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Natalie Tozer

Title: Footpath Fossil (breathe)
Year: 2020
Length: 20:26
Format: Looped H265 10bit,
Credits: Director: Natalie Tozer
Director of Photography & Editor: Sam Tozer
Original Soundtrack: Paul Rhodes

My work documents exposed urban stratigraphy. I look for layers that aren’t meant to be seen. Curbside ruins. Crumbled footpaths. Potholes. These layers are visible histories of life/nonlife entangled within the ground. I interpret these small moments in our urban landscape as interruptions to capitalist strategies. Mythically and metaphorically rich, the ground provides us with clues, knowledge, refuge as well as the sunken networks of extraction, exploitation and disposal. The ground is active, generous and vulnerable. We lace it with tar seal, concrete and gravel; stone blasted and rendered for our urban environments. I see my practice as a way to read and understand the ground as the surface to a complex underland . By collecting, documenting and deciphering the findings, I hope to gather enough data to learn something. I like to reach out in the dark, to gaze into a possible future and let the practice reveal the rest.

This year, I have filmed broken footpaths near and around Karangahape Rd, Tāmaki Makaurau. The markings from tools and previous layers of broken grout lie exposed for interpretation like messages from the underland lurching upwards eager to be seen.The recent COVID19 rahui brought repair and construction of the footpath to a halt. During this lull in productivity and progress I captured footage which now acts as a fossil record. I want to show through the work that I deeply admire the well- used areas we travel through. I want to acknowledge and contemplate the beauty of its worn complexity and explore the idea that meaningful production should be a subset of ‘care’. This approach is about revealing the alternative strategies against capitalist modes of production, where we focus on tending and caring for what we have, instead of perpetuating in an ever-expanding frenzy.

The rahui gave me and my nine-year-old daughter Penelope time to walk around our neighborhood, where she carefully acted as a pathfinder and navigational keeper of our mutual discovery. Together, we found and surveyed small poetic moments of urban decay, some of which will never be fixed, remaining arrested in time just the way they are. These places are entanglements where the underground reaches through the ever-expanding mask of concrete, the mark of empire building since the Roman times. For me, these walks enact soft lines of experience and memory, weaving relational becomings in common worlds. They are perspectives on Life and Nonlife, and the offer of coexistence. Through exploring and striving to understand I try to invite the possibility of symbiotic and improbable collaborations into my practice and relationships.

Perhaps in years to come, this geontological learning and speculation will emerge into the next generation through Penelope. I smile when she unearths small findings from the curb, lichen encrusted tar seal crumbles. Like finding a perfect shell on a storm swept beach, she collects and clutches her find all the way home to show me. A small offering from the messy entangled ground.


Thematic tags: Documentary, capitalism, environment/ecology, abstraction, sound, family

Title: Soothsayer
Year: 2018
Length: 03:50
Format: 4K looped video
Credits: Director: Natalie Tozer, Director of Photography & Editor: Sam Tozer

The gentle, calming nature of this work establishes a contrast with the severity of social and environmental realities today. A meditative kaleidoscopic loop of destruction aims to scale potential future outcomes into a series of digestible alternative offerings. This video work slowly crushes folded paper ‘fortune tellers’; cootie catchers, chatterboxes, whirlybirds or paku-paku. Hand folded paper objects used by children, manipulating folds to predict the future based on decisions made by the one seeking their fortune. The self destructing geometric paper structures talk to the ephemeral nature of all human construction. The child places faith in a paper object and constructs a hopeful and naive vision of the future; as humanity has, for so long, assumed its continued good fortune and permanence on earth. The work aims to pitch alternative narratives through image worlds and seeks out some of the deepest possibilities and consequences of human construction and destruction.


