Monday, March 17, 2014

MY RADIO HEART

Definitely the widest projections I've done, these are 4K sequences split across three screens, animated in final cut and mixed in Resolume using the DXV codec. Half of the material is made with single dot/pixel/square animations with up to 180 layers. This show is a narrative story depicting a man living vicariously through a video game.  He uses four avatars in his search for love and his deceased parents.  The work focusses on the talents of three Lismore artists with intellectual disabilities, Zac, Lydian and Matt from experimental midi band Tralalablip (http://www.tralalablip.com)  The projections are drawing on imagery from the Northern Rivers NSW area, mixed with a touch of fantasy and the pixellized compositing of where domestic space meets imaginary space.  The forces of nature in the pixel animations act as guides for the lost characters in the form of wind creating cross fertilisation, a bird leading them to sanctuary and the particles of nature breaking up into punk dance. Also performed by Randolf Reimann, Claudie Frock and Phoebe Kate Rose from Lismore NSW and directed by Rosie Dennis, co-produced by Urban Theatre Projects and NORPA.

NORPA, Lismore 27-29th March
UTP, Bankstown Arts Centre 10-12th April
some projection samples  https://vimeo.com/95634159

Sunday, December 22, 2013

Sydney Festival

The Bear is nature and the Mayor is the disruptor, attempting to satiate a city of progress at the expense of the planet.  The Pied Piper remake by My Darling Patricia visions the piper as a bear who seems to be made of leaves.  The space is constructed with backlit, white strips of polyester into which I'm projecting forest landscape elements and variations on the spells of the revolutionary dance crusader performed by Ghenoa Gela.  In twenty scenes we are taken from the pure mystery of bushland to an industrial city made of puffy dough.  Most of the story is told as a psychological imaginary in which children (through wireless headphones) are privvy to the secrets of this bear of nature and the adults can only watch as their children play happily in the world which they have forgotten.

Sydney Festival, January 9th-19th 2013, CARRIAGEWORKS Bay 20

Monday, October 21, 2013

Appearance Picnic

Live feed video improvisation for the first time since Improlab 2007 with Tess De Quincey - this time with Nikki Heywood, Kirk Page and Mark Cauvin.  We are led by Nikki into the melancholic caves of Lascaux rock art. Three weeks of expressionist drawing on paper and throwing various found materials into the light of a desk lamp turned the intitial investigation of 'Camera-as-Animal' away from the primal into a live comedy film.  The aesthetic also has a thick, ambiguous dose of Quay Brothers - tiny flickering hairs twitching life into the minutiae, the seemingly nothing having to suddenly become something, finding itself awkwardly on screen.  I also imitated an analogue live-drawn Kinnect camera effect where I traced into place the presence of the performers and the effects they emitted on the space.

some video documentation
https://vimeo.com/channels/279346

Thursday, July 11, 2013

Landscape travelling virtually

From Broken Hill to Cairns to Broome, sometimes an art remanifestation, sometimes pure observational research documentary I am participating in the see-saw awareness of the environment that surrounds us. FROM THE RAINFOREST MIND TO THE DESERT MIND was screened back in their places of origin, carrying virtual environments into displacement, rainforest in the desert and desert in the rainforest.  Now heading to Broome for 3 weeks of filming with Marrugeku Theatre making a performance documentary with indigenous performers called LISTENING TO COUNTRY, all windows and doors open, working on dance, visual and choreographic representation and the presence of spirits that inform the land.

TANKS ARTS CENTRE installation https://vimeo.com/70768923

Saturday, February 16, 2013

Falling Woman

Falling Woman - a residency at Bundanon, NSW with Alice Osborne and My Darling Patricia, utilising the evocative environments around Bundanon to build several vignettes of a woman's struggle in the face of her 'witness' (Regina Heilmann).  They battle with swords, dine on molasses on cliff tops, stone soup in a still river and scream wire and gold silk at each other.  The woman (Alice Osborne) is trying to release herself from a disturbing nightmare of three legged chairs with which she has developed a personal traumatic choreography.  Through these difficult scenarios she gradually reaches her own strength and release.  Many dawn and dusk shoots, aching arms from carrying gear through the bush and assembling and reassembling studio backdrops for studio animation.  These powerfully performed images became suprisingly delicate to assemble in the rough edit.  This will probably be a silent film for screening at Underbelly, Cockatoo Island 2013.

