PAGODA-CH4
DIGITAL ARTWORK 2018
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Pagoda-CH4 gets its name from the Pagoda coral and chemical abbreviation for Methane (CH4). Methane is twenty-three times more potent as a greenhouse gas than carbon dioxide and plays a key roles in rising temperatures.
Bleaching episodes have wiped out much of Australia's coral, however the research of Dr Anya Salih shows promise in corals which are able to fluores - she found they were more resilient to the bleaching process.
In this digital artwork fluorescent coral is used as a symbol of resilience against great adversity and survival in crisis. Secondly, representative of femininity, of womankind and our endurance. Here, I have remixed photographs of my sculptural works with a portrait of myself taken by another fellow female artist. I have positioned my sculptures to appear as a mask, or a protective layer akin to armour,
for my art is my strength, it is my voice and vehicle for change.
BEAUTY AND DECAY
SCULPTURE 2017
Finalist and winner of the Young Artist Award: Burrinja Climate Change Biennale.
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"All changed, changed utterly: A terrible beauty is born",
These words, spoken by Yeats to describe the Dublin Rebellion, are now, somehow, equally relevant to the state of our oceans. Our relationship to this great wonder encompasses so much; beauty, solace, livelihood, shame. Whatever your relationship with our oceans, the not-so-slow-motion tragedy that is unfolding before us is impossible to deny. How will we choose to respond?
Spoken through a series of sculptural works, intricate coral formations are hybridised with the cultural icon of politics and power - the greying bust - to tell a tale of Beauty and Decay, the story of the reef.
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Pictured above: Vanishing Act Series 2017.
Pictured Below: Exhibition shots of Beauty and Decay at St Heliers Gallery, Abbotsford Convent.
Open until March 4th 2018
Artist talk 1st of March, 6.30pm at St Heliers Gallery.
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DIGITAL PAINTING SERIES
DIGITAL ART, Ongoing
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Read from left to right, She Weeps for Rainbows, Haus Revival, Sprite and Bubblegum, It's Not Over Yet, Broke Punk Van Gogh, No time for Mickey Mouse bullshit, He is more like my lover (Leon)
I'M HERE: PORTRAIT OF MOSSY JADE JOHNSON
SINGLE CHANNEL HD, 3m 56s, 2017
Winner of The Shirl National Portrait Award, Finalist of the National Portrait Gallery: Digital Portrait Prize.
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"Our friendship started in art school, our early experimentation was Mossy’s first exploration in performative movement. Mossy states this was a prolific moment in her coming into woman hood and comfort in her body. Since then I have watched Mossy flourish on the stage and through our on going collaborations.
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In this work I have been given the privilege of translating Mossy’s spoken work poem into a digital portrait. It has been an opportunity to demystify and humanise the concept of a trans-woman and to show the complexity of her identity, be it objectified, demonised, hyper-sexualised in all of her vulnerability, beauty and strength. Through our intimate exchange via the lens, this work contains visual symbols that reference our historical collaborations and celebrates our friendship, how we have influenced each other's work and our artistic growth."
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Performed by Mossy Jade Johnson
Original music composed by Bokonon.
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NETWORKED SELVES: PORTRAIT OF OUR ZEITGEIST
PERFORMATIVE VIDEO INSTALLATION, 2016
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Honours research project focusing on embodying the essence of our time through a performative installation, The Networked Selves: Capturing the Zeitgeist.
In this live performative work, a performer assumes several roles, social classes and genders through repeated costume changes. Through additional live multi-channel projections "The Zeitgeist" is multiplied infinitely via the digital output, presenting the self as complex, fluid, and networked through digital cultures. Effects are applied in real time to the live projects showing how the digital self is distorted and separated from the physical self, yet still co-existing and representational of a one and only "real self".
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Performed by Mossy Jade Johnson.
Original music composed by Matt Refund.
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MATERIAL X MOVEMENT
COLLABORATIVE VIDEO PROJECT 2016
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Collaborative video between Misklectic and Brodie Kokkonis aka Pyth0ness. The garments designed by Self Perform are a patchwork design of fabrics with a range of opacities. Material and the exploration of movement were the focus of this video as well as the experimentation of light. The layering of footage mimics the layering of clothes and fabric on the skin.
This film was created as a sub-project during Misklectic's artist
residency project ArtLab.
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Performed by Pyth0ness.
Original music composed by Eugene Brockmuller.
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ARTLAB: RESIDENCY AT FIRST SITE GALLERY
WINTER 2016
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​During Misklectic's residency she coordinated over thirty individuals in a project based on the exploration collaboration and experimentation between artistic disciplines.
Nine projects were realised in this time, including a technicolored digital installation and participatory performance titled R E C O D E. Six contemporary dancers, two AV artist and one live sound artist occupied the installation. The audience was invited to participate, breaking the barrier between stage and viewer.
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Other collaborations experimented with movement and material, including an artist workshop taking place in a material playground. Fabrics of different opacities and textures were manipulated through dance techniques and light, filmed and later made into a short film piece titled Material x Movement.
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THE FETISHISM OF CONSUMPTION [#FOC]
VIDEO INSTALLATION 2015
Nominee and Finalist for Hatched: National Graduate Show, Perth Institue of Contemporary Art
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Misklectic's graduating work titled #FOC explores the psychological implications of excessive consumption and how this conditions societal constructs and relationships. Filmed to mimic the a fashion campaign, the video is projected within a monumental plastic-wrapped theatrette with individual peep-show booths, thus self-critically fetishising and commodifing the art experience.
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The design of the open-backed booth serve to the experience for multiple reasons. The barrier between the viewer and the work creates tension and voyeurism, combined with the sheer scale gives the impression of being unattainable and omnipotent.
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Each booth is equip with a single pair of headphones and illuminated by red lighting isolating each viewer and provocatively inviting them to be as comfortable as possible and to indulge in the sublime. However, as there are only three booths it constricts the number of viewers who may view the work in its totality.
In the event of a large audience it creates a 'waiting' period, replicating the tension and hype of the public waiting for the launch of a new product or show. The doorless booth purposefully puts its occupant on display - as the viewer consumes the work the audience waiting for their turn consume the viewer, highlighting one's actions during the consumption of the work.
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Performed by Mossy Jade Johnson, Fox Pflueger, Essie Angle and Aimee Rytenskild.
Audio compilation of Gareth Pugh Soundtrack SS2011 Matthew Stone, Alexander McQueen Spring Summer 2014 Campaign Film and original score by Misklectic.
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THE DÉRIVE MELBOURNE
SHORT FILM, 2013
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BASED on the theory of Guy Debord's Derive, this film explores the urban psychology of Melbourne on a particularly rainy afternoon.
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THE film was shot in a single evening spent walking around the CBD. The spoken word poem is a compilation of notes written that same evening. What this film endeavours to highlight is that great rewards can be found in a simple act of contemplative observation.
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