Hylozoic Series: Sibyl

2016

ART INSTALLATION "The Evolution of Woman", 2024

ARTWORK SUBMISSION 33 ARTWORK TITLE: Art Installation “The Evolution of Wo/Man” (a 7’ canvas-screen linear-display 8m x2m timber &fabric art framework.) [Artwork consists 7’variable sized complimentary-in-scale paired-canvasses, timber framed. This is “Green Art” in format, the Installation’s merit &messaging rests on Green portraiture. The artist’s portraiture series within’ is titled “Misty Blue Portraiture in Light’ Fog & Dust”.] The Artwork Installation illuminates a simple message, we need universal change to survive. It illustrates in a ‘gentle’ way the mission and progress of humanity to date, from the void of the Earth’s (the Blue Planet) original big-bang creation (screens 1 &2), then through the evolutionary process from Apeman-hominids to Adam & Eve (2x artist sketch-works in ink- on-paper, screens 3 &4). Then to the wonders of modern civilization at turn of this Century, c. Year 2000 (via sample 35mm analogue-camera’s positive photographic film-slides under light projection, screen 5) until today, screen 6, a projection sequence of zero-carbon Green-portraiture print-slides (this artist’s portrait series “Misty Blue Portraiture”). Screen 7 is a c. 205cms high canvas-backdrop framework for viewer ‘selfie’ portraits, if so desired. This latter screen can accommodate the attachment of a heavy aluminium casket to receive voluntary donations of interactive viewers wishing to utilise the exhibition’s “framed-selfie” opportunity, for benefit of local charities &the event’s/gallery’s exhibition host organisation. There is a big gulf between the superficial quality of the portraits as represented by and between those projections as displayed on screens 5 &6. This gulf represents the scale of adjustment required if Wo/Mankind is to survive those environmental challenges now faced universally by all humanity on our Blue Planet. Screen 6 illustrates starkly the challenges of the future if our human mission is to continue. We all must change life styles, means of life and existing living norms, it requires collective geo/socio-political adjustment, global economic adaptation, &climate mitigation measures. It also requires the practice of “recover’ re-use and re-cycle” much more comprehensively & limiting our use of ever scarcer resources, including clear water (a feature that gives our Blue Planet its colour). The Visual Arts world in generality is currently more given to the concept of carbon-offset rather than radical change to more fully sustainable Arts in practice. So we all must ‘change’ if our civilised humanity is to persevere, survive &prosper and ensure continuity in our common human mission.

Dictionary of Sydney, 2017

Humanities Research: Museums of the Future, the Future of Museums, 2002

Built, Unbuilt and Imagined Sydney is a humble collection of essays based on built and unbuilt works (residential, commercial, interiors, and so on) of interest in Sydney, inclusive of public art, object or furniture design, key invited or public lectures, studios, current projects in making, competitions, collaborations, exhibitions, installations, and outreach work. The focus is on the innovative and the original not the ordinary and the functional. The purpose of this is to reveal the expanded field of architecture, and that the practice of architecture exceeds the work legally defensible under the title of the architect. The emphasis is placed on practice as an intellectual activity and on contemporary practice of architecture as the meaningful exercise of social, political, and critical knowledge, skills, and mindset in an urban, spatial, and tectonic condition. The book reveals that all or most architects either adopt as their own or have an interest in an(other) field, such as visual art, urbanism and landscape, virtual reality and three dimensional imaging, installation art and lighting design, and so on. The book aims to reveal therefore the multidisciplinary, urban orientations, and fluid forms of practice. The essay format as opposed to a monograph or historical survey on a place or period in Australian architecture is deliberate. The aim is to capture not the formal outcome of the architectural practice but to capture the vitality and intensity of architectural thought behind it all. The collection will pick out the creative DNA of the city, as it represents a snapshot of the intensity that marks the critical and creative culture and enterprise informing the architectural scene in Sydney.

Australian Historical Studies

An online bi-monthly architecture journal interrogating the vocation and activity of those positioned on the fringe of the formal architecture sector, publishing thought pieces from those who work inside and outside of 'architecture-proper'. www.edgecondition.net //CONTENTS //LETTERS: 04 - Sara Seravalli introduces her charity auction project ART MEETS ARCHITECTURE. 08 - Graeme Brooker shares his concerns over the apparent invisibility of the world of interiors in REVIEWING THE FARRELL REVIEW. //FEATURES: 10 - Rachel Anderson, Producer at ARTANGEL takes us through examples of THE PSYCHIC SPACE. 16 - Commissioning editor Helen Castle explores the realm of digital publishing in CANNY COMMUNICATION IN ARCHITECTURE IN THE AGE OF ‘MESSY MEDIA’ - part two.. 22 - Rachael de Moraivia’s essay talks about how Virginia Woolf built feminist discourse on the foundations of modern architecture in A SHOEBOX OF ONE’S OWN. 28 - Philip Hall Patch details his innovative use of salt in art and construction in the article THE INDEFINITE PLEASURES OF SALT. 34 - Andrew Walker and Merjin Royaards delve into the depths of sound and space with their robotic installation, ACID HOUSE. //AN INTERVIEW WITH... 46 - Jennifer Davis, curator at Rearview Projects interviews her friend and commissioned artist Jimenez Lai. //FROM PERSONAL EXPERIENCE: 58 - Liz West gives us a insight into the life of a practising artist in CONSTRUCTING MY SURVIVAL 62 - Bryan Cantley shares the process and thinking behind the cover artwork ....TO BE TRANSFORMED. 70 - Amberlea Neely introduces us to the independent, not-for-profit organisation dedicated to the making of great places - PLACE 74 - Aerospace Engineer narrates a trip San Francisco MOMA in MUTABLE SPACE. //OP-EDS: 76 - Ordinary Architecture take us through the history and it’s use of Supergraphics in BIGGER THAN THE BOTH OF US. 84 - Mia Tagg tells us all about Homebaked, the grass roots art installation and business in MATTERS IN OUR OWN HANDS. 88 - The team behind Processcraft take us through the importance of technical studies and engaging with students in CRAFTING ARCHITECTURE //PHOTO-ESSAYS: 98 - Photographer Paul Karalius and Open Eye Gallery Director, Lorenso Fusi, explore the intricacies of PHOTOGRAPHING ART SPACE. 106 - Photographer Richard Boll shares the concepts behind his shoots in BYPRODUCTS OF CREATIVITY. 116 - Jim Stephenson shares his first hand experience of documenting the construction of the Serpentine Pavilion in UNDER CONSTRUCTION.