Vimeo link https://vimeo.com/71620746

Wednesday, November 07, 2012

Artifact Cartoons




Artifact Cartoons is an image based research of Australian environments, comparing the polarities of desert and rainforest ecosystems.  This multi-screen installation resolves animistic video entities based on videographic impressions of landscape and plays both on the eye and the phenomenology of the perceiver.  The perceiver perceives the actual environment and also its virtual copu in the camera and a phenomenological impressionism takes place in-between.  All experience of our environment of one being in-between."We are in a web of perception, determining from the inside." - David Abram on Merleau-Ponty’s Ecophenomenology

Vimeo link: https://vimeo.com/53646480

Also shown at Critical Path (right)


Video:  Samuel James    
Movement:  Victoria Hunt    
Sound:  Melissa Hunt
KUDOS GALLERY 6-10 November/ Tuesday-Friday 11-6pm, Sat 11-4pm/ 6  Napier St, Paddington, NSW, Sydney

Wednesday, October 03, 2012

Desert Keys

On the Greenhouse residency at Fowlers Gap provided by Arc COFA, I spent two weeks in Australian desert winter experimenting with morphic resonance.  Though the original aim was to only animate objects of nature and their light reflection, I was pulled back to the human form no matter how far I tried to get away from it.  Noticing anthropomorphism in plants and landscapes, and animating them as such, was the key to familiarity with the video object.  Without it there seemed to be no reference point to the videographic landscape. Even hand holding the camera reveals human presence, nature can never be alone, unless in an imaginary state.  Realising the particalisation of digital landscape is only at most, particalisation of light, it is not in any way related to actual matter.  So, to anthropomorphise just to satisfy the juvenile perspective of the human is habitual.  The desire to penetrate matter is a scientific problem.  So now the digitally purist, particle landscape is flecked with human behaviour, the environment is only seen through bifocal eyes, this is close to me, this is far away from me, this is in my path, and the individual who is only capable of seeing hybrids of their own kind everywhere, reconstructing the environmental as it relates or becomes part of them.  This is an ethical issue of colonisation of nature through virtual capture and manipulation - I try to think childishly and innocently; we relate to warm-blooded, locomotive, animate creatures and can only perceive nature through these imaginary tour guides - it emphasises the desire to 'know by association' and the claim of an awareness of what surrounds us.

Sunday, July 15, 2012

HIDDEN from sight

Another development with Narelle Benjamin and dancers Kristina Chan and Sara Black; one being part of a natural world and the other trying to transcend a domestic environment.  A dual 16:9 floor projection delineating the fibrous folds between worlds. The line is not a concrete entity but a space, a wall is like a fan, composed of parts that can spread woven by a plane, a projector of wind. What was perceived as a solid wall is a thin vector when seen from another view.  The door folds flat and we can enter sky or the underground.  Setting boundaries only enables the many relative possibilities of transgression. 

Wednesday, April 18, 2012

Rainforest Mind

On a residency at the Tanks Arts Centre in Cairns where the rain suddenly comes and goes every twenty minutes.  This R&D project, inspired by the book The Secret Life of Plants, is to use 3D stereoscopic animation as a means of exploring the imperceptibly animate environment that surrounds us.  In the first part of a three to four stage project (which also looks at desert, island and mountains) I am being immersed in the densest space overwhelmed by the fecundity of the living, similar to the chaos of a big city, but in nature.  I am right next to the Botanic Gardens and the Daintree and wanting to ask botanists and park rangers about the sentience of plants in controlled and wild environments.  The phenomenology of wildness is the energy behind re-compositing these unconscious relations of nature, sensory chaos makes the experience episodic, plants develop characters of their own but seem to live without memory and there is a beauty of death that shrouds their selfless existence.

Development presentation: Cairns Botanic Gardens Visitor's Centre, 6pm, 26th April 2012.

Saturday, November 05, 2011

DREAM SHELVING

After five months out in Minto, this is a new work about the secret lives of shopkeepers and the sacrifice of putting a life on hold to achieve material goals.  It is a video research process of digital reformation and simulation, an alchemy in search of psycho-electronic jewels.  Vacant shops in Minto's Mall were shot and recomposited, objects within the spaces were animated to generate new life forms and performers responded to the shops themselves and the imaginary lives that may once have inhabited them. It looks at the fractalisation of the physical world and the boundaries and doors to its metaphysical layers.  Five shops, five performers and five screens installed in the Minto Mall Post Office gallery with performers Julie Vulcan, Jeff Stein, Teik Kim Pok, Julie-Anne Long, Clare Britton and sound Gail Priest.

