A series of medium-format panoramic photographs, made with multiple exposures, document L'atelier Brancusi, a recreation of Constantin Brancusi's studios, at the Centre Pompidou, Paris.
A multiple exposure photograph taken at L'atelier Brancusi, Paris in March, 2018.
This version of the work was made for AJAR, Mitchel Cumming's window project, at Sydney College of the Arts.
This version of the work was made for AJAR, Mitchel Cumming's window project, at Sydney College of the Arts.
A series of works examining light and reflective surfaces, primarily the moon as a 'mirror' of the sun:
- A series of hanging light-bulbs, partially masked with black-paint, are transformed into eclipses, visible in mirrored discs on the floor.
- A set of time-exposure photographs, made on a medium-format panoramic camera, track the movement of the moon across a night sky.
- Two sculptures, scale-models of film-sets that feature mirrors: a 1:12 scale model of the mirror-maze set from The Lady from Shanghai, 1947, and a 1:10 scale model of the peep-show set from Paris, Texas, 1984.
- A series of hanging light-bulbs, partially masked with black-paint, are transformed into eclipses, visible in mirrored discs on the floor.
- A set of time-exposure photographs, made on a medium-format panoramic camera, track the movement of the moon across a night sky.
- Two sculptures, scale-models of film-sets that feature mirrors: a 1:12 scale model of the mirror-maze set from The Lady from Shanghai, 1947, and a 1:10 scale model of the peep-show set from Paris, Texas, 1984.
A series of individual works by Mary Teague and Luke Parker in dialogue across two galleries, examining patterns formed by light passing through apertures and screens, or refracted off glass and other surfaces.
A diptych with photographs printed on angled canvases, one a macroscopic detail of a found surface, the second a found image of the universe.
Onto each are placed various photographs with subjects including: an ancient urn with a spiral; volcanic craters and sink-holes; the sun, the moon, and an eclipse; comets; a seismographic printout of an earthquake; a felled forest after an unidentified event; workers at a diamond mine; geological stratum, and a man making an ‘automatic’ drawing.
Across the surface of each canvas, sewn threads connect the images into geometric constellations, along with objects including black pearls, silver jewelry, and coloured photographic gels.
Onto each are placed various photographs with subjects including: an ancient urn with a spiral; volcanic craters and sink-holes; the sun, the moon, and an eclipse; comets; a seismographic printout of an earthquake; a felled forest after an unidentified event; workers at a diamond mine; geological stratum, and a man making an ‘automatic’ drawing.
Across the surface of each canvas, sewn threads connect the images into geometric constellations, along with objects including black pearls, silver jewelry, and coloured photographic gels.
A series of collages, with large-format backgrounds of photographic details of found surfaces including painted walls, peeling posters and graffiti. Onto these grounds are pasted constellations of varied imagery including found and historic photography, with subjects ranging from microscopic details to cosmic phenomena.
Two assemblages on found screen-print screens featuring faux-Victorian and -Georgian period window decal patterns, used for sandblasting patterns onto glass.
Here, the patterns have been printed onto acrylic sheet, attached to the wooden frames, and hinged perpendicular to the wall.
Inserted into and onto the works are various found objects including photographs, haberdashery and faux mourning jewellery.
Here, the patterns have been printed onto acrylic sheet, attached to the wooden frames, and hinged perpendicular to the wall.
Inserted into and onto the works are various found objects including photographs, haberdashery and faux mourning jewellery.
A series of assemblages incoporating photographs, digital photograms and found photo prints with materials including foiled leather, fabric and silver thread, all drawn from an archive of images and materials collected over 20 years.
A series of works combining found photos, photograms constructed with a scanner, and analogue and digital photographs taken with cameras.
Perception is confused through the use of optical patterns, mirrors, holes, and the inclusion of 'real' objects alongside their photographic facsimiles.
The 'traps' referenced in the title include nets, webs, holes and sink-holes; the camera is also a ‘trap’ for capturing light.
Perception is confused through the use of optical patterns, mirrors, holes, and the inclusion of 'real' objects alongside their photographic facsimiles.
