Very honoured to be awarded a “Highly Commended” at the Hidden Sculpture Walk Prize. Thanks to all who lent their voices: Terry, Robin Ayse, Kresho, Ale, Rohan, Gaspare, Derren, Raul and Garth.
This piece is a stereo version of a multi-channel sound and sculpture installation built for the show Flushed, Red, Rubicund and Scarlet.It is the first in a series of Soundpods that you enter inside to experience. Created from luscious red velvets and silken fabrics it is both a sensual and aural experience. The vocals are recorded through a throat microphone and include a snapshot of people speaking about the colour red and its associations, from teapots to genres of film, Chinese weddings dresses to female sexual liberation, red is a colour of passion and difference. The heart beat, recorded with a stethoscopic microphone, seeks to capture internal sounds and combines with the fabrics create a haptic feeling of ‘red’.
Happy to say our work ‘Waves’ originally commissioned for Art on the Greenway as part of LOST (Leichhardt’s Open Studio Trail) went on to win First Prize at ROGAP (Rockdale’s Outdoor Gallery Art Prize) this year. Thanks to my collaborators Kresho Srpak and Alessandro Berini.
This is the audio for the work. The waves are made by putting together units of cut recycled tyres, combining them in a modular and organically repeating pattern, working with the natural curve of the tyres. Together they form a undulating array of stylised wave forms reminiscent of traditional Japanese Seigaiha(seikai-ha) waves.
The waves seek to represent the cumulative effect of our actions both as individuals and as a society. One person dumping rubbish may not feel that their actions matter much, but coupled with others who do the same, accumulatively, is enough the create a wave of waste that threatens to crash over us. However, this is true for collective action too. By working together, we can turn back the tide of waste entering our landfill or waterway and by changing our actions and making others aware,
create a ripple effect that becomes far reaching. In this way, the actions of one may lead to change for the better and it is up to us to decide which direction this should take.
Rivers, of course, are metaphors for time – and nature, and for history, all of which, are irreversible processes. The hydrological cycle however is cyclical. 
In the Current forms one layer of a palimpsest of works about the Cooks River in Sydney and is my contribution to the exhibition In the Loop: Feeding the Polyphonic Present. Created for the show it seeks to convey in some sense my research to date about the river. Unglamorous and unlovely the Cooks River has been altered beyond recognition in the last two centuries by the gaze of non-indigenous peoples. Through misappropriation, mismanagement and channeling, the river has largely been turned into a drain and is now amongst the most polluted rivers in Australia. Based on the cosmopolitical proposal of French theorist Isabelle Stengers In the Current seeks ‘to “slow down” reasoning and create an opportunity to arouse a slightly different awareness of the problems and situation mobilising us.’ It asks the viewer to consider their place in relation to the river, and not only how their presence and actions have a direct effect, and continuing relevance within political ecology. What this work seeks to explicate is the proposition that there is no identity of practice independent of its environment and our own position, as well as that of non-human actors must be considered in terms of co-existence, and our collective becoming.
Water is collected from various points along the stretch of the Cooks River, and there is one bottle for every kilometre. The tape loop plays a hydrophone recording of underwater sounds and the interactive projection, created in conjunction with Alex Mesker, changes colour according to the observer’s presence. The longer you sty the more opaque the colour becomes(see below).
 Hass, Robert. What Light Can Do: Essays on Art, Imagination and the Natural World. New York, NY, USA: Ecco Press, 2013.
 Stengers, Isabelle. “The Cosmopolitical Proposal.” Making Things Public: Atmospheres of Democracy, 2005, 994–1003.
I’ve had the privilege and pleasure to work with a number of established and emerging artist colleagues to work on the show In the Loop: Feeding the Polyphonic Present. Co-curating with the very talented Terry Pelarek and video artist Danielle Zorbas and under the auspices of senior curator Rhonda Davis we put together a show that I am very proud of.
In the Loop is an inaugural exhibition It arose, as many great happenings do, out of a frustration of the sometimes separate and lonely nature of higher degreee research and the want to celebrating the diversity of arts practice within our department, that being: Media, Music, Communications and Cultural Studies (MMCCS). Crazy name I know! We wanted to interrogate the liminal and expanding zone of creative practice as research. That is what does it mean to explore independent means of presenting, embodying and manifesting art-as-research; a research that does not simply write about art, but, that is, of it. In the multi-vocal polyphonic environment that is academia, where does creative practice fit in and how can it effect discourse in a unique and inspiring way.
Primarily, the exhibition is about creating platforms which encourage the celebration of art as scientific inquiry within the academic community. As creative practice researchers and practitioners it is sometimes difficult to understand how and where we fit into more common modes of text-driven analysis and neat disciplinary boundaries. Our work is by nature interdisciplinary.
By putting on the show we wanted to amplify the voices which do not fit neatly into more traditional paradigms of inquiry, and create a collaborative contemporary conversation about the place of creative practice within the broader research culture.
Aside form myself, In the Loop showcases work by multimedia research artists and academics Alex Mesker, Vanessa Berry, Terry Pelarek, Danielle Zorbas, Clare Cooper, Wade Marynowsky and Clinton Walker, across sound, video, drawing, installation and live performance.
Here are some pics of the show (all photos copyright of Effy Alesakis unless stated). In the Loop runs until the end of November 2015:
A left lane must turn left road leads to the Ku-rin-gai Wildflower Garden, with most motorists merging back into the fast moving right lanes at the last minute rather than slowing down and following the road to the 123ha park. It is uncuriously peaceful and the distant roar of the traffic fades as you wander further down the tracks. One of the rangers tells me, they were laid by an Aboriginal elder who worked for the council at the time when the park was set up and whose name graces one of the bridges.
The work we made for the festival Urban Ecology is about fostering an awareness and connection with place. It highlights the intersection between man-made reproduction and the natural environment and the importance of engaging with it sustainably. In the gardens here, where natural bushland brushes up against urban life, yet creates an oasis of calm; it asks the viewer to be present and connect with the existing ecologies.
We were privileged not only to be the recipients of the first prize, but also to be able to spend time with some of the devoted park rangers and members of the Australian Plant Society who kindly donated their time and their stories. It has also given me an appreciation of wild flowers that I was unaware of before, noticing and distinguishing them perhaps for the first time. Special thanks to Denis, Jenny, Bob, Judy and Les.
I recently collaborated with video artist Annika Harrison for specially curated show Looking for Sound as Part of the Hungry for Art festival in Ryde.
It is a binaural piece so make sure you wear your headphones!
Follow the link if not working to listen/watch.
“Trust me, this will take time but there is order here, very faint, very human. Meander if you want to get to town.”
This work is about creating an otherworldly, ethereal experience for the viewer, the idea that, while familiar, the space created both sonically and visually is simultaneously dreamlike and hyper-real. The blend of generational voices seeks to give the idea of cyclical time, mimicked in the endless loop of moving through the trees, as well as the impression that the trees themselves are whispering their secrets to those who listen.
Located just off Canal Road the exhibition ran the 14 and 15 March 2015.
It consists of a temporary sound installation, powered by a solar power system, craeted out of recycled materials. Sounds include recordings of water, frogs and birds sourced from national parks around NSW and snatches of interview material by Prof. Mark Taylor. Original flute composition by our friend and magical musician Ben Hingley.