Supported by Campbelltown Arts Centre's Artist Initiates Residency Commission
10th-19th Nov, Mon-Sat 11am-3pm  Shop 51 Minto Mall, Pembroke Rd, Minto.

Friday, September 23, 2011

iBunyip!


Lots of bezier masks for Erth's new show iBunyip, a pretty open door introduction to some of the indigenous spirit creatures in Australia.  Applying big brushstroke photographic bush and effects overlayed onto Steve Howarth's foam and inflatable sets.  Working with the master Phil Downing on Quartz Composer and open frameworks genius Matt Gingold on Kinect camera tracking and motion registration. Check it out at Carriageworks for the next 2 weeks in the Children's Festival, then Q-Theatre Penrith and Campbelltown Arts Centre.

Saturday, August 13, 2011

Versions of Versions: VIVARIA tour and PORTAL

Vivaria is touring in Mobile States, opening at Artshouse (Melbourne) 4-7 Aug, now at Salamanca Arts Centre (Hobart) 11-19th Aug, Adelaide Festival Centre 24-27th Aug, Performance Space (Sydney) 30th Aug-10Sept.  The setup at Sidespace Gallery in Hobart was irregularly arranged like a garden so there was distance between screens and no more than two could be seen at once.  This was a good feeling with the presence of other video angles behind you and in the periphery so single screen viewing was not dominant.  It had the effect of walking down the street with many aspects only partially visible in a landscape and made transcendent by the ominous presence of solo performers keyed into the scenes.  Multiscreen peripheral experience is translated here as eyes of compact mpeg cameras showing a panopticon of virtual environments, usually described by the handheld cameras of tourists.  Portal in New York on the other hand is showing a single screen, linear version of my originally multiscreen The Cracks on the rooftop of Regina Rex Gallery.  Below is another short excerpt derived from a Springbrook residency with Ladyfingers, discarded but reused for Portal curator Janis Ferberg in her ongoing online exhibitions, using the web as exhibition environment in tandem with real space.  http://portalforvideo.com/portfolio/sam-james/

video

Friday, June 24, 2011

Encryption Keys

At Eastern Bloc, the launch of a new gallery with directors Wade Marynowsky and Nathan Hrebabetzky I made a small series of mobile phone scale videos, designed especially for pre-iphone models.  The Encryption Keys began as a series of 'fate' videos; non-figurative moving imagery which acted as a kind of portable video talisman for phone culture.  Each are a meditation using elements in relation to each other, such as a cluster of dead sticks against a growth of straight sticks in the ground: an animism of everyday objects removed from the chaos of literal vision.  They were selected randomly by numbers so the receiver did not control the image they received. 
(Format: Micro SD card or .3gp download or Bluetooth)

Tuesday, May 17, 2011

Pluralist Doco-Fiction..

So I've been doing a lot of performance documentations lately where its possible to shift the form - Living with the Dead, Untrained, Tiny Stadiums, Elephant House... The advantage of documentary is you can see the world from the front, back, sides, top and bottom - there is no limit to the angles that you can juxtapose.  A singular artwork or drama is seen from a fixed angle no matter where the camera is and this is held continuously, not giving any alternatives but to watch the work.  Documentary is not authorship it is merely an arrangement of perspectives.  To frame and film it is the first removal.  Multi-screen can then enable the beginning of the break of the monoform as we can't see all the information at once, collage is a third stage.  Interaction is a fourth stage.  The delirious pluralistic doco, with many fractures and shifts is a fifth level.

Sunday, April 03, 2011

The Darkroom 2

After a remount of In Glass at Melbourne's Dance Massive we went straight in to a triptych version of The Darkroom, choreographed by Narelle Benjamin.  Previously worked with the Australian Ballet on the theme of a life cut short, this version adds another two components; a kind of pre-birth and afterlife.  The pre-birth section is filmed through a crystal ball and is a choreography of spheres and what lies within their bubbles, and afterlife is a prismatic Euclidiean play on what we can perceive, what is retained from life and from which direction we are looking.  It is also an epigram of the monolithic constructions we choose to represent our transitory place in the world.


