I have recently started to excavate some of my earlier work, in particular the films and videos I made in the early 1990s in Australia. Part of the intention is to archive them, and an important part of this process is a to make them available for viewing. This is particularly key to much of my Australian work which was made on super 8 film and in most cases only exists it its original form: they were made on reversal film so the projected film is the same physical material that passed through the camera. Of course film is a reproducible medium and it was never the intention to produce unique art objects, however the economics of no budget filmmaking that I worked within at the time often ruled out the possibility of making prints or telecine copies which would eat up the precious funds needed to make the next piece. And I was prolific (see the fairly comprehensive filmographic info at Melbourne Independent Filmmakers for an idea of exactly how prolific).
Original Programme note
A broadcast from the undergrowth. A transmission from the fields of electrical and emotional energies imprinted on the landscape, recorded in the water. Snatches of a disembodied voice were recorded, subjective glimpses cut through the electrical crackle of the carrier frequency on the monitor. A fragmented world of reconstructed space and time in a claustrophobic environment beneath the canopy of trees.
Experimenta, Performing Arts Museum, Melbourne, Australia, 1990 (3 monitor installation version) A Different Light, MIMA, State Film Theatre, Melbourne, 1991 Matinaze, Sydney Intermedia Network, Art Gallery of New South Wales, Sydney, 1992
Frames Film & Video Festival, Adelaide, 1992
Institute of Modern Art, Brisbane, Australia, 1993
MIMA State Film Theatre, Melbourne, 1994
harmonic maheno [formerly Harmonic Three Three (Maheno)]
(23 mins, Super 8, 1991, Australia)
Taking a look around from east to west and back again, between places in a shallow magnetic field, without putting down roots or making a tracing: becoming an open map.
First part: Fremantle, West Australia, nautical references (seascapes, masts, lighthouses).
Second part: East Gippsland, Victoria, alternating indistinct images of beach, sea and sky with black and white footage of fishermen on a beach, voice-over taking up notions suggested by the first part: poetic speculation on uncertainty of migration, nomadic condition, continual departure, paradox of return: the refrain.
At sea when it began, three months of water and then down the west coast of Australia...
Hes English, and hes here on some kind of scientific job, or is it geographic?
...and every day after that, I went to the beach...
Third and final part in aerial transit, arrival denied by films ending.
Matinaze (Sydney Intermedia Network):
Art Gallery of New South Wales, Sydney, Australia, 1993
Australian Centre for Photography, Sydney, Australia, 1993 Real Time, Canberra Contemporary Art Space, Canberra, Australia, 1993
1st Biennale of Video, Santiago, Chile, 1993
Perth Super 8 Group Persistence of Distance, 1993
Australian Focus, 1994 Week of Experimental Cinema, Madrid, Spain, 1994 Horizontal, Melbourne Cinematheque, 1994