MVA Studio

Kodak 400 Dynax 500SI

Storage solutions for the work/home/studio

Staying In & Going Out

Playing with gesture in object relationship with a bowl of necklaces. The performance of getting ready to “go out” when we are “staying in”. Sound is a close percussive of the bowl and beads with a room sound of a slow organ melody. Elements of time echo in the sound and image. I placed a slide over the camera to give a frame and colour filter that heightens the fantasy of the film image. Sense of overflowing. When things overflow they change. Abundance.

Rebecca Solnit Recollections Of My Nonexistence

Live Stream Performance: Audio Foundation ‘Live Stream In Yr Dreams: Ducklingmonster’

What is happening to the “liveness” of the performance event when it is a live-stream?

Live sounds really have a different quality….They have a presence, and this presence is intact” Cage

The live-stream video performance erodes the binary of “live” and “mediated” presented by Cage. See Auslander.

Presence now is always complicated and layered, a thing of degrees, and in these strange times one can feel closer to a person, sometimes, when they are further away than when they are fully and simply before us” Etchells, T ‘On Performance and Technology’

Still Frame

Thesis In The Loop presentation slides

Being in the garden

One nets a landscape in a grid of formal rhythms. In a landscape or garden one discerns messages from within. All my films, poems, paintings play more or less between inner and outer events.” –

Joanna Margaret Paul, Cantrills Filmnotes nos. 47, 48, August 1985.

Always becoming, never arriving. Life is at a standstill – only ideas flash past. In such confusion I find myself running after them: Hey! Stop! Stop! But they escape, leaving me staring at a grey English spring.”

Derek Jarman Modern Garden


Durational process. A section of wallpaper lining paper is rolled out across the length of the formica dining table each day. Pencil lines mark out the rolling paper. The painted with bands of water, interior chalked house paint (grey blue) and concentrated ink (green, orange, red)

My Ghost’s Hands in the Machine

Move to home studio Karangahape Rd due to Covid-19


“…signal a refusal of mastery and an insistence on process and becoming.Muñoz, José Esteban. Cruising Utopia : The Then and There of Queer Futurity


Pronunciation /ˈrɛzɪdjuː/ 


  • 1A small amount of something that remains after the main part has gone or been taken or used.‘the fine residue left after the sorting of tea’
    1. 1.1A substance that remains after a process such as combustion or evaporation.‘the ash was a residue from coal-fired power stations’
    2. 1.2Law The part of an estate that is left after the payment of charges, debts, and bequests.‘the residue of the estate was divided equally among the cousins’

I have been making a case for a hermeneutics of residue that looks to understand the wake of performance. What is left? What remains? Ephemera remain. They are absent and they are present, disrupting a predictable metaphysics of presence. The actual act is only a stage in the game; it is a moment, pure and simple. There is a deductive element to performance that has everything to do with its conditions of possibility, and there is much that follows.”
Muñoz, José Esteban. Cruising Utopia : The Then and There of Queer Futurity, New York University Press, 2009. ProQuest Ebook Central,

The celebration of an aesthetics of amateurism are reminiscent of punk rock’s aesthetics. The performances of amateurism, in both punk and Kelsey’s example of queer performance, signal a refusal of mastery and an insistence on process and becoming. Again, such performances do not disappear but instead remain and, like performatives in J. L. Austin, do things in the future. 16 In Kelsey’s example, the short, squat singer of “Indian Summer” is loved decades after his performance, and that one audience member’s testimonial stands as one of the things that remains after the performance. The performance, in its incompleteness, lingers and persists, drawing together the community of interlocutors. Utopian performativity is often fueled by the past. The past, or at least narratives of the past, enable utopian imaginings of another time and place that is not yet here but nonetheless functions as a doing for futurity, a conjuring of both future and past to critique presentness.”