"Forseen" Parramatta Riverside Theatre - 6-9th April
Bangarra Theatre 15-16th April 2011
The Darkroom (Narelle Benjamin)
and Debris (Frances Rings)
Projections Sam James, Sound Huey Benjamin/ Chris Abrahams, Lighting Karen Norris

Friday, November 05, 2010

NIGHTSHIFTERS - The Cracks


In Nightshifters, curated by Bec Dean I made 'The Cracks' - 7 small projections masked onto specific holes and features of the Carriageworks walls.   The abstract surface ‘characters’ of the cracks and holes of the western foyer of Carriageworks lie watching us silently, solidly, the wallflowers of the entertainment industry. I am cutting out the dream characters of the wall paint and morphing them into simple animations. This work samples these cloudgazed shapes and animates the brooding essence below.  Codified messages are passed on, through stencilled texts of the building and the coaxed friendships are engaged with the animistic suggestions of performer, Georgie Read.
Thurs 4- Sat 13 Nov, 8pm-11.30pm 
Performance Space @ Carraigeworks

Sunday, October 10, 2010

No Door on her Mouth

A very quick development to show with performer/writer Dawn Albinger.  A single channel projection moving from logged forest plantations, to Plato's cave to gutted hospital to a Truman Show ending, woven through by Dawn, the solo Diva/deer character.  Again with dark dramaturge, Margaret Cameron.
Judith Wright Centre (Brisbane) 11-12 Oct, Blue Room 26 Oct - 13 Nov(Perth)

Thursday, September 09, 2010

In Glass - Studio SOH

Paul White and Kristina Chan are hugely courageous dancers and project a superhuman quality with choreography of Narelle Benjamin setting a high bar of contortionism. One-way mirrors serve as a rear projection surface to animate their unconscious. I could have blasted the mirrors with total oversized, syncronised documentary, then cracked the mirror and dissolved into the netherworld like an Orphean conspiracy. 
'Spring Dance' at The Studio, Sydney Opera House, 7-12th Sept 2010

Sunday, August 08, 2010

ARTSPACE: Amygdala - Fear Conditioning



A doomsday, asteriod field using 22 of my past video projections from live performances.  Using twelve screens and four projections this is an experiment in finding a confluence between a selection of recollected hot spots of live performance combining distorted archival documentation and a reanimation of projection images that once accompanied other works.  The result is a heavy state of loaded experiences oscillating and regenerating amongst themselves.
With artists Ms&Mr from August 13th - September 10th, Artspace Sydney, 43-51 Cowper Wharf Road, Woolloomooloo

http://www.artspace.org.au/newsletter/newsletter_20100804735572.html

Sunday, July 25, 2010

My Darling Patricia/ Mt Gambier residency


My Darling Patricia's development of 'Ted Head' is based on a collection of short plays for children by Ted Hughes. We were using the Varcoe Theatre rehearsal space and Tenison Woods school and drove up the Coorong to find apocalyptic environments, caves and deforestation. Then back to animate seeds, build leaf houses, bark monsters and car factories out of dough. Who could not have a great time doing this? The bakery around the corner had hearty soups and South Aussie pasties. Fingers crossed this will be on at the Malthouse in April next year.

Saturday, July 10, 2010

Broome: BURU


A new work by Marrugeku, its great to be doing projections about the  landscape and the six seasons, with the spiritual presence of the 'Boss Lizards', the most powerful creatures in the Western Kimberley.  Of course I could devote a lifetime to understanding all the Aboriginal dreamtime stories here and I still wouldn't know enough, but Marrugeku seems to be forging a new path for performance in the Broome area.  Goolari TV is a big inspiration, artistic animations and short films from the community are made with very open access to training and equipment so the culture there is very direct; straight from the artist via Goolari TV, film and video art is immediately embedded in the community culture.  This image is of a mozzie in Mangala, the hot, wet time of the year.  On from 8th October, 2010.

Friday, June 11, 2010

Vivaria at 'Reeldance Installations #4'


Vivaria presented as part of 'Gesture Dance' curated by Erin Brannigan (Aust), Janine Dijkmeijer (Netherlands) and Pascale Moyse (UK) with other video installations by Kate Murphy, Su Healey and Adam Synnott, Sean O'Brien and Isabelle Rocamora,
spread across several site specific spaces and in-house faculty screens at the Uni of NSW Kensington.
Vivaria is a cube structure of a multitude of obscure spaces from Tokyo and Berlin with dancers Peter Fraser, Georgie Read, Linda Luke, Martin del Amo and Lizzie Thomson.  Their mechanised tableaus are interchangeable, like shuffling a deck of cards.

