His artistic practice is an experimental mergence of analog film, sculpture, installation and performance.
His artworks are informed by his poetic response to the human encounter of our world, seeded by a desire to unveil threads to the fabric of his personal experience.
He realises works that are technically complex, driven by pure compulsion, that vibrate and encourage immersion in deep reflection.
My artistic practice is beginning to set in foundations that have been brewing within micro-cosms of ideas explored in expanded cinema live film performance and sculpture installation.
I explore and participate in experimental film in it’s essence yet there lays a deep desire to break free of traditional modalities of the audiences participation of my ‘film work’ - the desire seeps to the surface of the foundational backbone of cinema and the beholders experience of it.
I make films.
I make film sculptures of my films.
I make live performance of my films.
I make sound on films.
I make sound from films.
I make sculptures as vessels for my films.
I make films in the most tangible way I know.
I make films from reverse engineering, for fun.
I make films to break them to their most material form to remind myself of the tangibility of life.
I make films to make sculpture to make performance, to ask myself questions and to project that onto an audience.
I showcase films with the respect that the materiality and structural nodes of analog film deserve and catapult them into the physical reality we exist.
I deeply ask of myself to escape established constructs to set my films free, selfishly as a priority and un selfishly so they can live freely in a public domain.
SELECTED SOLO EXHIBITIONS
2024
(MAR) The Battery Of Inquest (16mm Expanded Cinema showcase),
It Has Me By The Throat And I Am The Fingerprint (16mm Film showing)
Baltic Analog Lab, Riga, Latvia
2023
(MAR) Amygdala Oxytocin (16mm Expanded Cinema Performance),
Topspace, Hobart, Tasmania, Australia
(MAR) FILM ~ AS SCULPTURE (16mm Film Sculpture Exhibition),
Work In Process Gallery, Melbourne, Australia
2022
(NOV) Analysis Paralysis (16mm Film and Film Sculpture showcase),
Rooftop, Melbourne, Australia
2021
(AUG) When The Gloss Comes Off, (Exhibition)
Boomtown, Castlemaine, Australia
2019
Resident Alien (Exhibtion)
Neon Parlour, Melbourne, Australia
ARTIST IN RESIDENT PROGRAM ATTENDANCE
2024
(JANUARY 28-MARCH 30) Baltic Analog Lab, Riga, Latvia
2023
(FEB-MARCH) Topspace, Blackmans Bay, Tasmania
SELECTED GROUP EXHIBITIONS
2024
(JUN) Material Matters 03 (Film Sculpture), Beta STH BNK, Melbourne, Australia
(JUL) Analysis Paralysis (16mm), Artists Film Workshop, Northern Arts Hotel, Castlemaine, Australia
2023
(OCT) Craft Contemporary Satellite Exhibition (Film Sculpture), Beta STH BNK, Melbourne, Australia
(OCT) Material Matters 02 (Film Sculpture), Beta STH BNK, Melbourne, Australia
(SEP) Material Matters 01 (Film Sculpture), Beta STH BNK, Melbourne, Australia
(AUG) Bauhaus-Universität Weimar (16mm), Weimar, Germany
(JUN) Zero Pixel Festival (16mm), Topspace, Hobart, Tasmania, Australia
(MAY) Carte Blanche - 10x Melbourne (16mm), La Lumière Collective, Montreal, Canada
(MAY) Expanded Cinema hosted by Dogmilk (16mm), Miscellania, Melbourne, Australia
(MAY) Pleasure Planet - Hysteria w/ Thick Owens (Live Projection), Miscellania, Melbourne, Australia
(FEB) Embodied Knowing (16mm), ACMI (Australian Centre of Moving Image), Melbourne, Australia
(FEB) Recomposing Decomposition (16mm), Workshop For Potential Cinema, Sydney, Australia
(FEB) Recomposing Decomposition (16mm), Canberra, Australia
2022
(DEC) Recomposing Decomposition (16mm), Artist Film Workshop, Melbourne, Australia
(OCT) Embodied Knowing (16mm), NGBE Gallery, Melbourne, Australia
(SEP) Dogmilk Degustations (16mm), Analysis Paralysis, Miscellania, Melbourne, Australia
2021
91 Cycles Bloom, FORTHEART For The Earth, Melbourne, Australia
2020
Downstream, Lift-Off Film Festival 2020, New York, New York
Downstream, Lift-Off Film Festival 2020, Tokyo, Japan
2016
20th Century Evolution, Exposure and Capture Photography Prizes, Geelong, Australia
FILMOGRAPHY
2024
(JAN) Before During
17’ 50” - 16mm
(MAR) It Has Me By The Throat And I Am The Fingerprint
18’ 34” - 16mm
(MAR) The Battery Of Inquest
25’ - 16mm Expanded Cinema
2023
(FEB) Embodied Knowing
11’ 26” - 16mm
(MAY) What Resists Persists
10’ 47” - 16mm
(JUN) Zero Pixel
25’ 23” - 16mm Expanded Cinema
(JUN) The Critical Component of The Motors Momento
24’ 42” - 16mm Expanded Cinema
(AUG) ONE SEC
5’ 21” - 16mm
2022
(FEB) Haze
3’ 01” - 16mm
(MAY) Thought Reformed
3’ 48” - 16mm
(JUL) In An Effort To Redefine Myself
I Am Left Staring Into Unsolvable Air (TWO)
2’ 43” - Super 8
(AUG) Between Two Bodies
7’ 45” - 16mm
(OCT) Analysis Paralysis
14’ 45” - 16mm
(DEC) Recomposing Decomposition
11’ 14” - 16mm
2021
(JUN) In An Effort To Redefine Myself
I Am Left Staring Into Unsolvable Air (ONE)
2’ 34” - Super 8
(JUL) Intention
1’ 54” - 16mm
(AUG) Involuntarily Resigned
1’ 52” - 16mm
(SEP) 91 Cycles Bloom
1’ 39” - Super 8
(OCT) House Arrest
1’ 11”
(NOV) Societies Cement
2’ 31” - 16mm
2020
(MAY) Whistling Flocks
3’ 28” - 16mm
Return Home
- Film Light Sculpture
- 16mm Film, LED lights, steel
The Battery Of Inquest
- Expanded Cinema Performance
- 16mm Film, Film Sculpture, live sound, 5 analog projectors
The ‘inquest’ is the answers he found to the questions he hadn’t asked.
When I Look Up All I See Is...
- Film Sculpture
- Mixed Materials, 16mm Film & Projector
I lay down, therefore I look up.
When I look up all I see is ceiling tiles electrogalvanized cold rolled steel substrate environmental systems expansion joints exposed grid systems bevel edge light emitting diodes access breathe splines vents hook tees.
Opportunities arise from the weight of material matter. Mass is important as a value of worth. Mass is interpretable wherever the mind leads, whatever the mind sees, however it feels.
When I look up I see opportunity. I see an opportunity to move forward. Mass falls on my mind, I am still, moving parallel to the stillness of material. Aliveness is considered, re-interpretation strikes.
Material does not exist to be single faceted. It requires perception and materialises in action of interpretation. I strip layers of the material, to look beneath the surface to see farther than the first conception of the idea the material displays to me. When I break it down and remove the layers it speaks to me and a re-birth begins to eventuate through action.
The material used in this artwork would be deemed land-fill had it not inhabited the land mass in my mind.