30 November 2007 - 15 December 2007

, , , My baggage aint all heavy @ 230 Young Street

 

Izabela Pluta

making traces

Between one place and another, these images offer little context. Accumulated from various sites, their backdrops suggest little of the place itself, prompting a search for any marks of distinction or familiarity. Rendered from the banal, these ordinary spaces assimilate a disconnection between the spaces we inhabit or the sites we experience.

Cultures seem ever more transient, moving back and forth between places. As a first generation migrant, Izabela is interested in investigating this state of flux: the notion of place and non-place, familiar and foreign: a duality of existence between two places and two narratives.


Ms & Mr

Videodromes for the Alone: The Lovecats

Ms & Mr (a.k.a Stephanie and Richard nova Milne) lives are utterly entwined, both in the personal and professional sense. Since marrying they have developed a truly collaborative approach to their practice, making elements of their relationship the sole subject of their work.

In Videodromes for the Alone: The Lovecats 2007, we see Stephanie as a schoolgirl gyrating her way through a dance routine in front of a school assembly. She is a bundle of energy, kicking and flicking away, surrounded by a mass of seated class mates. Rote learnt and repetitious, it is the kind of performance you imagine happening at Monday morning assemblies across the country on any given week. Yet it's clear this particular performance is a significant one in young Stephanie's life.

Extending on their present state of co-existence, an adult Richard has been digitally inserted into the footage to become Stephanie's dancing partner. Wearing a matching costume, including very becoming lycra shorts, he mimics her every move. It is as if the artists are attempting a miraculous act of time travel through digital manipulation, rewriting history so that there was never a time when they were apart.

In the original footage Stephanie appears slightly vulnerable as she awkwardly manoeuvres to engage the imaginations of the disinterested crowd. In this rewrite however she is not alone, she's got backup in the form of her husband to be. This playful ode to boundless love is fittingly played out to the soundtrack of The Lovecats, that deliciously cheesy pop anthem of the 80s.

But time and place cannot be so easily collapsed. Even with the aid of technology there is still distance between them. It is in this gap that we find the longing at the heart of the work; a longing to stake a claim on significant moments of each others lives, a longing to erase all the loneliness they experienced before they met, a longing to inhabit the world of each others memories.


Ms & Mr appear Courtesy of Kaliman Gallery, Sydney


Kate Murphy

Britney Love

Kate Murphy works within a documentary mode creating both single and multi-channel video work. She is interested in how documentary, in its many forms, surrounds and influences us. The codes and conventions of documentary film, photography and television all intersect in Murphy's work. Through the investigation of these documentary attributes, Murphy examines the role of the subject, the camera and the viewer.

Britney Love (2000) is a result of Murphy's interaction and friendship with an eleven year old girl whom she met while living in Glasgow, Scotland. The subject, Brittaney Love, and Murphy shared a fascination with pop culture and the latest pop star, who happened to share her first name: Britney Spears. The work comprises of Brittaney's choreographed dance to the song Crazy by Britney Spears and ‘behind the scene' shots. An audio soundtrack features the subject talking about her life - school, boys, her hopes and dreams for the future. Seven years later in 2007, Murphy revisited the subject to make a follow-up of the piece, in a direct reference to Michael Apted's influential documentary project, the 7 up series. Now at 18 years of age Brittaney Love still aspires to be a star and here discusses her motivations and efforts to achieve this aim. Mimicking the style of the ‘idol' reality television series, Murphy filmed this piece as though it was an audition with Brittaney introducing herself and performing a song she has written.

The single screen version of Britney Love (2000) and Britney Love 2007 (2007) are being presented in this exhibition. Both works have been re-edited from multiple screen video installations.

 

Downloads

Izabela Pluta CV (PDF)

Kate Murphy CV (PDF)

Ms. & Mr. CV (PDF)

Artwork from exhibition by  ,  ,  ,

Izabela Pluta
Making Traces
Lamda photograph
93 x 91cm