Broken Bodies
Three sound art works, part of the Broken Bodies exhibition at the Plimsoll Gallery, Hobart, 2017.
The exhibition is a based-on research led by Dr Jennifer Ayton from the University of Tasmania (UTAS) School of Medicine-Public Health, and her desire to return the research to the community in a very different way.
This is a collaboration with the School of Creative Arts, The Plimsoll Gallery, local and interstate artists, the Institute for the Study of Social Change and School of Social Sciences.
The Broken Bodies project reinterprets over 120 Tasmanian mothers narratives collected as part of the TAS Infant Feeding Study (2012) into expressive art forms each responding to the women’s powerful experiences and sense of loss around feeding their babies.
Momentum
|
|
Created over the course of 2012-17, Momentum is a durational sound art work, created cumulatively over each day in 2012, and over five weeks in Istanbul in 2013. Momentum became a live project for the Melbourne Fringe Festival in 2013, and was resurrected during a three week long residency at the Testing Grounds in 2017. Momentum has been exhibited in galleries in Melbourne, Norway, and New Zealand. Momentum can be streamed/purchased on bandcamp. Blog and more info here. |
George Paton Gallery, Melbourne. 2013.
|
|
The Auricle Sonic Arts Gallery, Christchurch NZ. 2014.
Precious
|
Precious blurs the boundaries between functional object and musical instrument. This work was created over 2013-15, and involved collecting hundreds of old keys - keys to things that didn’t work or didn’t exist anymore, or keys that had been found: any number and size/shape, as long as they were no longer needed or wanted. Thanks to word of mouth and call outs on social media more than 300 keys were donated to the project. Precious was exhibited as a quadrophonic installation in the Long Gallery at Montsalvat, February 14 - March 15 2016. Digital download and 7" available from bandcamp. Released February 6, 2016 Artwork by Andre Lobanov. |
|
Precious at Montsalvat, Feb/March 2016.
|
|