Making the Green One Red
The Block, 24 April – 5 may 2012
Left: Andrew Burrell and Kerreen Ely-Harper, Making the green one red (Virtual Macbeth), 2001, Screen capture of virtual environment
A mixed reality artwork/performative exhibition project exploring Shakespeare’s Macbeth, Making the green one red (Virtual Macbeth) has been developed by Director Kerreen Ely-Harper and new media Artist Andrew Burrell.
The project incorporates multiple layers of interaction and brings the audience into a world woven by the Witches of the narrative, a world full of reflections, mirages and doubles.
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The Shape Things to Come: I’m Yours/ Be Mine
The Block, Feb 22 – Mar 17 2012
Left: Shawn Liam, Kalamoana Bailey, Rory McDonnell-Staff, Block Band, 2011
I’m Yours/Be Mine considers the nature of desire as it exists in feminine, neutral and masculine contexts. Each work poses a proposition, questioning what fuels human desires, be it towards relationships, objects, materials food or lifestyles, and through this critically frames the notion of longing. The exhibition showcases work from Visual Arts, Fashion, Animation, Interactive and Visual Design, Architecture, Communication design, Industrial Design, Landscape Architecture and Interior Design.
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Making the Green One Red
The Loft, Nov 22 & 23
Left: Making the Green One Red, 2011, Performance photograph by Keith Novak
A mixed reality artwork/performative exhibition project exploring Shakespeare’s Macbeth developed by director Kerreen Ely-Harper and new media artist Andrew Burrell, Making the green one red is designed for both a real and virtual audience, with live actors in a physical space and virtual actors in a virtual space.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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IGNITE 2010 – The Block, 27-29 October 2010
Artists: Sharon Jewell, Daniel McKewen, Robert Stuurman, Lauren Carr, Michelle Zen and Lousie Grayson
Ignite – verb: 1. To set on fire; kindle. 2. To heat intensely; roast. 3. To stimulate or provoke.
The artists exhibited in Ignite are not only involved in creative practice they are also engaged in research. Art practices often inherently embody a process of investigation and discovery, of experimentation and reflection leading to an envisaged outcome. As artists knowledge is developed through the making of art, which involves internal, intuitive and tacit logics and processes [kindle]. As artist-researchers this tacit knowledge is made conscious as the practitioner investigates their central research inquiry and realises the defined objectives of their projects [roast]. The work displayed here is a snapshot of the various practice-led trajectories that QUT Masters and PHD students have initiated and include a range of developmental stages from those who have recently started their journey, those who are somewhere in the middle and some who are in the process of completion. As with all creative practices, the reasons for and methods of inquiry are vastly diverse, what they share is a common goal to [stimulate] and contribute to the visual arts field, and to [provoke] critical discourses.
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Documenta xxoo, Minute Gallery, November 12 – 13 2010
Artists: Melissa Ryke, Haruka Sawa, James Lyall, Sally Chicken, Tess Maunder, Warren Handley, Sarah Breen Lovette
Left: Haruka Sawa, Conduit Documented
Digital Photography, 2010
dOCUMENTA XOXO translates the physical work exhibited in the 2High Festival via photography into data suitable for digital display. This process of translation documents the existing work while simultaneously creating new images, addressing issues of authorship, originality and the relationships or divergences between physical and virtual objects and images. The exhibition explores locations and contexts that host artists’ work to realise a layered series of situations; a context within a context, an exhibition within an exhibition. A tongue and cheek homage to the major art festival in Kassel dOCUMENTA XOXO suggests that size isn’t everything and that it is defiantly how you use it that counts.
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Virion was exhibited using 25 public screens across Brisbane including The Kelvin Grove Urban Screen Network, The Edge, and TCB Centre as well as online from July 19 to August 1 2010.
Left: David Spink, Velvet Sky, 2010
Virion was an open access exhibition that had been driven by the principles of Joshua Decter’s conception of a ‘discursive museum’ with the objective of enacting a democratic curatorial model. It invited submissions from anyone wishing to participate, and guaranteed equal time to all works regardless of their status as professional, emerging or experimental artists. In this way, the exhibition attempted to address the perception that visual arts is an elitist preoccupation by removing the usual hierarchal governance that a board of trustees, institution or curator normally command. In Virion, the individual artist determined their inclusion in the show and their level of participation. This open process relied on collective agency to be successful, and aimed to be wholly democratic in its implementation as a curatorial model. At the time of Virion’s opening we had received 174 submissions from 127 artists from 24 countries, which made up over three-and-half-hours of video and images to be screened.
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Has the Internet Killed the Postman, H-Block Gallery, September 2007
Artists: David Dellafiora, Raz, neRRaDa, Luc Fierens, Orfee Swerts, Michel Della Vedova, Schoko Casana Rosso, Manfred Heinz, Thorsten Fuhrmann, Miriam Tagliati, Vittore Baroni, Suzlee Ibrahim, Liliana Rusu, Simon Warren, Clemente Padin, Daniel C. Boyer, Reed Altemus, Carla Cryptic, Anne, Juanne Peck and Tob Wood
Image: Tob Wood, Has The Internet Killed the Postman, 2009
A Call has been issued for art on the theme: Has the Internet Killed the Postman
- When is Mail art and when is it just mail?
- Has the Internet Killed the Postman?
- Contributor freedom: a license to excel or to suck?
These are questions that address the nature of the Network. If you have an opinion, express it in your submission to this exhibit All work received will be exhibited at a Mail Art Show in September.
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Interplay, QUT Art Museum, October 5-20 2005
Artists: Joseph Daws, Luke Lynam, Dave Ryan, Lachlan Glanville, Sylvie Bruce, Adam Jefford
Left: Lachlan Glanville, Interplay installation detail, 2005
Every artist exhibiting in Interplay has used Brian Eno’s Oblique Strategies whilst making the work shown. The work was made by combining their normal creative practice with the material provided to prompt artistic responses outside of usual, automatic or static decision making processes. Throughout this experiment these Oblique Strategies have not only allowed each artist to produce work that has been impacted by chance and play, but has also created friction as the cards acted to disrupt usual practices requiring each artist to identify their inability to loosen control and allow external influences to interrupt natural and instinctive modes of working.
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Trip, Metro Arts, April 12-15 2005
Artists: Alex Weiland, Emily Wakeling, Luke Lynam, Germaine Woodward, Linda Murray, Ken Dallaston, Joseph Briekers, Julia Chiu, Kasia Janczewski, Kim Davies, Rachel Dixon, Jordan Lewerissa
Left: Alex Weiland, Soundtrack, 2005
To skip, to caper, to stumble, to make a mistake or false step, to make a journey, to get high on a psychedelic drug, to turn on, to obstruct, to expose or to trip the light fantastic of to dance.
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Through the Looking Glass, Metro Arts, August 2005
Artists: Kim Davies, Linda Murray, Dan Brock, Madeline King, Julia Chiu, Lubi Thomas, Kathryn McSherry, Kasia Janczewxki, Craig Amos
Sometimes art can be like a looking glass or Rabbit hole. Like Alice, the audience has the choice to plunge into the unknown and be sent plummeting into another realm. Into a place of uncertainty, meditation, enlightenment, revelation and little critters painted in hyper colours. The artist has the power to create worlds, which exist just beyond our own perception, to capture a moment, to see the unseen and to then transcribe this into new visual forms. A painting or photo can tell a story or reveal a secret, it can speak of past narratives and histories comment on our contemporary setting and society or simply propose questions.
