The Disillusioned James Gillies

Aden Narkowicz
Graphic Fictions (Data Fictions III),
Generative digital projection, dimensions variable

Data Fictions is an ongoing series of real-time generative works that present fictional data sets in place of and in conjunction with real collected data.

The basis for Data Fictions lies in a paradox found in data collection and interpretation. While methods may be imperfect, raw collected data can be considered to be representative of some form of truth. However through analysis, discrepant interpretations can emerge and take on a form of fiction. It would be false to imply that works of fiction are devoid of truth, rather, they use fiction to delve into the truth and examine it with drama and emotion.

Graphic Fictions presents a feed of shifting colours and tones drawn from graphic imagery and other pictorial data. The explicit nature of the imagery is decontextualised through aesthetic treatment. This act of obfuscation brings into question the relevance of the source imagery and data to an outsider as interpretation is reduced to an abstracted visual narrative.

Alasdair Doyle
Video projection and found object

"So we drove on toward death through the cooling twilight.” - F. Scott Fitzgerald, The Great Gatsby.

Death is a fact of life. The dread induced from “non-being” represents a fear that can neither be confronted, understood, nor holds any bearings in a physical sense, spawning an ultimate helplessness. As memento mori gravestones reminded the reader “what you are, I was; what I am, you will be”; death escapes no man. In so much, this work, part sculpture, part projection seeks to provide a platform to reflect on mortality. Even in the comfort of suburbia, death whirs continually beneath the membrane of life.

Claire Krouzecky and Darren Cook
Separation of Silences
Composition for long distance in 3 movements
Video correspondence (looped)
Kindling and found materials
Sound action sequence

  1. Reading action (reverie in waking and sleeping)
    Live stream remote readings (120 mins each)

Darren to Claire
Friday, Feb 27, 2015 (GMT+11) 6:00 - 8:00 PM Hobart TAS
Friday, Feb 27, 2015 (EST) 2:00 - 5:00 AM New York NY

Claire to Darren
Friday, Feb 27, 2015 (EST) 10:00 AM - 12:00 PM New York NY
Saturday, Feb 28, 2015 (GMT +11) 2:00 - 5:00 AM Hobart TAS

  1. Acoustic window action (expansion/reflection)
    Live stream simultaneous Skype call (480 mins)

    Saturday, Feb 28, 2015 (GMT+11) 10:00 AM - 6:00 PM Hobart TAS
    Friday, Feb 27, 2015 (EST) 6:00 PM - 2:00 AM New York NY

  2. Radio action (nomad’s elegy to a home)
    Live stream simultaneous radio broadcast (480 mins)

    Sunday, Feb 29, 2015 (GMT+11) 10:00 AM - 6:00 PM Hobart TAS
    Saturday, Feb 28, 2015 (EST) 6:00 PM - 2:00 AM New York NY

Grace Herbert
A Decent Interval
Video projection and demolition footage, faux marble tiles. Dimensions variable

"All structures will be broken or destroyed in the end - just as all people will die in the end. It is the purpose of medicine and engineering to postpone these occurrences for a decent interval. The question is: what is to be a decent interval?" (J.E Gordon, Structures: Or why Things Don't Fall Down)

Demolitions are universal and unquestioned, a constant in suburban life. But a demolition is a violent act, at once seductive and confronting. I imagine that driving an excavator into a house is an anarchically satisfying feeling. An act of obliteration counteracted by the potential of renewal

Mathew Carey
Untitled 1 - 3
Additive manufactured ABS plastic

In the space and time in which we exist I experience a collision and curdling of science and spirituality, both within the individual and the society. Due to this I feel that the questions we all face as humans have taken a great impact from our own explorations, and a sense of confusion is ever present.

I have always used computers. I have always felt both empowered and limited by our technology, in no means do I mean that technology was not allowing me to do things I could not normally achieve. But I could still think of things I wanted to do but could not achieve. I am by no means a coding genius. I can barely string a line. However I am practiced in learning. And I don't like being beaten by something made by us.

