MVA Studio

Piece for live projection. The projection event bringing a play of absence and presence.

Nostalgia; Temporality; Garden; Ecosystem; Repetition

Tenants making minor changes to the property

From 11 February 2021, tenants can ask to make changes to the rental property and landlords must not decline if the change is minor. Landlords can, however, set reasonable conditions.

I returned to the work over the next two days thinking about the legal phrasing of the recent tenancy law change “decline if the change is minor“. Making some playful work that would help me inhabit my new/temporary studio space.

Architecture projection using In A Manor

Back in studio. “Storage solutions” composition. Tape restrictions
Guttering (minor changes to rental)

Home studio setup. Taking a live recording of processed field recordings, synth drones, damaged 7″ along with the sound of Karangahape Road from the open widow
Tumbling down
Interior screen of light fort

My compositions are made through improvisations with a set of motifs drawn from film noir and golden era horror and romance comics, found footage home movies, and the first-person field recording samples. I use a method of selection that evaluates these prosaic and popular culture artefacts for atmospheres of nostalgia laced melodrama. These motifs have what Sontag called a Camp sensibility where there is rich exaggeration and artifice 

To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater. Sontag

Artspace Aotearoa ‘Conversation Pieces’ project

Photo credit Sam Harnett

Performance at Artspace. Photo credit Pat Kraus

A3 to A0 page blowups with paint layers in comic panel wall composition. Both pages have a narrative of women listening and using technology. L: Lint Listening R: My Pedals Kiss Me Deadly
Work slug/work chrysalis

I apply this repetition composition process through works I call blow-ups, named in reference to Michelangelo Antonio’s pop-art film about the ambiguity of perception within a city neighbourhood. To make a blow-up, I start with an A4 ink drawing traced from a film-still, this drawing is photocopied to an A0 scale (400%) multiple times, on the multiples I paint and foil-tape layers following the lines of the original drawing, I roughly roll the papers then unfurling them pin them to the wall; lastly, I cast a bright light on the layers creating further traces of shadow. Being in the continuous presence of the process, I identify where materials take emphasis, for example, the ink in the line photocopied or the paper in the crumpled rolled work. This form of engagement composes physical material in a poetic rhythm.  

Drawings separated and rehung. Emphasis on height on wall and 3D relationship to the wall surface. Paper and foil tape textures of crumpled and torn.

Underside rehang with black ink notation
Wall note-paper (used)

Floor back in studio situ
Fade to grey

Through repetition I explore the temporal contexts of my work. Gertrude Stein conceptualises a continuous present where the same elements remain, only the way they are seen and composed changes. In discussing this concept, she reinforces the temporal composition using the poetic rhythmic device of repetition. 

“Beginning again and again is a natural thing even when there is a series. Beginning again and again and again explaining composition and time is a natural thing.” Stein

I utilize a humour strategy and play for thinking through ideas. This play process is a form of drawing that implies lightness and temporality. I use pieces of painted wallpaper and masking tape with pencil notations as toys that I shift and sculpt into narratives playing on interior decorating arrangements. In a similar way Amy Sillman uses playful zines and films as a concurrent way into her paintings. Vernacular phrases and titles in my work place it in a social context and opens a communication with the viewer, for example the speech bubbled “I know a way” and the masking tape title “Nana’s flying duck formation”. Like Sillman, in self-publishing comics documenting my performances, I reinforce the subjectivity of my position as author and operator of the objects. 

Piece for live projection video & sound