Also Screening at Cinedans Amsterdam, 8-12 Dec 2010
http://www.realtimearts.net/article/97/9889

Dates: June 15-19   Daily 10-5pm
Venue:  Io Myers Studio, Australian School of Business, Robert Webster Building.

Monday, April 26, 2010

Lost by Manipulation

Collaging for 'Wrong Prom' again...warping and sampling trashy dance videos::: a euphoria of patterning of patterns of superficial teen dramas, or at least a revelling in 80's romanticisim. Romanticism : superficial?   Its easy to dis' romanticism.. an imaginary aesthetic... paralleled by the impossibility of teenage dreams.  Maybe.

Wrong Prom, Carriageworks - 5 May/Flashdance, 23 June/Blues Brothers, 28 July/Grease, 25 Aug/Chicago 2010

Wednesday, January 20, 2010

Crystal

In progress dance video, shooting through a crystal ball mounted on the front of a dslr. Concept and choreography, Narelle Benjamin with dancers Emme, Martin del Amo and Julie-Anne Long, filmed at Fraser Studios in Nov 2009. Shot, animated and composited by me to an initial choreographic-edit sketch by Narelle. It will probably be adapted for projection some time this year...

Tuesday, January 05, 2010

Falling Like a Bird, Albury



A Hothouse Residency with Dawn Albinger and Julie Robson for one week working and shooting late into the night, walking through wetlands, passing through the full force of a storm. Broken trees, no electricity, no water, sucking lemons. With Margaret Cameron, Nikki Heywood, Annette Tesoriero  Sound: Lindsay Pollak, Cathie Travers.

Saturday, November 28, 2009

Brief Breath in Bundanon


We scored a week in Bundanon at the end of October, courtesy of Rosie Dennis.  I spent a week animating a gum tree stick-railway network which took a lot longer than expected.  I was trying not to go too feral but it is hard, trying to ignore wombat tantrums under the floor boards and unacceptably happy Friar birds out the front window of the studio.  I can't concentrate with all these noises of nature.  Shifting from urban insomnia to crazed, ethanol fuelled bull screams in the dead of the night echoing across the valley and daily spiders in the bed.

Thursday, July 02, 2009

VIVARIA - Berlin residency @ GlogauAIR











Getting close to the end of editing this labyrinthine project...'VIVARIA' on the residency in Kreuzberg. Its five weeks time-out to work on the post production of a four screen video installation to be watched from the centre. It has a feature film's worth of compositing in it.., at the moment in Berlin its better to be outside and riding a bike.

- Working in 1080p with 1280x720p h.264, distorted 1024x768 mjpeg and deinterlaced 1080i HDV. Sometimes this makes an entire timeline go black after rendering. But the 1080p gives a nice crisp, animated stutter on speed adjusted clips.

- Wow the days are slipping by, not sure how to fit in the coffees and beers. Stuck doing manual rotoscoping, 2000 manual keyframes in a 1.5 minute video clip, 2 days just to do that...

- The complexity of editing 4 channel video should not be underestimated. That is, the relation between one edit and another in a single channel, multiplied by the relations between each of those in another three channels (linearly), multiplied by the relations between the corresponding events between each channel (spatially).

Sunday, May 03, 2009

Ghost Quarters


My ninth work with Tess de Quincey, this performance installation is based on the writing of Thomas de Quincey
(Confessions of an English Opium Eater). This work has a programmed avoidance of cognitive structure though there is a sensory framing of Tess' four mind states; outside, internal hallucinatory, murder and vortex. Ian Stevenson's sound is randomized on Max making quotes from the text lingering and constantly in flux. Two 6000 lumens projectors, side on in 16:9 are pointing towards a central labyrinth of tule. Mixed live on two Numark Arkaos mixers.
9th-16th May 2009
Track 12, Carriageworks

Monday, February 16, 2009

Night Garden

Delve into the unconscious... and never return. Forget wishy-washy SUBconscious video projections, this heavy duty hallucinogenic work holds you underwater until you drown, and then the show starts. My Darling Patricia's next performance puppetry work is set in traverse with delicate textured burnt gauzes and projections on nighties in a perspex shed. There are a few challenges with the projections on such fine material in confined spaces and being in traverse, but there's a lot of attention to detail so it should be a great and haunting work. Co-directed with the inspired Margret Cameron (VIC) and Chris Ryan (NSW).