CAD programs provide me with the instant visual progress I desire in any process, yet allowing for a level of perfection unattainable by my hands alone; as I would later find a much broader range of possible outcomes.
Due to the CAD environments nature, physics, time, distortion, glitching, creation and destruction are all at my disposal as both methods of control and creation but also becoming the allegorical tools and motifs of the works themselves.
By utilizing spaces that aren't physical, much like our individual internal space, but one that is designed to simulate our own external space. I can take or remove my control from an exploration, making the CAD working environment a perfect way
to separate the imagery I am discussing from the comfort or the spaces in we usually inhabit.

I explore mediums that display properties suggestive of malleability and plasticity, the materials qualities are used as metaphor for reality; twisting and warping in a perpetual state of change and transformation. All works are remnants of the subconscious accessed through dreams, states of heightened awareness, and automatic painting.

This curdling of belief, philosophy and science, and the plasticity that has become present in our modern experience of reality due to our technology, sciences and modern spiritual beliefs is what I have strived to make present in my latest series of works.

Nadège Philippe-Janon
Sound composed by Leni Philippe-Janon
Projected animations, various materials, sound.

At the core of my practice is an interest in the biological sciences, particularly the inextricably interlinked nature of systems, beings and materials. My works often transform into curious miniature ecosystems where projected animations highlight layers of physical ephemera and collected detritus such as salt, water, tubes and discarded electronics, encouraging viewers to explore the many components and interconnections in the space.

The sound component for Inner-Outer-Space is composed by Leni Philippe-Janon, and mixes live recordings, radio static and artificial sounds. The assemblages I create frequently make connections between macro and micro, human and non-human, organic and man-made; within the context of suburbia, Inner-Outer-Space situates this normal strange world within a strange world. Inner Space may be just as vast as Outer Space.

Sarah Jones
A good chair is a good chair
Video and titanium dance pole

A good chair is a good chair - taking its title from Donald Judd’s 1993 essay: It’s hard to buy a good lamp – explores desire through the objectifying gaze and the fetishisation of the art object. The four minute video, documents the artist performing a lap dance for a replica of a chair designed by Judd, to Australian rock band, the Divinyls 1990’s hit, I Touch Myself. The lyrics provide a humorous insight into Judd’s notion of polarity and function, and Judd’s own absence / presence within the work. Shot from the dancers perspective, the work amplifies the viewer’s gaze; a kind of double vision ensues in which both the fragmented female body, and the object are simultaneously subject to the objectifying gaze.

Selena de Carvalho
What Happened
moving image
infinite loop

The re-enchantment project is the first in a series of public interventions situated in and around Hobart. The video documents an authorized act of ‘graffiti’ on a dilapidated heritage building. This action takes on a performative guise.

The work attempts to raise questions around how society interacts with public space by pushing up against the standard mode of interface by challenging what is perceived as allowed, in both an imaginary and literal sense. The long-term goal of the project is to activate, through creative intervention, spaces that have fallen into disrepair and been left to entropy. This and the following two works explore my interest in the politics of public space.

moving image
infinite loop projection onto window screen

Using a window as a screen, as a reflection and a portal between spaces, Collapse documents a public intervention into rural/urban Tasmania. Rural commuters pass by this beautiful ruin, which now shelters birds and cattle.

Utopia, according to Wikipedia is a community or society possessing highly desirable or near perfect qualities.

This work takes it’s title from the Jared Diamond book, “Collapse: How Societies Choose to Fail or Succeed”. In this book Diamond focuses on collapses through the comparison of many past and present societies with respect to environmental fragility, relations with neighbors, political institutions, and other "input" variables that impacted on a society's stability.

EL wire

There is something both liberating and negligent around the notion of Abandon. It can mean to yield (oneself) completely and it can also mean to give up or desert.

I’m attracted to abandoned spaces. Perhaps it’s the freedom to forget, and the permission to decay that these spaces exert. Abandoned spaces are an inevitable return to an ecological system. When I have squatted abandoned buildings, sometimes on entering it’s as though whole lives have been left, like a still life artwork, a time capsule. They offer a beautiful, evocative, curious and often melancholy insight into the past. Sometimes neighbours, who have witnessed a space remain empty for years can suddenly feel the desire to exert territorial ownership over these decaying habitats. I have always felt that by inhabiting abandoned spaces (often destined for demolition) I have opened the window the to the possibility of breathing new life into a community.