In May, Adelaide Festival Centre's Moving Image Program is exhibiting 'Giant Australian Cuttlefish' by Dan Monceaux, 'Film' by Jane Skeer, 'Beaming’ by Mitch Hearn, and 'Collage Dystopia' by Susan Bruce.
Dan Monceaux, Giant Australian Cuttlefish, moving image, 4:37 mins
Video of giant Australian Cuttlefish during 2009 breeding aggregation. One shot film. Dan Monceaux is a documentary filmmaker with a keen interest in marine biodiversity and conservation issues.
Image: Dan Monceaux, Giant Australian Cuttlefish, moving image, (still), 4:37 mins
Jane Skeer, Film, moving image, 15:38 mins
Film was created as an extension of the work Quiet Square. I used my iPhone to capture the light reflecting from the VHS ribbon and onto the floor. I was mesmerised with this experience and found the ribbon to be both visually seductive and secretive, reminiscent of the anticipation we feel staring at the stage curtain waiting for a performance to begin. This work, Film, could add a layer of suspense to your building progress, as we anticipate the completed Adelaide Festival Centre.
I work predominantly in sculpture and installation, responding to observations of people, objects, and materiality. I seek to prove that the unwanted is, in fact, useful, and that it might prompt us to rethink our relationship with it. Respecting the life and qualities of the material, my aim is to work collaboratively with material agency to activate it in some way.
Image: Jane Skeer, Film, moving image, (still), 15:38 mins
Mitch Hearn, Beaming, moving image, 4:10 mins
An abstract loop of colourful imagery - ranging from 2D animation, claymation, and real footage - merged together. The viewer is left to interpret the piece as they wish, with vibrant symbols, shapes, and characters moving around the screen and barely interacting with one another.
Image: Mitch Hearn, Beaming, moving image, (still), 4:10 mins
Susan Bruce, Collage Dystopia, moving image, 4:00 mins
Collage Dystopia is a reimagining of original texts from newspapers and magazines. Using distortion and fragmentation, I have created new, queer bodies. There is a hint of a dark subterranean narrative in the disparate imagery that I have drawn, painted, trimmed, and glued to produce a dystopian landscape.
Image: Susan Bruce, Collage Dystopia, moving image, (still), 4:00 mins