Thematic tags: Environment/ecology, abstraction, geological time, deep time, future fossils

Nat Tozer is an artist and experimental film maker based in Tāmaki Makaurau, working with paper, sculpture and video. Recent shows include Emerging Artists Show, Sanderson Gallery and Salted Earth, Sosage Gallery. Her work has been selected for Guangzhou Art Fair, Femisphere Zine, Headland Sculpture on the Gulf Pavilion, Art in the Dark; cinema entry, the Wallace Arts Trust, several Walker and Hall finalists exhibitions and a Summer Scholarship by the University of Auckland. Natalie holds a PGDipFA with distinction and is currently studying her MFA at Elam School of Fine Arts. She produces a range of events and media at LOT23 Studio and has been a guest curator for Q Theatre, Art Ache, Sky your TV and Threaded Magazine. She is the founder of the artists run gallery mothermother, which seeks modes of curatorial activism. 

natalietozer.com, @nattozer
mothermother.co.nz, @mothermother_archive
lot23.co.nz, @lot23studio


Gillian Green

Title: ‘Untitled’, From the Same World series
Year: 2019
Length: 04:51
Format: Video projection of 16mm analogue film

‘Untitled’, from the From the Same World series uses in-camera double exposure on 16mm analogue film. This film seeks to remove any recognition of the exact whereabouts of the subject matter in order to facilitate a visual experience of nature that can’t be located in the natural world, but can still be recognised as nature in its combined effect. This recognition can only be located in internal feeling processes, by an internal embodied understanding of experience, our own slowing mind. This work explores a different experience of being with nature, and as a way to create the meditative state the artist uses as being part of her creative process.

Gillian Green is a photo-filmic artist based in Aotearoa New Zealand who completed her Master of Visual Arts degree in 2019. Her work investigates personal lived experience and the construction of identity through exploring photo-filmic methods both analogue and digital. Green uses her camera to both prompt and enable a disconnection from the noise of the world by providing a focus on the experience of the present. She is interested in the connection between the object, the camera, the film, the artist and the viewer, and the notions of temporality and chance that exist within these relationships. Her ongoing work project questions how photo-filmic processes, with their reliance on real-world material objects, can be used to explore the non-materiality of meditative engagement, memory, embodied experience and personal subjectivity. Her exploration of these processes and practices have also helped her to articulate the very bodily experiences and their benefit that manifest through transformation and change within both her art practice and her life, using it as a means to be in the world and contribute to that world.

https://www.youtube.com/channel/UCqKSp6Nsh7SvdQuOGTV9PfA Instagram: @gilliangreenart


Charlotte Parallel

Title: When do the trees sleep?
Year: 2017 Singapore
Length: 02:35
Credits: Asia New Zealand residency at A.I.R: Instinc Gallery Singapore. Videographer: Chin Wan Xuan

When do the trees sleep? is a poetic question that seeks to draw attention to the energetic forces that intersect within the streets of Singapore. When do the trees sleep? sound walk was part of a telematic performance with Jon He, held at INSTINC Gallery, 24th of March at 8pm. Singapore. Charlotte Parallel uses a DIY light-to-sound transducer/solar panel to amplifier, to play the ‘lumen noise’ as electrical networks in the block around Instinc Gallery.

Charlotte Parallel is a New Zealand artist based in Koputai Port Chalmers working in the fields of sculpture, sound, performance, collaboration and site responsive projects. Parallel completed her MFA at Otago School of Art Dunedin in 2016. She has exhibited throughout New Zealand and internationally since 2010.

Instagram: @charlotteparallel


Yukari Kaihori

Title: Mono No Aware
Year: 2015
Length: 02:39
Format: Digital video

Mono no aware – is one of Japanese aesthetic value, an awareness of the impermanence and transience of life and the gentle sadness and wistfulness that comes with this knowledge – literally translates to “the pathos of things”. Mono no aware is universal that can be experienced by anyone though accepting life as it is relates to the core of the Zen practice. It teaches the mankind is not the centre of the world but in observing nature we see the life and death cycle and the mortality of being: everything with a beginning has an ending. This aesthetic put the emphasis on the ephemerality of mankind and insists that the we observes time and being. The present moment is the product of what has been done in the past. This work was made during the 3-months artist residency and exhibited at 30 Upstairs Art Space in Wellington in 2015 along with the series of paintings.
Thematic tags: Landscape, politics, environment/ecology, decoloniality, history, spirituality

