Carbon Monoxide Apple HQ Federation Square Melbourne 6 2021
I'm interested in the structures of meeting and gathering places such as Federation Square Melbourne, where discussions can occur unruly or otherwise. The objective of my work relates to subjects including: global flooding, depopulation, disintegrating infrastructure. Imagining a real place in the world, I redesignate/replan spaces by erasing and drawing over copies of photos I’ve taken of significant urban, rural, or metropolitan sites, or by working over surfaces I've imagined as blank. Increasingly, in the early stages of the 21st century, we live in a world of rising anxiety which is out of kilter and beyond our personal agency. Nature does not pivot on humanity’s failure to see environmental changes and does not heed our collective disappointment.
Looking at sites of crisis, a melting world is the undercurrent of my erasures and overdrawing. Playing with the parameters of abstraction, architecture, landscape, scale, and figuration I am interested in how forces such as migration, capitalism, and climate change impact lived experience. Geography was once a horizontal scenographic conception of earth’s surface, nowadays any level or space can be tracked to any other as an amorphous ever changing 3D conception. Our colonisation of sky and subterranean spaces, fuel my interest in structures and spaces between indeterminate fragmentary horizon lines. My work speaks of a blurring of symbolic and material boundaries, I see nature as not surrounding and containing us – rather as a landscape disappointingly resistant to, and beyond the manipulation of, human wishes and appetites.
"I Built A Road Which Had No Purpose" @ Deakin University Project Space August 2020
(postponed during Corona virus lockdown)
Ford Motor Works Drawing 90.5x141.7cm
Click on image "Koch Fountain Met Manhattan 1" to see a short film of the drawing and book exhibition
“The Weird Wiles of Reprehensible’s Pensibles"
Alex Hamilton @ Pablo’s Birthday New York 26th of November 2017 to the 7th of January 2018
My core activity is drawing significant urban, rural and metropolitan sites. Photocopying on paper, I enlarge photos I take, using erasure as part of redrawing and re-planning the site.
Just as a drip or pour of paint announces a painting, so at first glance my style of drawing has the visualising facility of architects’ illustrations of past, present, or future constructions. We then notice texture, words, surface, and the drawings support materials, as the structure of our eyes is utilised.
My drawings can be seen as parallel realities - something just as likely to happen at any time, and just as real as the geography describing the places we inhabit.
Geography was once a horizontal scenographic conception of earth’s surface. The new geography where any level or space can be tracked to any other, the changing conception of “land surface”,and the colonisation of sky and subterranean space is an amorphous everchanging 3D geographic syntax.
This fuels my interest in, and use of, narrative structures of conflicting perspectival syntaxes, "extinction illusions" and spaces between indeterminate fragmentary horizon lines. A closer look shows this treatment of space can speak of social, economic, political and “overt no-go-areas”, revealing hidden landscapes of sovereign or economic empires and their mechanisms, which trace their presence throughout our urban rural and metropolitan environment.
The place names of sites I photograph and use as titles, go some, but not all the way, in describing a place, thus acknowledging distance. Distancing as ongoing consideration, also occurs as I rework and reconfigure the same photos many times in a series of contradicting and categorical breakings with the preceding drawing.
My drawings work with the photosensitive photocopy technology of melting and shaping emulsion powder onto surfaces. Photocopying is now an anachronistic technology, its changing role marks a distance in time.