5th -14th March 2009, Performance Space, Carriageworks
24th - 29th March, Arts House, Meat Market

Thursday, January 29, 2009

nargun and qlab


If you're thinking of using Qlab this is what you're looking at. These are my corrections notes JUST from the plot. Zoom in to the A4 pages! 5 times the amount of work than updating dvds - tedious and time consuming. The 2Ghz Intel Mac minis were only just barely able to do a cross dissolve, pathetic! Still, if you have to hand the av over to another operator, this is the way to do it. A BIG loss is no live operation, its all automated.

Sunday, January 04, 2009

Nargun and the Stars



This is LARGE scale, scary puppetry from the mind of Scott Wright (Erth) co-directed by Wesley Enoch. Eye scorching, heavy duty, saturated imagery will be buffeting the scrims and textured cyc's - there will be screams of terror. For ages 8 and up. I've been working with triple layered composite mattes cut out of photographs from the Hunter Valley. Monstrous rocks, terrifying trees, spirits, dreams, night storms and supernatural swamps... puff, puff. Motion particle generators, luma keyed puppet multiples, filmed shadow puppetry, explosions, real videoed particle transtions... 9 weeks of intense making cut in as much detail as I have time to motion track it all. Some of the masked landscapes have come out similar to Sydney Long's paintings of opiate and impressionistic spirit dreams. The pain of this show is the 56,000 hours to program and prepare video for Qlab.
SYDNEY FESTIVAL, Riverside Theatre 15-21 Jan, 2009

recent biog


Sam James has been a filmmaker and projection designer for performance since 1995. His focus has been to collaborate with new media, dance and theatre projects to develop integrated, paradoxical languages in live performance. He has been a regular contributor to Performance Space for ten years also filling a role as video documentor for many independent dancers there. His approach to the moving image is to unveil paradoxes between media and the live presence and being seduced but complicit in the manipulations of the stage.  Most of his work involves animation of abject subconscious, environments and objects, playing with and against the performer.  He trained in architecture and film and has been a set designer and made successful super 8 and 16mm films such as Nun's Night Out (winner best dance film, Australian Dance Awards 2006). He has screened dance films in Cinedans Amsterdam, MOVES Manchester, VideoDansa Barcelona, Dança em Foco Rio de Janiero, Tansfilm Wetbewerb Berlin, Video Danza Buenos Aires, MediaTerra Athens, Reeldance in Australia and NZ and the Experimental Media and Performing Arts Center, New York. Although he spends most of his time working on small, independent developments he has regularly contributed to the major festivals in Australia, from Adelaide to Perth to Alice Springs.

Friday, November 28, 2008

Nomads


Led by Hans Van den Broeck (Ballet C de la B) : a three week development at Performance Space with intensive camping/filming at the south of Sydney. Psychological breakthroughs were happening second by second with Hans' tough manipulations and from the periphery, improvised video is forced to to a more rugged level. It must be recorded, but it must be new. It is the catalyst of dream and memory, but at a different time, the mere playing card in a play of real life. The basis of the exercise/experiments lead to a constant, churning invigoration of presence in time, memory and interactions between individuals. Our participation leads one to question whether we are part of this, or whether we are playing roles in a group hypnosis, witnessed by an audience, also partly hypnotized. The daily updates and reformation of material by Van den Broeck makes the artists unable to hold onto 'unauthentic structures' and the improvised thread must be climbed fast before gravity can break it...

Friday, November 07, 2008

Triptych


A minimal and transformative work by Tess De Quincey with dancers, Linda Luke, Lizzie Thompson, Victoria Hunt and Peter Fraser. Simple for me was simple, objective, working with Tess' video shoots of trees in wind, water near her house and Robin Fox's oscilliscope, using the feeds of Chris Abraham's sound. A very collaborative cross-over, intersection of three states, air, electricity and water... three screens with diffusion cloth repositioned in three formations in the round. The av component was based on using remote, mobile projectors with mac minis cued by Qlab and Quartz Composer and three down projectors in the rig. We almost had independent power on the mobile projectors too but inverters would have been too big, powering large 6000 Lumens projectors. All in the essence of the elemental footage, my editing was sparse and manipulation practically non-existant. Tess' selfless shooting eye already showed what needed to be seen.
Performance Space @ Carriageworks 6th -16th Nov 2008

Monday, September 01, 2008

Tokyo (Aug-Sept)



I can't tell the difference between dream and reality, the streets full of colourful alien co-travellers, stuck in microcosms that I only momentarily encounter, like heavy raindrops in an endless tropical storm. Night showerers are shuffling in yukates in the ryokan, where I'm staying. I'm shooting MPEG backgrounds and foregrounds, waiting for the super-haze to steam off into the less flat afternoon, evening glow, then contemplating middle grounds to flip them beyond child's drawings. In the mornings drinking iced-coffee, eating mayonaise sandwiches and falling back out into endless discovery. When do you come back in? Not sure how to put this all together, I've got too much but not enough.

