Tuesday, June 06, 2017

Dominic Kavanagh Edens Hollow

thanks to Anna Pappas gallery for this interview 

Saturday, May 21, 2016

St Kilda Film Festival 2016

The St Kilda film festival has grown larger and bolder than ever showcasing an even more global expansion of the short film genre. Stories are still being told with an even more diverse range of topics and cultures. The festival boasts film mmaker forums and seminars which are well attended and informative. The short film genre seems to be able to make statements about things that mainstream cinema my not choose. The festival is always a highlight of the festival calender of Melbourne.

Monday, June 15, 2015

examples of Troys work at Anna Pappas gallery

photos courtesy of Anna Pappas gallery

interview with Troy Innocent - Anna Pappas Gallery

How do you go about creating pieces; is it a long process with many ideas?

The pieces use a consistent codes and systems, so the process begins with the development of these systems. The possibilities afforded by the formal constraints of these codes is then explored in the studio on different levels – spatial, aesthetic, semiotic and so on. In this show the pieces are connected to landscape and possible spaces, each is an abstraction of certain topography, so the process centres around this particular idea. There are a couple of different levels to the process – scale models, prototyping – it draws upon architecture and software development as much as it does art and design.

What materials do you use?

My hybrid practice blends sculpture, sound, programming, animation and installation in which the work exists in a mixed reality that traverses the object, the screen, form and space. In a way, I see these as the materials that make up the work. The creation of the sculptures involves more ‘hard materials’ such as acrylic, plywood and hardboard laser cut components that are assembled using rules and systems.

How is code and language used?

Each sculpture is a code constructed via a language created for the pieces, as described previously. They are part of a larger project that explores the possibilities of nonverbal and visual languages and the kind of worlds and experiences that these manifest. Each language embeds within it a certain worldview or way of being and I’m really interested in how this plays out, especially in the digital era when each interface, game, system represents a language in itself and so a potentially different way of seeing the world.

How much of an influence is the abstract painters of the past?

Largely through my interest in synaesthesia during the 90s (at that time connected to new media arts, electronica and interactive media) I became interested in the formative years of abstraction, where synaesthesia was a major influence. Klee, Kandinsky and Miró are favourites from that period. Later I have found painters from this time working with asemic writing – a freeform type of writing with no semantic content – and ideograms which have also factored into this more recent work.

Your work is often interactive but the stand alone sculptures seem to a break away from that…

When I first started working with sculpture and mixed realities I saw material objects as portals or signposts linking back to digital and virtual worlds. Increasingly digital spaces are integrated and embedded in the material world, so much so that there is little, if any, distinct line between the two. There is more of a multiplicity of worlds, many layers of reality. Each sculpture is a material expression of a computer program or code. So while they stand alone as aesthetic objects that have a kind of latent potential underneath the surface to be decoded – the interactive piece in this show manifests this process – this is part of the multiplicity expressed in the work, each sculpture is an aesthetic object, a digital code, part of a language, and so on.

The digital era has influenced art in many ways….

In many ways yet to be discovered, there is a lot of unwritten history there! Some people, myself included, call our current time ‘postdigital’ as digital modes of communication and expression are so ubiquitous and pervasive. That said, there is still a lot to be decoded. My PhD thesis was on the poetics of digital media, the many new forms of expression that manifest in the digital era through structures such as games, networks, interaction and so on. Too much to go into right now, but one aspect that has really interested me for a long time is the inherent abstraction in digital spaces, exploring the units and codes that they are made of, which in turn leads to new forms of materiality.

What is the main idea or concept that you want people to take away with them when they look at your sculptures?

Reflection on multiplicity and the double meaning of abstraction. Abstraction in the sense of formal / geometric abstraction which is overtly referenced in the works, and abstraction in the senses of interactive systems – the ways in which our world, our lives, and ways of seeing the world are filtered through algorithms, codes and systems – this is the language of our times.

Your pieces would have a different feel if they were put in a laneway, like street art, They almost have that feel…

That is in fact where they started. A large part of my public art practice involves staging street games that explore the play element in culture. Working with the materials of urban space, the pieces began their life as environmental signage and game tokens that players would interact with in different ways, and to mark space for the Micronation of Ludea. There may still be some out there in Melbourne, Sydney, Istanbul, Tokyo, Paris…

There is an interactive sculpture, a piece a little out the back. It doesn't take centre stage but I thought it could have. Tell us about that.

That is working prototype of a larger project. In my public art practice I have explored art walks using mobile devices to find and decode markers in streets and laneways to manifest alternate realities in cities around the world. I’m now looking at ways to stage this type of interaction within gallery spaces that have their own codes and systems. 

