Sculpture by the Sea submission 2009

Submission words (brief version)

I see the Sculpture by the Sea as an opportunity to create a musically sculptural inscription into the site at Tamarama Beach, through a minimal structural palette.  This site offers a space to engage with the differing effects of light, wind, and other environmental changes. The primary material of the sculpture, acrylic and glass blades are a subtle but striking intervention into the site, with the changing tonal values of each blade playing off against each other to create differing colours, textures and light effects.  The acrylic blades also heighten the environmental changes on the site, polarizing the light, manipulating the wind, and creating spatial effects beyond the tangible sculpture.

from rodchenko to richter

Oil on Canvas 500x600mm

A study of coloured shapes

tamarama study # 1 (looking to the sea)

oil on canvas  800x340

 

tamarama study # 2

Oil on canvas 500x600mm

Looking south from Tamarama

tamarama study # 3

Oil on Canvas. 600x500mm

This is landscape study number 3, for my sculptor by the sea proposal. 

trying to catch the voice

Taken with Nikon SLR sometime in March 2009.

mums art in museum of contemporary art sydney

My mum's cover for a friend's poetry book is being exhibited at the MCA as part of the group exhibition 'Avoiding myth and message, Australian artists and the literary world'. The show is from April 7th to July the 12th. Some of the artist's and poets included are Mike Parr, Jenny Watson, Kerry Elias Moore, Denis Gallagher, Rosalie Gascoigne, Gordon Bennett, Michael Dransfield. I went to the opening last night and it is a really beautifully curated show, showing the praxis between art and poetry. Further its nice to see Australian poets and artists who are widely acclaimed in the international underground getting wider exposer in their hometown.

this is from the MCA website concerning the show:

avoiding myth & message: Australian artists and the Literary world7 April - 12 July 2009avoiding myth & message is primarily an MCA collection based project featuring artists whose works have been informed by Australian literature. The exhibition looks at some of the major themes within both the literary and visual traditions and considers where the two streams of creativity overlap thematically: the landscape/interior, text and image,urban life, politics and the personal. The exhibition also includes ephemera, publications and media-based works produced by artists and publishers from 1968 onwards. MCA collection works will be augmented by selected loans from artists and local collections. Public programs are an integral part of the exhibition. The project comprises readings, performance and d.i.y publishing and production including a repeat of the successful MCA zine fair.

A John Adams composition. Love the Arrangement of notes and the title

A John Adams composition. Love the arrangement of notes and the title

the music of forgetting 'three part variation'

Taken with a Nikon SLR. friday 20th march 2009

"I do not know of any more profound difference in the whole orientation of an artist than this, whether he looks at his work in progress (at himself) from the point of view of the witness, or whether he " "has forgotten the world," which is the essential feature of all monological art; it is based on forgetting, it is the music of forgetting"
Friedrich Nietzsche

the end of electronic

study for my phase paintings. The phase paintings focus on Steve Reich's idea of shifting musical patterns, within this colour is used to shift and move

Dom on her 21st with paintings

the field

oil on canvas

another green world

oil on canvas

New York Counterpoint

oil on canvas
A reflection of Steve Reich's 'New York Counterpoint'. in visual form
http://www.youtube.com/watch?v=jX63vaPT9Pk see peice performed

melancholy waltz

acrylic on paper
a study of shapes

in the key of white #3

oil on canvas

techno pop

oil on canvas

La musica ideas portara (Music will bring new ideas)y siempre continuara (and will continue forever)Sonido electronico (Electronic sound)Decibel sintetico (Synthetic dB)La musica ideas portaray siempre continuaraSonido electronicoDecibel sinteticoMusicSyntheticTechno-pop

Iceberg at icebergs

abstract boats

water colour and digital manipulation

blue wedge

Maritime Museum Cockatoo Island

This was my 5th year Semester 2 project for architecture. It was for a maritime museum on Cockatoo Island.

a larger r mutt

red citys of the night

Dancing with Eno

Oil on Canvas.
This started out as a different picture but took on a life of its own. I was listening to Phil Glass

T.V eye

Fun House

by Nicholas H. G. Elias

Down on the street

Down one the street. Original silkscreen by Nicholas H. G. Elias
a combination of cut sill screen and photo silkscreen methods.
Yea, deep in the night I'm lost in love
Yea, deep in the night I'm lost in love
Thousand lights look at you
Thousand lights look at you
At you!
At you!
At you!
Yeaah, at you! Come on! Pow-pow-pow!
...stooges down on the street

L.A blues

Part of a series of four complete at University of Sydney. It was Hung in the architecture foyer. Inspired by the Stooges second record fun house...

