Three elderly equines are bedecked in woven networks of bells and keys, trotting, grazing, jingling, and shaking in the Victorian bush. Horse Power is a gentle call to arms, against age’s invisibility and the slipping into silence of all species. It disrupts the art worlds obsession with the fetishized horse and brings us back to Earth. Back to labour and real ageing bodies, away from the classical forms of the bourgeoisie.

 

Credits

Horses: Buster Rhythm, Breeze and Duke. 

Cinematography: Andrew Kaineder.

Sound: Joseph Franklin.

Pattern Maker: Rioko Tega.

Equine Specialist: Sacajawea.

This work was filmed on a distant part of the south coast of Iceland amidst gale force winds and rain. During our time in this area we felt a strong sense of connection to geological time.

During a relatively short period in the eighteenth century, geologists changed the basic premise of existence when they theorised that the Earth’s lifetime did not consist of some six thousand years and instead existed on timescales that are so immense they resist the imagination. This was not a new idea, many ancient traditions have always asserted that the universe is not only much larger than what we see, but also much older.

Through sKIN we Breathe, 2019 is a two-channel video and sound work, constructed from blending multiple layers of individual still photos, moving images and sound. The work is a relational experience, hinging on the interconnectivity of all matter – Country, people, animal, time, space, breathe, memory, future, past – exploring movement, s/KIN and Country.  A meditative moment, a starting point for consideration on myth and truth.

Through sKIN we Breathe was developed as the introduction for the dance work Same but Different produced by DubaiKungkaMiyalk for DanceMassive 2019.

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Henry Wolff’s ‘Sitting on the edge’ explores how the body can simultaneously experience multiple states of being. Here the performer Jingwei Bu’s figure is abstracted and split across two zones. Seated poolside, her feet move in the water, becoming disjointed from her body and performance above the surface. It would be easy to assume these effects were achieved in post, however, they are achieved through the skilled underwater cinematography of the project’s director of

Photography.

This work is part of a larger series of underwater projects the artist has in development.

‘Sitting on the edge’ has been supported by the City of Mount Gambier, through the Creative Arts Fund; and by the Centre for Projection Art, through their artist-in-residence program.

Polar Opposites is a temporary projection experience exploring the iconography of climate change. Today, Australia has 22 operating coal-fired power stations and just 10 years ago, there were 34 in operation or under refurbishment. These closures represent markers of significant change in the way our society operates and has prompted fierce social commentary and debate.

As abstracted icebergs pass us by, a single polar bear circulates, appears and disappears. These images are not the Australian experience as are fire and coal, thus becoming an alien spectacle; melting and merging behind glass for our viewing pleasure.