Sunday, April 27, 2008

day sixty

some where; outskirts; alice springs (pictured below); spent two nights in alice; april 15-17; hell trip; had a hideous flu; stayed in backpackers; man what was i thinking?; jeezarse! had to drop off my work to araluen galleries; installation was short listed for the alice prize this year; see blog entry day thirty one and a half on my blog for images;

am heading back up to alice; may 1; with ainslie; exhibition opens friday may 2; then 4 day camping trip; uluru; olgas; kings canyon; bought a new tent; hmmmm chip sandwiches; no showers; good thing is there is a ute muster in the desert on the sunday; yeeeeeeeeeeharrrrrrrr!

copy of artist statement for catalogue;
Night Time is for the Boy who can Fly explores physical and psychological space, particularly the ‘prisons’ people find their cultures have made for them and that they make for themselves.
This installation was first shown at Bus Gallery in Melbourne and originally consisted of three handcrafted wooden hot tubs filled with water. Data projectors were mounted on the gallery ceiling and projected video images onto the surface of the water in the tubs.
I developed the installation after living in Korea and researching the globalisation of sexuality - I became interested in the effects of western queer culture on NE Asia. I have used objects (wooden hot tubs) found in a variety cultures to represent public and private space and the ways these objects/spaces are adapted locally and individually.
The video has three scenes or episodes. Three actors improvise being captured underwater in the tubs. The actor’s movements are restricted by the space they ‘occupy’ in the hot tub. It’s a metaphor for the boundaries forced on individuals by their culture, sub-culture and identity.
For the 35th Alice Prize, I have reconfigured an alternative presentation of this installation with reference to Dante’s Inferno.
In this installation, two scenes or episodes are projected from data projectors mounted on the gallery ceiling into oil drums. The metaphor for imprisonment remains, although in a different form with different cultural and sub-cultural references.

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