Below is a list of works from the series Images of very small things, 2016, adapted from Creative Commons licensed images and the public domain. These works were originally exhibited in the exhibition No Feeling Whatsoever at CCAS City, Canberra, from 17 August – 17 September 2016.
Please feel free to use, adapt and distribute the below, under the same licence conditions: Attribution-ShareAlike 4.0 International (CC BY-SA 4.0), Attribution 2.0 Generic (CC BY 2.0) or Attribution 4.0 International (CC BY 4.0) as listed below.
Two months since arriving in Japan I have opened my studio to the public and presented work in progress to date. With the invaluable help of Yuki my translator, I hope that some of my time here became a little more coherent to my Japanese colleagues, and hopefully to myself. Yuki’s translations left me inwardly grinning as they seemed to range far beyond any equivalent word count to my english. Yuki later told me that she was known for her enthusiastic style of translation, I felt lucky to have had the opportunity.
Date：December 20, 2014［Sat］17:00～18:00
December 20, 2014［Sat］- December 26, 2014［Fri］10:00～20:00
Kyoto Art Center Studio 4
Progressing towards more experimentation with mapping air, I have been testing the 3D scanner on some of these inflated and suspended objects. Ideally the object to be scanned should not be highly reflective or translucent. The golden ‘space blanket’ fails on both counts but the results were still useable. The initial scanning results, with a bit of mesh patching, can be seen below. The 3D model below is of the pictured object. The image is work in progress of an installation for an Open Studio to the public. The installation included a projection of the rendered 3D model taken from the interior golden object. The video can be seen below.
The video below is a rendering of the above scanned object. Referencing the ‘dry landscape’ gardens (karesansui 枯山水) found in many zen Buddhist temples throughout Japan. This was projected onto the windows of my second story studio space, and best viewed from the building’s exterior.
At the time this work was being produced, the spaceprobe Rosetta was making a rendezvous with the comet 67P/Churyumov–Gerasimenko (67P) and along with its lander module Philae, was producing mapped images of the surface of the comet. These images of the comet, along with the stone garden at Ryōan-ji, Kyoto, work as inspiration for the work.
Everyday the beautiful light here in Studio 4 changes, I feel very lucky to have such a wonderful place to work. I have developed the below process more thoroughly here.
Week 5 in the studio. I am laying out my golden bower. Most of it will be packed or discarded in preparation for my installation in the space in 3 weeks. I have felt like nothing has been achieved, so this gives me a sense of volume at the very least. Work on the spacesuit in the foreground marches on but I am not optimistic it will be finished for the open studio. I have been waiting for Yodobashi to deliver my 200 metres of hemp rope in preparation for my installation.
The first few weeks of my residency have seen me absurdly tossing space blankets around the studio capturing video. The idea of capturing some memory of the air in time and space often puts my body in relation to these spectral golden forms.
Day One: Studio 4 | Kyoto Art Center
Asialink and the Kyoto Art Center are hosting me here in Kyoto with a wonderful light filled studio in the old Meirn Elementary School [http://www.kac.or.jp/eng/meirin/]. Here is the studio, uninterrupted. I like that there is an optional shoe wearing discretion. In many places in Japan, shoe wearing is definitely not invited.
North Wing 2F
It is used for the orientation of volunteers and meetings of the artists. Here is the detail of Artist in Studios.
■size：51㎡ ■flooring (material)：Oil wax coated timber
■note：entering with one’s shoes is available
via Floor Guide｜Kyoto Art Center.
I am very grateful to Arts ACT and the Arts panel for awarding me a Project Funding Grant for 2014. The grant will contribute towards the production of a new body of work and the purchase of materials, a laboratory oven for the annealing of plastics and a studio wage. The new work will follow current research into smell, air and aroma, as elements through which concepts of the immaterial might be understood. This research will continue my fellowship research conducted at The Australian National University on smell aroma, and translation of the senses.
Arts ACT, on behalf of the ACT Government, awards many other worthy recipients as part of the annual funding round. More information can be found here.