Art-bombing ART FRESCO outdoor exhibition at Orange Regional Gallery with a piece called ‘Hirst and Rabbit’. Money raised went to cancer research.
” Anne Lord’s ice sculptures ‘Ephemeral Characters’ (2007) were installed in an art and ephemera event titled ‘In SITE Out’ in Orange Botanical Gardens. ‘Arts Out West’ organized the event and forum where Lord presented a paper about the instability of the icon and image in art. Arguably this can lead to change of attitude about detritus and ephemera in contemporary society. Further, change in responsibility for our refuse, calls for an acceptance of beauty in the old, worn and decaying object.”
A bus in Mexico
Recycling the old City Commuter.
Someone sent me this for inclusion, Holland possibly?
Backyard -East Coast, NSW
Kings Canyon Nation Park, NT
Central West NSW
23/12/08 2:36 AM
- The Art of Play
- The Art of Play declares that this is a manifesto of Play
- The Art of Play declares that there is a manifestation of Play
- The Art of Play declares that all may be engaged in an act of play
- The Art of Play declares that Art is play and all play is Art
- The Art of Play declares that a playful nexus between ordinary life and Art
- The Art of Play declares that all Art is revolutionary and all revolution Art
- The Art of Play declares that all play will revolutionise everyday life
- The Art of Play declares that seeking is to invigorate everyday life with play
- The Art of Play declares all social life as a pychogeography engaged in play
- The Art of Play declares that all situations are play
- The Art of Play declares that it is okay to have fun
- The Art of Play declares that it is okay to laugh at ones self
- The Art of Play declares that playing seeks no sovereignty over the acts and deeds of other players
- The Art of play declares that all human existence is universal and play is the desire of all universal beings
- The Art of Play declares that all play will be egalitarian in nature as it seeks to seek-out human beings in a universal sister and brotherhood of play
- The Art of Play declares that play will be Apolitical and that play is a higher order political principle for
- universal human beings
- The Art of Play declares that all acts of play will inspire more play
- The Art of Play declares that it will respect the play of other players
- The Art of Play declares that any act of play will not seek to silence or prohibit the play of others
- The Art of Play declares that it will not intentionally ridicule nor intimidate the modes of production others
- The Art of Play declares that acts of play will not be ageist; sexist; elitist; anti-intellectual; dogmatic; racist; hierarchical; bigoted; nationalist; nor egotistical
- The Art of Play declares that it respects the artistic practices of other artists
- The Art of Play declares that its play will not be a declaration of a person
- The Art of Play declares that there will be no play school
- The art of Play declares that it seeks no theatre
- The Art of Play declares that it will seek no audience
- The Art of Play declares that it needs no Papa Mammy
- The Art of Play declares that play has begun
A light hearted play with three dimensional structures that operate as spontaneously generated memes.
Originating in the ideas and observations of Psychogeography, playful responses are applied to the
extensive Australian environment.
Residency: Visual Arts Diploma: Drawing & Painting The three images are examples from a large body of experimental works that began as series on “Bad Painting” – in the Neil Jenney sense, to follow through with a concern I had for the need of a subject. Through experimentation however, I discovered that my ideas were better suited to the simplicity of the Dau al Set conventions, of anti-formalism, or more specifically their preferences for works that explore the conscious and unconscious – the ceaseless flux, or the perception of duration. Time here then is the subject, and is not intended to be meditated as a narrative in a closed and finite system of representation but rather is conceived as a fluid and dynamic exchange of meanings and unconscious relationships, where the viewer, through imagination, perception and semiotic memory is asked to simply participate in the creative act. Working Title: Dau al Set Acrylic, ink & pigment on tissue and paper.
I suppose with this opportunity to re visit fine art practice what is of interest to me more than anything is the possibility of generating and deepening my understanding of two-dimensional works in paint, drawing and printing. I also see this as a chance to explore works that are of a more personal nature. While cinema, photography and the digital arts are undeniably the significant part of my professional practice they tend to take form in a contempory art context centered around unearthing the irrational nature of the political and economic environment that drives us to endless excess.
This was fundamental in my approach to the Out Of The Blue exhibition in 2007. I did not see that we should simply regenerate the spectacle that is Yves Klein – his works still today and the museums do that in themselves, but rather invert that context in which we access his legacy – as history – with the sensibilities of his own practice if the task was to revisit his works with contemporary examples. Inherent in my practice is a declaration of play, an activity I insist, is common to all universal forms of communication and the practice of art is its logical and natural expression. My online project, “Manifesto: The Art of Play.” Was successful in generating its own unique and spontaneous following when I began documenting knitted rainbow colours yarn-bombed trees across parts of the Australian outback, along with other “spontaneous sculptures” I was constructing. Through some unconscious connection, what I was documenting became associated with the rainbow flag of gay pride and within a short time that aspect of the project took on a life of its own when I began receiving examples of others works from different parts of the world, as they began documenting their own yarn bombed trees, and then as others again, began exploring their own innovation on the theme with “knit” covered cars, buses and any other objects in public spaces where a rainbow patchwork of knitted yarn could be attached.
For the purposes of this residency, my point of departure is to start with the philosopher Henri Bergsion and his Theory of Time, or its synthesis into artistic practice as continuous flux – the perception of duration. Greatly influential on creative practice at the end of the 19th century his ideas of a ceaseless flux leads towards the improvisatory and the consciously incomplete, where the imagination supplies the emotional depth to what is a play of surface forms and the audience, through imagination, perception and memory participate in the creative act. A sensibility I also carry over from cinema, in an attempt to satisfy a fundamental problem I have with narrative forms that remove the experience of discovery. In sorting this out here, there appears basically two ways to look at the world – from within or from without, subjectivity or objectivity, through emotion or through reason. Although the two are interconnected – as suggested by the Abstract Expressionists – the inner world of emotion must be grouped under expressionism; and those that deal with the logical and analytical, abstractionism. Thus far I have attempted and will continue to execute works that follow these divergent but intrinsically connected strategisims, with the view to deepen my understanding of how I may see, interpret and engage the world about me, as opposed to merely attempting an imitation of it, with these mediums. My success I will judge not on my drafting abilities alone, although I do look forward to grappling with your insights in that, but on the inherent qualities of those internal and external states that emerge from my play with paint, ink, pencil and paper.
Debunking the thing-ness from infinite ‘what-is-the-case’ perception
scenarios is to gesture to an authority in overlapping fields of