Muñoz, José Esteban. Cruising Utopia : The Then and There of Queer Futurity, New York University Press, 2009. ProQuest Ebook Central,

Physics Room AV

City Rise/City Rose Publication

For this installation, I used a narrative framework. The protagonist is listening with a window open, falls asleep, and waking is disorientated, forgetting that the window has been left open. Through this narrative, I sought to articulate the experience of the subconscious and conscious becoming entwined with the city. Here I also grew a metaphor of the wall of thorns for the ecosystem of the city. The city in thorns drew on my engagement with the debate around fairy-tales from feminist writers and academics in the 1970s and 80s.[1] In particular, I was thinking of Angela Carter’s translation of Charles Perrault’s “La Belle Au Bois Dormant” (Sleeping Beauty)[2] and the potential of appropriating fairy-tales to critique dominant cultural constructions. In looking at the city, throughout her novels and translations, Carter uses the literary forms of magical realism and gothic feminism to construct the city as a place in which textual and extratextual realities mingle. In my work, the narrative framework is mostly keenly articulated in the eight-page risograph comic. In a landscape orientated wallpaper cover, film stills of windows are reproduced in teal ink with text and hand-drawn elements overlayed in gold ink. Here there is a meeting of the documented city space in the film stills and the imagined city in the text and drawing. The comic acted as a programme to invite the Talk Week audience into reading my work. Arriving at the foyer audience is taken into the private contemplative experience of reading a comic in the public space of the installation. 

[1] “Feminism and Fairy Tales | The Oxford Companion to Fairy Tales – Credo Reference.”

[2] Carter, The Fairy Tales of Charles Perrault.

Talk Week Install & Audio/Video

The sculptural repetition of layering and hanging these images created the appearance of animated frames moving throughout the space. The wallpaper and paper had a cohesion that confidently demarcated the area of the installation. I felt that people situated within this defined space experienced being folded into an animation. The functional objects of the trolleys holding the tools used to construct the installation illustrates my presence in the making and also places the audience “behind the scenes” of the artwork. With these installation decisions I was seeking to express a social occupancy.

Ink drawing dirty scans in colour and b&w

A0 photocopy film stills

Piece for live projection video & sound

City Rose video

Thesis Studio install

Studio B Install

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. 



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

Floor back in studio situ

Live performance event

Repeating motifs

Fade to grey

Underside rehang

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

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.

Day comic process work

Temporal Contexts

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

Tumbling down
Interior screen of light fort

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

Live sound design


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

Installation and performance at Never Projects

Artist research

On a recommendation from Dieneke I look at Ellen Gallagher. In particular I research her work her large-scale installation “Osedax” (2010) at the New Museum in New York City.

I am interested in how she brings political and a rich narrative world into the work concurrently with an exploration of the materials, processes, and formal structures.

Architecture projection using In A Manor

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.

Practice Discussion in studio.

Group: Dieneke Jansen, Chris Braddock, Tony Guo, Liam Mooney, Heidi Douglas, Elizabeth Dawson

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.

We discussed trace and the different context in which the work could be performed. Domestic, corridors, stairwells, gallery, outside the white-cube.

There was a discussion of inthisholeonthisislandwhereiam, by Luke Willis Thompson , privilege and spectators in relation to domestic spaces.

Practice Discussion online via Teams

Group: Dieneke Jansen, Chris Braddock, Ton Guo, Liam Mooney, Heidi Douglas, Elizabeth Dawson

Need to narrow my focus. Expecting that making work for next weeks discussion will help with this. For next weeks discussion I have the idea of making some elements that come into play in and audio-visual performance.

Reading following this discussion and with a recommendation from Chris Braddock

Barikin, Amelia. “Sound Fossils and Speaking Stones: Towards a Mineral Ontology of  Contemporary Art.” In Animism in Art and Performance, edited by Christopher  Braddock, 253-275. Cham: Palgrave Macmillan, 2017 

VSAR800 3/03/21 Proximity; Liveness; Archeoacoustics; Mineral Ontology; Pocket record; Lint Listening; Residue; Document; Experience; Knowledge; Ghosts; Trace; Artefact; Materiality; Space Radio; Durational; Arche-Fossil; Correlationist Circle; Intention; Absent presence; Succession; Preservation; Decay; Signature

Braddock; Caillois; Derrida; Hagglund; Povinelli

Wanting to further investigate the idea’s of trace discussed in the above I read the following philosophical article

Bouton, Christophe.(2020) “The Privilege of the Present: Time and the Trace from Heidegger to Derrida” International Journal of Philosophical Studies, 28:3, (25 May 2020) : 370-389

Past; Present; Trace; Ontological; Primacy of the present; Temporality; Privilege; Presence includes absence; Temporality acted on by ecstases of future, present, and past; Trace participates in beingness (ousia); Repetition; Temporality is ecstatic horizontal; Trace as the simulacrum of presence; Dasein; Derrida; Heidegger

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