Screen x Sound 2000
Artworks are best experienced using headphones.
Note: Sound works have been compressed for online playback. You can also download the full resolution files here.
ds_admin2024-05-09T07:47:02+00:00
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET
KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
ds_admin2023-07-19T01:40:36+00:00
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE
LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
ds_admin2023-07-19T01:41:23+00:00
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE
LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
ds_admin2023-07-19T01:42:15+00:00
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM
MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
ds_admin2023-07-19T01:43:05+00:00
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD
GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
ds_admin2023-07-19T01:43:59+00:00
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION
GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ds_admin2023-07-19T01:44:48+00:00
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER
MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
ds_admin2023-07-19T01:46:00+00:00
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS
LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
ds_admin2023-07-19T01:46:53+00:00
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS
LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
ds_admin2023-07-19T01:47:39+00:00
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH
REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
ds_admin2023-07-19T01:48:22+00:00
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT
BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
ds_admin2023-07-19T01:49:11+00:00
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE
BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
Screen x Sound 2000
Artworks are best experienced using headphones.
Note: Sound works have been compressed for online playback.
You can also download the full resolution files here.
ds_admin2024-05-09T07:47:02+00:00
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET
KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
ds_admin2023-07-19T01:40:36+00:00
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE
LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
ds_admin2023-07-19T01:41:23+00:00
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE
LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
ds_admin2023-07-19T01:42:15+00:00
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM
MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
ds_admin2023-07-19T01:43:05+00:00
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD
GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
ds_admin2023-07-19T01:43:59+00:00
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION
GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ds_admin2023-07-19T01:44:48+00:00
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER
MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
ds_admin2023-07-19T01:46:00+00:00
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS
LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
ds_admin2023-07-19T01:46:53+00:00
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS
LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
ds_admin2023-07-19T01:47:39+00:00
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH
REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
ds_admin2023-07-19T01:48:22+00:00
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT
BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
ds_admin2023-07-19T01:49:11+00:00
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE
BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
Screen x Sound 2000
Artworks are best experienced using headphones.
Note: Sound works have been compressed for online playback.
You can also download the full resolution files here.
ds_admin2024-05-09T07:47:02+00:00
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET / KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
GHOST DUET
KIM LE
GHOST DUET is a piece that features a collaboration between the piano and the Vietnamese zither as a means of exploring the experience of diaspora, and as a reflection upon intergenerational legacies over time. Through the juxtaposition of the Western classical tradition and Vietnamese traditional music, I hope to convey the friction and interplay between identities at the heart of the immigrant experience. The piece is comprised of a combination of newly composed music with remixed, sonically transformed samples of my parent’s former works, such as traditional folk songs. Additionally, embedded at the outset of the work is the reading of a set of co-ordinates that corresponds to my mother’s hometown as well as Melbourne, where I was raised.
ds_admin2023-07-19T01:40:36+00:00
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE / LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
NOT ALONE
LAZAR FELDMAN
The video work NOT ALONE investigates the relationship between body and technology, identity and communication. How do we present ourselves when our physical body is absent? What do we hide and what do we reinvent? Can we be our true selves? Created during lockdown in June 2020, this work was inspired by the artist’s experience of the notion of a performed identity, how some relationships were challenged from the lack of physical presence while others flourished. NOT ALONE uses the artist’s body as both a canvas and a performance. In a multiple part process, the artist performs and communicates through subtle gestures using images that are then projected as the artist interacts with them, mirroring, engaging, articulating and highlighting the multiplicity of a performed identity. The viewer is invited to connect with the artist through the intimacy of the work.
ds_admin2023-07-19T01:41:23+00:00
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE / LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
SOLACE
LAZAR FELDMAN & KIM LE
SOLACE was inspired by our evolving relationship with nature in the context of the global COVID-19 pandemic and the experience of quarantine. As so many of us are forced to interface with each other through digital means, we wanted to convey a contrast to that by showing a body interfacing and interacting with the cold ocean, placing the subject in a position of physical discomfort. The work hopes to capture the feeling of nature as a comforting force and explore the boundaries between the human body and the raw elements, as well as testing the body’s physiological limits and representing the inner psychological landscape of the swimmer.
ds_admin2023-07-19T01:42:15+00:00
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM / MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
NETWURM
MICHELLE NGUYEN
NETWURM is a piece about the transmutation of data, and the variability of networking and playback hardware. Interruptions, stuttering, and the wide range of speaker quality highlights the materiality of sound as information mediated through technology, prone to degradation and glitch. In a creative context, these artefacts of materiality take control away from human intent and reflect a collaborative relationship between the laptop, Internet, and myself. Sounds scrounged from VoIP technology, DAW artefacts, and laptop machinery morph into shapes and new patterns, while the piece itself is made to transform on different speaker types, from smartphones to hi-fi sound systems. This piece is an experiment in creative technological collaboration and playback performance.
ds_admin2023-07-19T01:43:05+00:00
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD / GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
OUT OF THIS WORLD
GRACE QUIASON
A short experimental video collage, blending the use of Super 8, archival footage, and digital video. This work is the result of a process-driven approach to video art, with a focus on a visual experience. Produced over 4 weeks in June 2020, OUT OF THIS WORLD reflects the contemplative yet volatile energy felt during this time. With the confines placed on the production of this work, it was an opportunity to experiment, and manipulate pre-filmed footage, playing with space and effects to create interesting compositions. Emotional accessibility is encouraged by the disengagement with story, the constructed use of colour, and mood emitted. Through merging a range of sources with digital techniques, the imagery used is personal and, observed through an abstracted lens, it evokes a celestial nostalgia.
