Solo in Red
Based on the writings of Cormac McCarthy, Solo in Red is a composition work by prominent Melbourne composer Kynan Robinson which was developed into a live art show in 2012 for the Melbourne Writers Festival.
This was an interesting piece for me creatively, as it allowed me a level of immersion which is difficult to attain in the creative process of a lot of works. For this piece I spent three months reading Cormac McCarthy exclusively while listening to the composition. In a way it was a dark time, it encompassed me more than expected and began to affect the rest of my life as well. However, it allowed me to create a definitive point which was the intersection between the writing and the music. Once I took the writing away, the music would automatically transport me to this place. This allowed the visual elements to flow directly into this newly created place at the intersection of Kynan and Cormac’s worlds.
The stage design is based upon the idea of reverence, of human transcendence, with the three giant screens drawing the view of the audience to the sky. This form is reminiscent of a cathedral or a temple and imbues the audience with a feeling of grandeur and worship.
“What do we really see, hear and feel? Suite Actuality is an exploration of sight, sound, perception and emotion. Weaving three classical and four spontaneous movements with visual improvisation, the versatile Ad Hoc Music
Collective continually challenges us: Do you see what we see? And together, what do we feel?” – Andrea Keeble
Suite Actuality was a fascinating project for me. I was approached by the inimitable composer and musician Andrea Keeble to embody one of her compositions, Suite Actuality, in a visual show. The composition work is emotive, dark and personal and I loved it on the first listen. I was given three reference images for the movements of the composition and worked closely with Andrea to understand the work in detail. In time the work became personal for me as well and I found that the images provided flowed effortlessly into my own visual style and the show itself.
Working with themes of life and death, spirituality and the internal world I used the expanding and contracting of the image itself to draw the audience from external to internal and to flow with the emotion of the piece. It was important to take the audience away from the traditional screen and so I used a lot of odd aspect ratios to take the image away from the TV screen. I worked a lot with the natural world and the human body and the interaction between the two, slowing and stretching time to imitate consciousness as it experiences the world and beyond.
GRASSLANDS, an outdoor site-specific performance, is about one small corner of what was once the vast ecosystem of the Grasslands of the Victorian Volcanic Plains. It is a social and ecological dig through time. Centered around interactions with one site in Clunes, GRASSLANDS digs into the history of one place which has been grasslands, a school, knitting mills and a Bottle Museum.
The show incorporates oral history, projections, dance & live music, to explore moments of reflection about our human interactions with the landscape, our domestic realm, school, work and travel lines ancient and contemporary.
Underpinning the work is the fragility and tenacious resilience of the Grasslands and the people who inhabit one small corner of them.
Tribute to Gary Hill
A tribute to the eminent video artist Gary Hill.
Disturb not the air's tranquility
Disturb not the air’s tranquillity is an installation piece made for the Castlemaine Fringe Festival 2015 by myself and my talented wife Emmily Caspi, it is a study of light and decay. Particles float freely in the light and there is a glimpse of helplessness, of the beauty of despair and decomposition. Time is used to suspend and to glimpse more closely the moment as if in the midst of trauma. We record each detail with accuracy and focus, but in this case the moment has passed.