The 'traps' referenced in the title include nets, webs, holes and sink-holes; the camera is also a ‘trap’ for capturing light.
A modified version (2012) of a work made in 2004
The text is a fragment of a poem by W.B. Yeats
The font is derived from Marcel Duchamp's 'The Green Box', 1934
The text is a fragment of a poem by W.B. Yeats
The font is derived from Marcel Duchamp's 'The Green Box', 1934
An ongoing series of 'adjustments' in the form of drawings made with stitched cotton onto found postcards. The cards feature reproductions of works by Marcel Duchamp (primarily the 'readymades') as well as related works by Jeff Koons and others.
A collaborative installation with Narelle Jubelin, and with architect Marcos Corrales Lantero and furniture maker David Norrie.
The work consisted of a spatial intervention across the two galleries: the insertion of a cantilever beam bisecting the spaces through a section of removed gallery wall. The beam copied the form, and hinged off, the existing columns. A wall-painting wrapped the columns and the horizontal beam, which also operated as a display area for a series of individual works.
Link to an article about the installation, written by Ann Stephen for 1001 nights cast, a durational performance by Barbara Campbell
The work consisted of a spatial intervention across the two galleries: the insertion of a cantilever beam bisecting the spaces through a section of removed gallery wall. The beam copied the form, and hinged off, the existing columns. A wall-painting wrapped the columns and the horizontal beam, which also operated as a display area for a series of individual works.
Link to an article about the installation, written by Ann Stephen for 1001 nights cast, a durational performance by Barbara Campbell
A series of motorised discs, with patterns derived from television test patterns.
Commissioned by ABC TV and Penrith Regional Gallery for the exhibition
Yours, Mine and Ours: 50 Years of ABC TV
Link to artist statement, 2006
Commissioned by ABC TV and Penrith Regional Gallery for the exhibition
Yours, Mine and Ours: 50 Years of ABC TV
Link to artist statement, 2006
A found press photograph – a contested image, reportedly depicting two Iranian teenage boys about to be executed by hanging – is reconfigured with a cotton thread that continues the noose ropes beyond the picture edge and joins them in a loop.
Initial reports stated the young men were executed for homosexuality. Subsequent reports claimed they were charged with the sexual assault of another child. Human rights groups maintain their only crime was being gay. These conflicting reports do not diminish the power of the image in signalling ongoing human rights breaches against LGBTQI people around the world.
Links to articles addressing this work, by Paul Kelaita and Steve Dow, are included on the 'texts' page of this site.
Initial reports stated the young men were executed for homosexuality. Subsequent reports claimed they were charged with the sexual assault of another child. Human rights groups maintain their only crime was being gay. These conflicting reports do not diminish the power of the image in signalling ongoing human rights breaches against LGBTQI people around the world.
Links to articles addressing this work, by Paul Kelaita and Steve Dow, are included on the 'texts' page of this site.
Various drawings, made since 2004, often text-based and using fragments of quotes from various sources including poems, news media and catalogue entries.
harmacy is a 'cover version' of an artwork by John Baldessari, instigated by a coincidence.
In early September 2001, I bought a postcard of a work by Baldessari that includes a photo of two high-rises in mid-catastrophic explosion. A few days later, the World Trade Center in New York collapsed.
Using the Baldessari work as a formula, harmacy was created using found media images of the 'real' September 11 events.
Link to artist statement about harmacy
In early September 2001, I bought a postcard of a work by Baldessari that includes a photo of two high-rises in mid-catastrophic explosion. A few days later, the World Trade Center in New York collapsed.
Using the Baldessari work as a formula, harmacy was created using found media images of the 'real' September 11 events.
Link to artist statement about harmacy
A series of 'drawings' made with hand-stitched cotton on various found surfaces including: two posters from paper-stacks by Felix Gonzalez-Torres; a postcard of a Marcel Duchamp 'readymade', and a plastic envelope printed with a security camouflage pattern. The installation also included sound recordings of the incidental noises made in the studio while working on the drawings.
Link to exhibition text by Alex Gawronski
Link to exhibition text by Alex Gawronski
