch the building's ceiling, then returning to course and rotate beneath the antiquated architectural mass. 

'Field 2', (mixed media, 1.2 x1.2m) 

Transmit

Strange Neighbour Gallery, Melbourne, 2014

(Scroll down for film documentation)

‘Transmit’ consisted of seven kilometers of five hundred vibrating wires, amassed as a concentrated horizontal column, passing through the gallery above head-height. Perpendicularly shooting out from one wall, this resonating sculptural force field punctured space, to pierce the wall opposite. This dominant architectural intervention ironically evaded some viewers, rushing in to survey the ‘white-cube’ space at eye-level, momentarily mistaking the gallery for being empty. Others were alternatively lured from across the street by the hum resonating through the walls, curious to attest to its source. 

Soundscape for Sift

Composed from onsite field recordings taken from the old Brunswick Brickworks and the Brunswick Town Hall

line

Debut X, Blindside Gallery, Melbourne, 2014

Three level lines shoot through the gallery ceiling architecture. Out of reach, these subtle lines at first hang unnoticed, until the noticeable yielding of the building and its fittings to their piercing absorb command. 

Shift Beneath

Future Now 2014, The Substation Gallery, Newport, Melbourne, Australia

(Scroll down for film documentation)

  ‘Shift Beneath’ was a site-responsive appropriation of ‘Shift’ (2013), in response to the architecture of a decommissioned electrical substation built at the turn of the twentieth century. Whirring around dozens of pulleys, this line coursed throughout the building's one hundred year old brick foundations, typically concealed from the public. Prohibited to venture beneath, viewers physically crouched at a tunnel threshold, experiencing the frenetic yet meditative flux of this rectilinear spatial surveying. At a single point in its journey, the line pierced the boards of the floor above, extending vertically to touch the building's ceiling, then returning to course and rotate beneath the antiquated architectural mass. Sounds from this haunting yet peaceful hidden installation, were later integrated into a spatial acoustic score which toured Victoria, Australia as part of the annual award exhibition of VCA honours graduates. 

Larynx

25 x 25 cm

Ink on Paper

Hyoid 2019

Bronze, leather, chord.

Dimensions variable

drawing studies

Series of spatial drawing studies.

These architectural sketches are from a series studying structural components, focusing on suspended enclaves and vaults out of reach. Other drawings progressively map and lay down projection lines, preoccupied with describing space and the passage of bodies through architecture. Drawing lines whilst capturing sounds amalgamated these space-articulating mediums. Vibration interests the artist as a threshold between the material and immaterial. Focusing on architecture shifted the artist's interest regarding the unseen, to include unassuming built spaces; the loft, the stumps, what lies behind the walls.

ear-iron

brass and gold

15 x 15 cm

Dyson Gallery, Royal College of Art, (London, 2019)

‘Viarco 1’

Carbon & Graphite on Paper

77 x 57cm

Residency at Viarco, João da Madeira, Portugal (2019)

Shaft

Review - Does it Matter?, Kings ARI Gallery, Melbourne, 2013

A taut line extended throughout the gallery space from one wall to the other, pushing against the room's architectural boundaries. Passing through an existing partition in the room, and a suspended constructed black wood framed mesh square, this level line pierced whatever lay in its path.

Viarco 2

Carbon & Graphite on Paper

76 x 57cm

Residency at Viarco, João da Madeira, Portugal (2019)

Drawings executed on location in Rome and Florence, Italy.

Viarco 6

Carbon on Paper

58 x 42cm

Residency at Viarco, João da Madeira, Portugal (2019)

Signal Tendere 

Place of Assembly, Melbourne International Arts Festival, 2012