Monday, August 11, 2008

TARKOVSKY'S Horse



Sorry to post yet another black and white picture.. can't seem to get colour into these projections! Tone and expressionism always seems to be stronger without the realism of video colour. Coming up is Peter Fraser's 'Tarkovsky's Horse' as part of '2 SOLOS' with Peter and Linda Luke, part of The Weather Exchange. Abstract, elusive, pure choreographic imagery by Peter blends into a flashing, pseudo super-8 front projection with great idiosyncratic sounds by Natasha Anderson.
Melbourne (Dancehouse 15th-17th Aug), Sydney (Campbelltown Arts Centre 21st-22nd Aug, Performance Space, 'Liveworks' 25th Aug-7th Sept)

Monday, August 04, 2008

IMPROLAB Cairns



Russell Milledge, Rebecca Youdell and Nick Mills invited us to the On Edge Festival in Cairns to do the 5th version of Improlab. Jim Denley, Amanda Stewart, Tess De Quincey and myself. With a new approach I poured dozens of mpeg videos captured in the space and the near surroundings into a modified, compacted digital setup, one small hdv camera firewired to Arkaos and the Numark mixer and crossed them with a single live feed of the present space. A relay between live and prerecorded. Each Mpeg went stale after only one day. Starting with uglier conceptual images in the first performance (tourist development and deconstructive shots of bumping in, running schedules, taxi receipts) and returning to a sanctuary of aesthetics on the third performance, burning together Tess's subtle movments, twisted vines, sprays of water, remnants of flooding, lichen, wind blown shadows, tiny fish in mud. That was us, tiny fish in the vast mangrove, on the edge of an infinite blank page.
On Edge Festival, Cairns @ JUTE Theatre, July 31st - August 2nd 2008.
Realtime Review THE STUDIO
http://www.realtimearts.net/article/77/8340

Thursday, June 19, 2008

Electronic Church (Berlin)


There is a little man inside machines who turns the meters but they are always slightly faulty. The record of time progresses forward but loses order in the present. The present jumps to anything which has occurred in the past, but because it always moves in regularity we respect its accuracy as a rough measurement of time. Also showing other recent animations from Prague and Glasgow and Calcutta. At Electronic Church, 223 Greifswalder Str, Berlin in Prenslauer Berg, 19th June 2008, 9pm.
With great old and new travel sounds by Gail Priest.

Thursday, April 17, 2008

Calcutta Visual Arts Residence


You need to be more than a Bengali poet to put Calcutta into words. This residency with dancers, Tess de Quincey and Santanu Bose was an exploration only of the tip of an iceberg. Iceberg is not a metaphor to use for Calcutta. I am trying to extract high resolution, progressive motion jpeg videos into slow moving graphic energies and cryptic combinations of chaos. An expression of the impossibility of framing in a complex urban environment. We did 2 performances with dance and video at Uma Gallery to audiences of about 40 per night. With some positive responses we passed through unscathed, a mere blip on a fizzling Calcutta radar.

(getting around in Cal)
video

Thursday, February 28, 2008

Anamorphic Archive


For interesting RealTime reviews by
Martin del Amo and Jodie McNeilly
check 'links' above and program notes are in this blog's comments.
















Martin del Amo, 1997. video

Saturday, January 12, 2008

DANCE SCREEN Sydney Festival



Erin Brannigan has curated a selection of recent dance films presented in a variety of formats in the Studio Foyer of the Sydney Opera House. In this I have 'Midnight Dancer' with Martin del Amo, excerpts of 'Simulated Rapture' with Rosie Dennis and excerpts of '5' with Victoria Hunt. They are on interactive touchscreens designed by David Corbet, limited to 2 minutes, with headphones. I'm going to check them out when we bump in INTO again on Monday 14th.