ds_admin2023-07-19T01:43:59+00:00
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION / GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ARTIFICIAL IMPRESSION
GRACE QUIASON & MICHELLE NGUYEN
ARTIFICIAL IMPRESSION is a piece exploring nostalgia and emotional expression in an abstract form through the use of dated screen and sound technologies. Assembled during a period of abrupt change and social separation, the piece juxtaposes evocative analogue textures of bygone eras against harsh digital glitch. The method of Databending with Audacity applied to digitized Super 8 footage, and Ableton algorithms and interface pushed to form ruptures in audio samples and field recordings, generates expressive and organic malfunction. ARTIFICIAL IMPRESSION draws focus to the process of recollecting and reconstructing memories by using the glitch as a point of rupture and rebirth.
ds_admin2023-07-19T01:44:48+00:00
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER / MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
FOLLOWER
MARA ERIN STALLER
FOLLOWER is a work about signal flow. During quarantine, I’ve felt my life increasingly controlled by information systems. This control is manifest in the dissemination of sound through speakers, and the recording/manipulation of sounds through microphones, and so these two points of connection are the focus of the work. Sounds from electrical machinery, phones, social media apps, field recording, and code rise and fall in patterns of anxiety and distraction. The structure of the piece mirrors a journey in transit between two bedrooms, where I stop and start wearing headphones, logging on and off. These separate soundscapes interact and intersect throughout the piece. Although these networks are often viewed as alienating spaces, I see them as a space of intimacy. I hope you can feel this intimacy while listening.
ds_admin2023-07-19T01:46:00+00:00
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS / LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
MONETARYMOTIONS
LEENA LUU
MONETARYMOTIONS is a video work that explores the movement of thoughts, perception and relativity through the imagined journey of a coin as it traverses through a visually perceptive journey of a shopping trip. The mixture and layering of form and media is employed to investigate different ways the coin can act as a sculptural object and can carry a multiplicity of purposes. Using rhythm and movement Leena Lu aims to articulate the motion of exchange and transformation in the function of the coin. In the experimentation of film, projection, sculpture and installation, MONETARYMOTIONS expresses the importance of reinterpreting and looking to find new ways to understand phenomena. The work aims to find new ways to question the empirical and spiritual understandings surrounding motion.
ds_admin2023-07-19T01:46:53+00:00
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS / LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
FERMVISIONS
LEENA LUU & MARA ERIN STALLER
FERMVISIONS is a work exploring the affect and structure of surveillance. Today, the same technologies by which we communicate are those by which we are watched. The gaze of friends and the gaze of the state becomes muddled, confused. We are followed by both human and inhuman eyes. The piece investigates this phenomenon in a mode that is both intimate and unnerving. Field recordings, handheld video, surveillance footage, and phone conversations form a collage of a possible reality, but the parts refuse to resolve into a stable whole. What is left is trace, absence, and a questionable sympathy.
ds_admin2023-07-19T01:47:39+00:00
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH / REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
UNDERGROWTH
REBECCA RIGGS-BENNETT
UNDERGROWTH is a sonic investigation into a tree’s internal and external experience of the world through sound design and audio recordings as dramaturgy and sonic scenography. Drawing from the research of Monica Gagliano and Peter Wohlleben, UNDERGROWTH is an exploratory presentation of a tree’s lifetime, from the perspective of the tree as a living and sensitive entity. Rebecca is interested in human-to-plant relationships, generating empathetic and emotional responses towards faceless creatures, and how sensorial escapism can be cultivated through immersive sound. UNDERGROWTH has been constructed using binaural field recordings of forest environments in south-west Western Australia, as well as electronically produced ambience and design. Listeners are encouraged to close their eyes whilst engaging with this work.
ds_admin2023-07-19T01:48:22+00:00
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT / BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
LAST NIGHT
BIANCA BILLY RAFFIN
LAST NIGHT is a video piece that explores the way in which people are inherently connected through dreams and the collective unconscious. Inspired broadly by Carl Jung’s work on dreams, and Gordon Lawrence’s concept of social dreaming, the work contends that the dream realm connects people, despite distance or difference.
The work features excerpts of interviews conducted with participants about their most recent dreams. This pool of participants, while small, comes from all over the world. The piece mimics both how people often retell dreams, and how people might experience dreams. Sourcing influence from artists such as David Lynch, Ingmar Bergman, Maya Deren, and Chris Marker, the video piece follows a thematic arc, which descends into an unsettling and emotionally charged abstraction of everyday life.
ds_admin2023-07-19T01:49:11+00:00
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE / BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.
THE SPACE THAT EXISTS BETWEEN EXISTENCE
BIANCA BILLY RAFFIN & REBECCA RIGGS-BENNETT
THE SPACE THAT EXISTS BETWEEN EXISTENCE is a collaboration between Boorloo/Perth-based sound and spoken word artist Rebecca Riggs-Bennett, and Naarm/Melbourne-based visual artist Bianca Billy Raffin. Inspired by present experiences of isolation across borders, the space that exists between existence broadly explores the concept of distance and how the current global context has warped and distorted perceptions of time. Produced by two artists who have never met in person, working across two time zones, the concepts of distance and temporality are inherent to the fabric of the work. THE SPACE THAT EXISTS BETWEEN EXISTENCE invites the viewer to step into the day-to-day experience of a figure, whether that be their own or someone else’s, as they encounter the hyperreality of the new normal.