a map with feet for letters
for MADA HDR graduate show

a map with feet for letters, 2020
5 copper frames, 6 OLED displays, 6 videos, 1,667 artist’s square feet

accompanying map-text by théo robine-langlois (final image)

documentation images by christo crocker



May-old hold
solo exhibition at sarah scout presents, melbourne 2019

Let's go over it again.

Reaching for the paper Monday morning made me feel something singular. The science section 'sif I might want to go to the shops and get me an amount of plums. A test.

On the way over I heard some people speak about the new kilogram. They said from today, the 20th of May, it no longer holds weight. Up until now, anywhere on earth, the kilogram was based on the precise measurement of a metal cylinder that you could hold in your hand. But not your hand. (This artefact of measurement is stored just outside of Paris, under three glass bell jars, in two vaults, amongst six replicas. Protected.) Though since its conception 129 years ago (a century of affairs with a century of wears), the international prototype of the kilogram has lost weight. This tiny weight is lost, which means the rest of the universe gets heavier. Everything weighs.  

Here's my list:
   - SBS and Sky News compares the weight loss to an eyelash
   - The National Geographic to a grain of salt 
   - PBS compares the size of the cylinder to a golf ball
   - Radiolab calls it the size of a plum
   - ABC and The Age, a "lump" of metal
   - The Washington Post, a "hunk"

This day is the last that a metric base unit is defined by something that could be held in the hand.

In this May-old hold, it makes me consider the collective choice to measure, or how one chooses a point of reference within reach to measure.
What’s the radius of the reach? Makes me itch.

In this May-old hold it’s a day-old hold, but it’s a day like any other.


               egggg,
                                          cheese’s never singular       spaghetti, maybe cold
                                          or, an                                   orange

(gold) , 2019
7 copper frames, 7 miniature OLED displays, videos
4.5 x 5.0 x 1.5 cm (each)
edition of 2 + 1AP

accompanying text by ash kilmartin 
extraction, 2019
engraved plastic
open edition, available as trade for an object of the same weight

documentation images by christo crocker



hold said
solo exhibition at hayden's gallery, melbourne 2019

an orange
a silver’s worth of orange
a pepper’s worth of
(gold)
or, an
egggg,
cheese’s never singular
spaghetti, maybe cold , 2019 

9 copper frames, 9 miniature OLED displays, videos looped
4.5 x 5.0 x 1.5 cm (each)
edition of 2 + 1AP

/ooo. 
/ooooo. , 2019

steel, wood

accompanying text by ash kilmartin (final image)

documentation images by christo crocker



Atlas
various locations, 2019-

Atlas, 2019-
10 hand-domed copper hemispheres, victorian ash wooden box with yellow-teak-stain and acrylic circular window

this work is made to be passed on from hand to hand. it was first sent via mail to one of my MFA examiners in april, 2019. verbal instructions invited them to engage with the work, and then to pass it on to a friend once they felt ready to. and then for that friend to pass it on to their friend. and then to their friend. ongoing. (i hear Atlas is currently circulating in sydney, or somewhere in new zealand.) 



quail eggs eaten from the hand in fog make everything aphrodisiac
KIOSK, rotterdam, 2018

KIOSK watch tower, 7-part text printed on 7 pieces of yellow paper folded 7 times and stored in jacket pocket, hard-boiled eggs, kettle, audio recording of eggs boiling, speakers
00:21:00

a performative reading of a 7-part text written in dialogue with eggs and folded notes, performed from 7 vantage points at a former watch tower in rotterdam, netherlands.

documentation images 1-3 by jamie kane
documentation images 4-6 by audience members



interferences for ‘entangling meaning and matter’ residency + workshop + exhibition
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 
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

personal objects held during workshop readings and discussions


~ 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
treignac projet's kitchen


in other words what I mean to say is, 2017
water from bordering river vézère, soft pvc
treignac projet’s water lily pond + duck pool + 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's 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. the 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)



mada now: honours graduate exhibition
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 me
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



mada now: BFA graduate exhibition
at monash university, melbourne, 2014

⊇, ][, 2014
plywood, clear garbage bags, fan
215 x 90 x 410 cm

⎣∩⎦, 2014
balloon, concrete, zinc-coated steel
110 x 20 x 30 cm



( □ )
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



sala della vittoria (the victory room), 2013
for a group show at monash prato centre, prato, italy 2013

sala della vittoria (the victory room), 2013
12 found fans, clear garbage bags
700 x 400 x 300cm 



using allyou.net