Living Data (2011- ) (External link. Use your browser back button to return.)
Living Data contributes to a growing global project to visualise human impacts on natural climate change. Our unique contribution is an evolving visualisation of reality as a vast complex system described in simple lines of human scale.
Antarctic Animation (2007-2010) (External link. Use your browser back button to return.)
Gestures and lines are used to combine scientific data with subjective responses to Antarctica. Animations and an exegesis are approved by the College of Fine Arts, University of New South Wales, for the award of a PhD.
Aboriginal Perspectives (2005-2006)
An online journal contains work towards a Diploma of Aboriginal Studies. The study begins in Sydney in 2005 at the Eroa Aboriginal College and is completed online from London in 2006, through Sydney's Open Training & Education Network (OTEN).
A scientific expedition to Antarctica leads to developing an arts practice that aims to communicate climate change information.
The Life and Death show (2002-2003)
A community arts project evolves from talks with other artists about the meaning of death in the face of the September 11 event.
Roget's Circular (1999-2002)
Artist Melissa Smith and I travel through the lands of our respective forebears, generating and collecting material with which to compose art works and an animated interactive thesaurus.
A Little Skiting on the Side (2000)
Workshops and meetings with people on Flinders Island (Tasmania) provide material with which to compose an animated interactive CD-ROM.
Terra Incognita (1993-1995)
Drawings, paintings, assemblages and an interactive CDROM are made to visualise the creative process of Australian writer Carmel Bird. The work is approved by the Royal Melbourne Institute of Technology (RMIT) for the award of Master of Arts.
I curate a national exhibition of digital images, installations and animations at Gallery 101, Melbourne, for the innaugural Next Wave Festival.
Beware of Pedestrians (1994-1995)
An elemental digital form is made to animate expressions of human emotion.
Drawing through movement is an essential part of my practice. Although this is primarily an individual activity, group workshops in this approach are sometimes offered.
The knowledge of historical continuity is one of man's most valuable steppingstones in his evolutionary progress. The purposeful accumulation of experiences can protect him from the repetition of mistakes, so that his creative power can gradually be saved for socially productive tasks. This productivity should be the alpha and omega of education, the translating of all the elements of learning into a creative sociobiological living ...
... Each generation differs from the preceding one in the determination of its task. The task of this generation is to search for its roots. It must try to understand the significance of natural functions so that everyone may become aware of the essential purpose of living: the preservation and refinement of the biological nature of the individual within a harmonious social existence.
Moholy-Nagy, L. (1956) p. 23-5, Vision in Motion, Paul Theobald and Company, Chicago