interferences for ‘entangling meaning and matter’ residency + workshop
at treignac projet, france, 2017

curated and organised by jussi koitela, jaana laakkonen + sam basu
with other interferences by jaana laakonen, malin arnell + mario fjell

more 'nformation on project here

if it were to happen, it would happen in the gangways. so she bent her elbow, what she noticed were the holes, 2017 

(personal objects held during workshop readings and discussions)
water from bordering river vézère, soft pvc, artificially-grown cement stalactites from the reconstruction of treignac projet’s studio space - broken through an malin arnell + mario fjell's participatory interference

~ string theory, 2017

piece of al-dente spaghetti from dinner - thrown at wall, old yarn from storage of treignac projet’s defunct yarn-factory, water from bordering river vézère, soft pvc, recycled glass, dowels

in other words what I mean to say is, 2017

water from bordering river vézère, soft pvc, treignac projet’s duck pool + projet’s water lily pond + outdoor wooden bench, + visiting ducks

if it were to happen, it would happen in the gangways. so she bent her elbow, what she noticed were the holes, 2017

oranges from nearest supermarket in treignac, treignac projet studio space

eating itself out for group show ‘hi vis
at visual bulk, hobart, 2016

curated by theia connel & grace herbert

with artists sarah jones, pip o'brien, theia connell, grace herbert, and me

eating itself out, 2016
L-R: eating itself out (freezing of trapped water); eating itself out (wind); eating itself out (acid);
eating itself out (radiant heat); eating itself out (repeated impact)

cast concrete filled with water then frozen; cast concrete with embedded fan;  cast concrete with embedded lemon, lemon zest; cast concrete with pyrotechnic composition, exploded through inserted sparkler; cast concrete with embedded small cast concrete ball, broken out through rolling
~final image by theia connel.

to maybe stir the edge of a hole’s hind leg
at c3 contemporary, melbourne, 2016

to maybe stir the edge of a hole's hind leg, 2016

13 concrete casts of holes with volcanic sand
~ during the casting process, the volcanic sand in the concrete mixture is drawn to the edge of the mould by a magnet placed on the exterior of the cast. te edge is manoeuvred and once cured, a fissure is rendered of the magnetic field. the sand is then extracted from the crevice ~
rare-earth magnets, threaded steel poles, black volcanic sand extracted from hole casts;
hd video 3’13” 

"volcanic sand found on the beaches of puerto viejo, on the caribbean side of costa rica, has been used for its fine grain and magnetic properties. the sand is highly responsive. to magnets, kicks, wind, dogs digging holes and shitting. we approached some of puerto viejo’s shitting dogs and tried to sabotage them. the tour guide had explained that the dogs have evolved with magnetic tailbones that position their anus directly over the slipping magnetic sand at the centre of a hole. to maybe stir the edge of a hole’s hind leg we de-magnetised the beach. the first dog, his magnetic arse now irrelevant, tried to define somewhere to shit, lay down, contemplated at eye level the undulations of sand, the thousand dimpling gradients shifting in the wind, and looked further to the hardening and now softening line where the sea toyed with its own definition: felt constipated, then beached himself in the vast absence of edges, comatose. the second shitting dog did the same. our magnet-tour was cancelled for existential torture."
– martyn.s.g.

between (and not in-between)
at bus projects, melbourne, 2015

between (and not in-between), 2015

cast concrete, colourbond steel, rare earth magnets, flatscreen tv, video (on loop)

thumb pulse on wrist pulse for honours graduate exhibition: mada now
at monash university, melbourne, 2015

thumb pulse on wrist pulse, 2015

lapel microphone, contact microphone, cast concrete with imbedded rare-earth magnet, audio receiver, audio transmitter, colourbond steel sheet, bass amplifier, effects pedal, mixer, ¼ inch cables, video on loop, tv screen, floor-boarded room with exposed wire ceiling

a lapel microphone is imbedded into a spherical concrete cast, and a contact microphone is attached to the outside of the cast. the cast sits on a steel sheet within a floor-boarded room, and the microphones are connected to an amplifier.
a video of a thumb pressing on a wrist is played on a screen at wrist-level. 
as one walks throughout the space, the presence of footsteps travel through the floorboards and through the metal sheet, triggering the two microphones in the sphere - one on the inside, and one touching the outside.
the body intra-acts with the space and the work's internal rhythm. each step triggers the sound of a double-beat, a pulse.

pillar of support for group show 'lovers in the parking lot'
in collaboration with alix leggas-schafer
at carpark level 7, artmeet ari, melbourne, 2015

curated by hana earles
with artists emily yuting chen, callum harper, kaho hashimoto alix leggas-schafer + rachel schenberg, jimmy nuttall, natasha madden, ruth o'leary, hannah raisin, georgia robenstone, nina siska, ella sowinska, jacqueline stojanović, du ve, alex vivian + myself

pillar of support, 2015
poly fleece, fibre filling, polyester thread, pillar in carpark level 7

untitled (up for a good time) for group show 'an afterthought'
artmeet ari at goodtime studios, melbourne, 2015

curated by yours truly
with artists ira abdul rahman, gemma crocetti, hana earles, alice gascoyne, joe gauci-seddon, callum harper, rigel maple, jordan mitchell-fletcher, eve pawlik, marko radosavljevic, rachel schenberg, jaq stojanovic, michael whittingham, jess williams

untitled (up for a goodtime), 2015
clear garbage bags, fan

( □ )for group show 'superfictions 1: art fair murders' 
at kings ari, melbourne, 2014

curated by peter hill

( □ ) , 2014
acrylic perspex, aluminium, concrete, plastic roasting bag, fan, portable battery