look funny glasses

Commissioned for a conference cocktail party event, these “Look funny glasses” playfully amplify and distort the repeated circular patterns that cover the RMIT Design Hub building. Based on stenopeic glasses, the perforated lenses only allow very narrow beams of light to enter the eye, increasing the depth of field and exercising eye muscles.

The close spacing of the perforations can also lead to moments of double-vision and disorientation. Continuing the trajectory of a series of architectural installations that engaged with the spatial and optical qualities of the building, this project takes a lighter, more provisional approach in line with a practice I call ‘studio sketching’. Thanks to Caitlyn Parry for the laser cutting expertise!

breathing. space. no. 9: lift lecture

I gave a 30 minute lecture, “Air–Atmospheres–Breath–Affects,” in a public elevator at the RMIT Design Hub to a group of ten students. The lift space moved up and down according to the demands of other building users, and there were noticeable changes in air temperature between the lift itself, upper floors and the ground floor and basement levels. The presentation set up an unexpected environment for others to step into, a chance encounter with a short fragment of the lecture as they moved between floors. As a performance, the lecture created an intimate space where breath was shared, and the elevator was understood as a means of shifting parcels of air around the building.

Thanks to Scott Andrew Elliott for holding the projector!

Images to come…

breathing. space. no.4: PPPPP collaboration

2013-ppppp-01I have been invited to take part in this live creative research performance, organised by the PPPPP Group. Over a one-hour period, a group of invited individuals will collaborate without speaking, but instead through direct exchange and interaction with various objects and materials brought into the space by the participants.

The setting is redolent of an open market bazaar or black market gambling setting, where there is a constant exploring of the terms of interaction, mediation, materials and exchange – but mediated through the materials at hand rather than spoken or written language.

The event takes place over several sessions on Friday May 3rd and Saturday May 4th at the Design Hub at RMIT.

breathing. space. no.1

Breathing. Space. is a collection of projects that are being developed to investigate a series of inter-related ideas: air, breath, vitality, pressure, interiority, ambience and atmosphere. Over the next three months I will produce, install and perform a range of small interventions which explore these inter-relationships and the thresholds between them.

Thanks to Hsu Han for the photo.

glacier tracer

Still frames taken from performance-to-camera piece.
Charcoal and pen drawing on nylon, video projection.
23 minutes 20s
produced with assistance from Jemma Nissen and Kathy Waghorn.

This performance piece reconstructs a series of walks on Fox Glacier, which were recorded via a GPS device. Five routes are traced, building up a drawing that reveals common routes and landmarks used in navigating the glacier. The quality of line/movement reflects the experience of moving across this jagged and icy terrain. The projected images are views of the glacier surface, taken from standing height, which slowly zoom, pan and dissolve into each other.

The act of drawing these routes conflates scales of the experiential, bodily and cartographic, where walking becomes digital code becomes drawing becomes moving image. Glacier Tracer uses experiential and abstract strategies for representing landscape, through a process of drawing myself into the landscape.

Piran Spregovori / Piran Speaks

Polaroid images in hand-bound artists’ book, edition of one.
30 pages plus fold out map and key, 90 x 110mm
Exhibited at Piran Town Hall, Piran, Slovenia.
Now held in the collection of Mesta knjiznica Piran – Public Library of Piran.
April 2009

This book was produced in collaboration with Sally Janssen during a residency in Piran, Slovenia. We set out to explore how the spaces of the town communicated their functions. Through the performative aspect of producing the book we sought to inject fresh energy into the town.

With the help of Sonja Kocevar we organised a series of staged photographs where local residents enacted scenes emphasising the purpose of the various town’s spaces in a comical manner. The book was intended as an alternative guidebook to the city, inviting readers to engage with the town as a participant, not as an onlooker.



rule 110

Watercolour and pencil on paper, desk, chair, brushes, performance.
shown/performed at Inverleith House, Royal Botanic Gardens, Edinburgh, Scotland.
February 2009

This drawing and performance piece makes connections between the obsessive behaviour of scientists and artists. The drawing follows a simple mathematical algorithm used in theoretical botany, in which structures grow and interact, creating complex behaviour. The work alludes to the contribution each small unit makes to a larger field.

a simple way to measure the wind

Harmonica, wind, field recording.
3 minutes 53s
shown at Pier Arts Centre, Stromness, Orkney Islands. November/December 2008
And at La Ira Sónica, a sonic/new media arts festival in Coyoacán, Mexico City. July 2010

This recording responds to the extremely windy environment of the Orkney Islands. Taking a cheap harmonica into this setting provided a way to understand wind direction and intensity aurally. Strong gusts produce overtones and harmonics creating an interplay with the already occurring wind sounds.


Urban performance series.
Blue Boar Street, Oxford, England.
June – August 2008

This series took advantage of exisitng public spaces, appropriating them as places for performance happenings. In addition to an invited audience the performances provide passersby with an unexpected encounter.
I inititated these events and performed at all three, presenting sound, moving image and drawing works.