What are some of your future projects?

Right now I’m working on developing software to add another layer to the interactive experience of the sculptures which may manifest inside or outside the gallery. At some stage I’d like to show all of these codes and the multiple lives that they have all together in one space – a mixed reality.

Leftfiled album review - Alternative Light Source

It's a thumbs up for the new Leftfield album. A little bit safe – could have covered newer territory. But I feel that some of the songs will become anthems. I enjoyed the less vocal instrumentals on the album. Head and shoulders annoyed me and I loved dark matters. Some tracks are quite cinematic while others dance floor hits no doubt sounding better at a warehouse party as opposed to the home stereo.

Saturday, May 23, 2015

St Kilda Film Festival review 2015

The St Kilda film festival has something for everyone from families to glbt people to the Jewish community. Sessions seen so far are of a high standard exploring everything from childish animation to serious drama to the slightly comic. This yeas festival is at the spacious St Kilda Town Hall. Not as much seating as the Astor but still a comfortable seat will a wait you.. Industry show day was a chance to check out courses in film and tv industry and other resources. The forums offer a chance to get in with the latest. Check out the festival at http://www.stkildafilmfestival.com.au

Sunday, May 25, 2014

There is something to please every on at the St Kilda film festival from comedy to dramas and everything in between. The Palm Springs International Short festival package was a great selection of animation and documentary from the animated Virtuso Virtual with no dialogue to the Kiki of Montparnasse a look at influential artists and writers of the 20th century. Not anymore a story of a revolution was a well made documentary Grandpa and a helicopter in heaven drove audience members to tears. All in all a great package. I was confronted delighted and felt heartfelt emotion..

Monday, November 25, 2013

Album review - Slow Cooked by Deep Fried Dub

Deep Fried Dubs' album Slow Cooked will please dub fans. As many House of Jack fans will know my love of dub is apparent, Plenty of delay and reverb abounds on the album. The album consists mainly of instrumentals. Some tracks stake on dubstep and drum and bass elements. Deep Fried Dub are Melbourne based and consist of Ben Dudding and Ben Hartley. The album took six years to produce and was recorded between 2007 to 2013. Stand out tracks include Condensor 100 IRE and Tectonic Duplate. Support local talent when you can.

Saturday, October 26, 2013

interview with Osh 10

What was the inspiration for the new album?

With my previous album release it was the first time I’d really gone solo with regards to the songwriting- I’d previously always co-written and so the first album was a huge lesson in trusting myself. When I began writing this album I was really comfortable with my process and so I was able to just let whatever needed to come out- whether it be a synth sound in the instrumentation or lyrical content. So I guess you could say that the inspiration came from freedom of creating everything on my own, without censorship.

Do you think your developing a sound all of your own?

I find it difficult to give my sound a genre label- I’m electronic but I use a lot of live instruments and jazz and funk arrangements, so electronic purists would be furious with me being called electronic, but I also don’t fit neatly into pop, jazz or funk categories either. I used to call my sound ‘trip hop’, but that only led to people comparing me to pivotal artists of that genre which was not my intention. It’s a work in progress but at the moment I’d call my sound ‘alternative pop/electronica’.

You've toured overseas what has come of that?

I have spent the last couple of years touring Japan, which has been an immense amount of fun. The music scene is so vibrant there that there really is a place for every kind of sound, it’s a much more inclusive environment over there and I do hope to go back again next year if I can find the time and money. For songwriting I have found that a little artist residency in the foothills of the Pyrenees Mountains in Southern France- gave me the peace and quiet to write my entire album, so that is also high on my wishlist to repeat again soon.

How long did it take to get the album together?

It was around a 2 year process- being wholly independent meant that the components of the album had to be slotted in around day jobs and saving money to pay for session players and engineers and the like. Vocals were recorded on weekends when I could get away to the country to record in the quiet. It was quite broken up, so it has been really nice to finally hear it all together and finished on one disc!

What are some stand out tracks for you?

My favourite tracks would have to be firstly ‘This Lonely Room’ I’m really proud of the arrangement on that one, I love how it creeps and grows into something quite epic at the end. My other favourite track is’The Ripcord’ it is about as close as I get to a pop song and it’s a really fun song to sing live.

Any future plans for tours etc

With a new baby in the mix, taking off on tours got a little bit trickier- but I’m definitely working on some tours. France and Japan are on the cards for 2014 and I’m in the middle of a brand new instrumental project so I think that will keep me busy for a while to come.