The Birds

This is called Birds, its done by Julie Cumines and Sam Gleeson. Julie said she will be sending me an explanation about it soon.

“For Lyotard, then, there exist two ontologically distinct spaces, a textural space of recognisable, coded entities, and a figural space of metamorphosing unconscious forces.” Ronald Bogue

she spoke to me in a way that made black an emotion

(this is an excerpt from a book believed to be written by J.L. Borges, titled is geometry innocent, circa unknown)
My relationship was already unstable. You might think me infantile to place these problems upon my father. Parents do mould their children, to what extent no one will ever be able to gage (no one and ever is a rather omnipresent statement to put down how do I know what people will be capable of…[put down what a ridiculous verb and adverb of conjugal rights]). But then how much of my problems were just me, how does one differentiate between the problems of the father or the impious instabilities of the unborn, or the born to be, if that makes more sense to you.
My mother as you may or may not know was unknown to me. My father never spoke of her and I don’t care that he did or didn’t, but how can I say that because I would have felt utterly different if he had or I may have felt just the same, as they say (what is this ‘as they say’ where did I get it from, who are ‘they’ and why did they always say things) time will tell but time could only tell in a different dimension.
Anyway I am placing part or maybe all of the instabilities of my relationship upon my father, you my dear, whatever you are, will never know (there I go again with my adverbs of knowing all encompassing time).

My father never finished anything, its not that he couldn’t it’s that he wouldn’t. he never believed that anything could be truly finished that there was never an ending to anything: completion being a word with no meaning in the human id.
He always used (how does this vulgar word make any sense: ‘used’ it sounds as if there should be a ‘t’ instead of a ‘d’ and ‘uset’ sounds like a spit thrown across your face) to say… actually I don’t know what he always used to say even if he used to say anything at all. I do remember him talking of making a little creature in his image and talking of eating it (why does it stare at me, that word ‘it’ why does it stare). He wasn’t talking of making a child or having a baby, being the common nomenclature. No. It was as if he was talking of making one, you know out of clay you know when you are a child and you are playing with mud putting a piece there and a piece here and voilà (voilà what a strange marriage of letters it sounds like you are choking on something or if something is choking you) there is man in your own image and then you see, you see and thgsts guuo (all guttural like) and you realise or you think you realise, without even thinking there he is that man squashed between your toes.

by me
de Teliga

Cut Copy

Cut Copy, I once got given a promo copy of there first record and because of that reason never really listened to it for about a year. Then put it on and once I got over the fact they where Australian I started to really dig it. ‘In Ghost Colours’ is even better, clean lines, bright geometry and a vocal that is laidback, in a purely Australian way. His lyrics are kind of kooky but I like that….life and music, skating on ice, they must be graphic designers. I feel happy when I put it on and well that’s good enough for me.. (for about a week).

Julie Mehretu 'Geometry of the future'

Julie Mehretu is an artist from New York, some one should organise a show for her out in the antipodeans. Her use of contemporary geometry is brilliant, is anybody as good as her at the moment I’m not sure. Maybe Keith when he gets down low on the g string has better geometry but that’s about it.

Junkspace vs public enemy

This vertical sculptor was done with myself and architect student Ying Wang. Its in response to Rem Koolhass writings on junkspace which are quoted below. The sculptor is titled Junkspace vs Public enemy

"

Junkspace is like being condemned to a perpetual Jacuzzi with millions of your best friends

Junkspace thrives on design but design dies in junkspace

Junkspace is hot(or suddenly artic)

Because it is endless, it always leaks somewhere in junkspace

As you recover from junkspace, junkspace recovers from you

Junkspace is a web without spider

Aging in junkspace is non existent or catastrophic"