AICCM Bulletin, 2018

It would be great if people could walk on the workthat would be interesting. (Parr , pers. comm.,  October) This paper investigates the multifaceted conservation issues surrounding Mike Parr's work the side I least like, a set of  drawings on cardboard belonging to the Art Gallery of New South Wales (AGNSW), and its installation in the th Biennale of Sydney in . This paper considers the AGNSW's role in working with the artist to ensure the appropriate display and preservation of these drawings, which for Parr are intentionally unstable (both physically and conceptually) and form part of an ongoing creative project entitled the Self Portrait Project.

2006

Ashton Raggatt McDougall's architectural design for the National Museum of Australia (NMA) has had a reception as heated as the institution itself. In many ways the buildings and institution are identified, one with the other, to an extent that would seem praiseworthy if not for the fact that this identification is most often made by the NMA's vehement critics. Those who oppose the museum's presentation of Australian history see the buildings with their various symbols of atonement as built proof of what they take to be the deleterious effects of relativism in historiography. Meanwhile some architectural critics find that the building's general uncertainty as to its own status as an object ought partly to be blamed on postmodernist museology with its sometimes Jacobinical disavowal of artefacts and collections in favour of affects of citizenship to be found in a flux of pixels. Our aim in this paper is introduce a gap between the institution and its architecture, to describe and to speak for the buildings as significant cultural works in their own right. We claim that to understand the NMA as a whole it is necessary not to see the buildings as equipment, as hardware on which to run the institution's software, or as a form that naturally and necessarily expresses the content of the museum, but rather to understand the buildings as art. The architecture of the NMA is a mimesis of the institution where the museum's problems are rearranged in semblance and extended into crisis by hyperbole. With the licence of art, the buildings can and do conduct a discourse with less constraint, and less responsibility, than the institution housed. Here we are making a supposition, that the category 'art' and architecture understood as art have a particular role in social history museums in presenting what is otherwise unpresentable, because of lack of evidence, lack of agreement, horror or ennui. We aim to show that what non-architects might construe as matters of the discourse of cultural policy-that is, the meaning and value of the popular and of curatorial practice, and the occasioning of interpretation on the part of visitors-also become the material of an aesthetic logic in the buildings of the NMA. Article: Ashton Raggatt McDougall (ARM) and Robert Peck von Hartel Trethowan, architects in association, competed for and won the commission for the design of the National Museum of Australia (NMA) and its neighbour the Institute of Aboriginal and Torres Strait Islander Studies (IATSIS). The design team was lead by Howard Raggatt of ARM, and the buildings are located on Acton Peninsula on the shores of Lake Burley Griffin in Canberra, the capital city of Australia. The project was completed on time, and within budget, and the buildings were opened in March 2001. Some early strategic decisions about the project underlie and constrain much of what we are about to describe, but two of these can be passed over. The NMA and IATSIS are quite small in floor area when considering the size of Acton Peninsula, which they were intended to occupy so as to complete the broader Lake Burley Griffin landscape. The architects' decision to design a relatively thin annular building, which pushed up as close as possible to the lake's edge, is their answer to the brief of contributing to this larger landscape. This is one reason ARM's design was chosen, as the competition jury realised that more compact designs on the centre of the Peninsula would be largely invisible from across the lake. This decision meant a long perimeter to the building, which placed pressure on an already meagre budget and culminated in one of the most remarked aspects of the building. It is constructed largely in metal sheet and plasterboard, not the stone and stainless steel of serious institutional buildings, and has the 'tinny' feel of a suburban shopping centre, because its cost is, in fact, comparable. A third starting point is more relevant to the present discussion. Paul Keating, during his tenure as prime minister resisted pressure to build the NMA, saying that it might be 'another marble mausoleum' in the Parliamentary Triangle (Ward 2001, 39). Clearly the NMA as built avoids this charge, and yet the manner in which it has done so raises as many questions as it answers. Although the building disavows the solemnity of the mausoleum and has what we will call the 'look' of populism, the NMA follows the manner for which ARM are well known and is packed with coded references to the politics of Australian history and to the history of architecture. There follows a double problem: first, the amount of cultural capital and sheer effort required to interpret the buildings is truly daunting, and thus has led to charges of elitism; and, second, even dipping into this interpretive space is enough for one to realise that the building is not as celebratory as suggested by its purely sensual reception of bright colours and jaunty angles: it has, in fact, a highly choleric attitude to Australia and to architecture.