Friday, December 28, 2007

FIGMENT Sydney Festival


This is a dance work about schizophrenia, again with Choreographer Narelle Benjamin. I imagined I would have unlimited imagery for a work about mental illness but no, there's a huge responsibility making a substantial work about it. It is attempted through multi planes of image making, then fracturing them together, based on a real person's experiences. Its important for an audience to see the whole picture to relate to the mental state, but its been a while since I've felt schizophrenic, so this work can only be an external view into a whole and complex existence. I am trying to think that we are all schizophrenic in our relationship with the urbanized world but I can't tell if I am in that state or have adapted and desensitized myself from it. Again we are using a black scrim front projection for states and ghostly presences and a rear projection onto a 2 x 1.5m One Way Mirror for positive and reflective psychic states. Its an example of a symbiotic expressionism in dance and projection that cannot be logically explained.
INTO @ Riverside Theatres 8-12th Jan,
The Studio Sydney Opera House 15-20th Jan 2007
Dancer: Kathryn Dunn
Sound: Huey Benjamin

Friday, October 26, 2007

BLUE PRINT



This is a new work directed and performed by Deborah Pollard and three firemen. It traces memories of the Canberra Bushfires in 2003 pivoting on a live overhead camera projection of the floor plan of Deborah's family home which was destroyed. The voice overs of her family members articulate the vivid detail of the moment but we show little of the actual event in images. There are two strands of imaging the event, the cold, technicality of re-drawing the house plan in live camera and a subconscious projection of a masculine principle and its relation to trauma and grief. This is embodied by a life size model of a horse, the three yellow clad, anonymous firemen and the projections of doorways and windows leading into forests, the doorway into the heart and guts of the horse and the parallel of the suburban and the wilderness meeting in tragedy. I'm looking forward to a 3 day break at the end of 12 weeks constant work.

Performance Space @ Carriageworks
26th Oct - 4th Nov 2007

Tuesday, September 11, 2007

Quietly Collapsed


After almost 6 weeks this 3 minute video directed and performed by Rosie Dennis
is almost at the end of the tunnel. Its shot and edited on hdv, the process just able to eek out of my G5. Produced by the ABC and Channel 4 in the UK. New teams, numerous people in the chain of events, epileptic editing restrictions and grading limits... so complex, its back to the inefficiency of film and tv. I've become so used to getting up late and going to film some mpegs by myself and shifting images around randomly. Some of the editing in this was random, a lot of it was single frame adjustments left and right to get movements to jump cut nicely. Rosie made some radical edit shifts which made the sense of the choreography leap forward. For me, shooting in a brightly lit, brand new office building, its a film where there's nowhere for the filmmaker to hide. Everything is exposed, transparent and very 'video'. It is serving Rosie's quality of performance though I think, and taking it to a new place developed by chopped-up editing.

Saturday, August 18, 2007

Language of Loss


This performance, directed by Nikki Heywood and devised by Matt Prest, Lizzie Thompson, Michelle Outram, Costa Latsos, Siobahn Murphy with sound by Jason Sweeney, projections and design by myself, unlike many other projects, allows us to search without the need for answers. I am constantly trying to tie things up and tie them in but apart from sound and image resonances, the work resists analysis. Although it is based on the performers' real experience, ambivalence reigns, an unrelenting, unconscious sculpture... phew... humbling... beyond conscious, before construction...

Tuesday, June 19, 2007

Immersion: ELECTRICAL EMPATHY


An Inter Arts Grant, Gail Priest and I produced a one week development with 2 showings at Carriageworks, Performance Space.
I designed two large 16:9 screens with some expensive front and rear projection diffusion cloth, suspended in Track 12. Technically analogue, feeding into three vision mixers but from a combination of live camera objects (Nick Ritar, Cicada, VIC), Isadora (Scott Morrison, NSW) and Arkaos with a Numark mixer (myself) developed two, 45 minute sequences in which we each crossed over with sound artists, Gail, Jason Sweeney (SA), Peter Newman (NSW video also) and Ai Yamamoto (VIC). We had a great week, trying to produce something that wasn't the usual solo-artist-type event where we would overlap and create new partnerships. The plans of setting up half outside was impossible because of the floods going on out there, so we had immersion inside.

Saturday, May 19, 2007

The DARKROOM


A ten minute dance/projection piece in BODYTORQUE with the Australian Ballet, Sydney Theatre, May 2007.
Choreographer, Narelle Benjamin and myself use our formula screen design - Black Scrim downstage with high contrast black and white 'ghosted' objects with a background on White Cyc. 7 weeks of time lapse video of 4 different roses growing and dying at the beginning of winter. They flower in a derelict room, three dancers from the ballet company articulate a man's early death and his surrealist signals from the afterlife. Music: 'Drive By' - The Necks.