Yukari Kaihori is a visual artist currently based in Tāmaki Makaurau. Kaihori is primarily a painter whose works change from project to project but a theme she often investigates is the “in- between-ness” of cultural and social values, the physicality of artworks, the Western and the Eastern, organic and mechanic, permanent and temporary, and nature and men. She has exhibited her work in both public and private spaces including we painted the wall with cracks (2020) play_station, This Land is All We Know (2019) Hastings City Art Gallery, Infinite Planes ( 2019) Parlour Project and Blue Fancy ( 2019) Milford Galleries. She was the recipient of Pollock Krasner Foundation Grant award in 2015 (NY), and was a Fellow at the Vermont Studio Center, Virginia Center for the Creative Arts and Oberpfälzer Künstlerhaus in Germany.

https://www.instagram.com/yukari.kaihori


Edwina Stevens

Title: The Material Thing is Vibrating Into the Emptiness
Year: 2019
Length: 24:12
Format: Single-channel video

The material thing vibrating into the emptiness is a video work considering the change encounter across various materialities. In this work, two phenomena of light, materiality, and time intersect. One element is comprised of winter light filters through a Eucalyptus tree, refracted through a warped 100-year-old windowpane onto the wall, on an oblique angle for a brief moment every day over a week, then it is gone. Another element is also of winter light, filtered through a different Eucalyptus, refracting through a glass on a shelf causing it to ‘bend’ around a corner and streak down the hallway wall. These moments were recorded every morning for the week and compiled together as visuals for live performance. In this production of this video, the visual was arranged to sound, and then in response, the performance is made to the visual, exploring the relationship between the two and the potential they carry in this relationship.
Thematic tags: Performance, abstraction, sound

Title: Lands Line
Year: 2015
Length: 11:09
Format: Single-channel video

This work was developed as a circular projection as visuals for live sound performance.Filmed from the back of the Taieri Gorge Train from Dunedin to Middlemarch, the video has been drawn out across frames to restrict the viewer focusing on any particular detail, prioritising the motion of moving through this valley only accessible for the train-line, time and space blurs past us. The work addresses the colonial lines we Pakeha make and follow on the landscape, following/exploiting water lines and indigenous Māori travel routes, while reflecting on the timelessness and remoteness of rural Southern Aotearoa.
Thematic tags: Landscape, environment/ecology, decoloniality, sound

Edwina Stevens (Dunedin, Aotearoa/Melbourne) is an audiovisual artist working across composition, installation and live performance focusing on synthesized sound, field recordings, found acoustic elements/instruments and obsolete media. Her work investigates audiovisual processes of engaging with places that are collaborative, improvisational and serendipitous, exploring entanglements of the temporal, material and experiential through chance encounters, tangential processes and unanticipated outcomes.

www.vimeo.com/eves
www.disrhythms.net
www.soundcloud.com/e_eves
eves.bandcamp.com


Shelley Simpson

Title: Subduction C
Year: 1997
Length: 19.40
Format: Digitised SVHS
Credits: Audio editing: Joost Langeveld
Subduction C is a recording of a performance of Subduction, a participatory image and sound work exhibited at Artspace, Aotearoa in May 1997

Robert Leonard, then the director of Artspace wrote, ‘Digital technology is revolutionising the way movies are made. Not only is it invigorating existing forms like the feature film and the music clip, it is also making new kinds of moving-image work possible. Shelley Simpson works in one of these new areas, mixing video recordings and live feeds in real time to create moving-image accompaniments for performances by the techno band Unitone HiFi.

Subduction extends this work into an art gallery context. Simpson took her title from geomorphology, where ‘subduction’ refers to the movement of one of the Earth’s tectonic plates underneath another. In a darkened room, a video wash of abstract monochrome mirror patterns is accompanied by an ambient bass drone. The mirror patterns, reminiscent of the old title sequence from Doctor Who, suggest by turns a watery vortex, heat waves, shadows playing on the wall, animated Rorscharch blots, cross-sections of body or brain. The droning soundtrack is also ambiguous, in turn reassuring and ominous. The viewer can interact, injecting two-second audio-visual samples into the mix using a keyboard. By contrast, these samples are coded as either ‘natural’ and ‘mechanical’, but they also formally cross-reference: the opening of a bud resembles the opening of the circular door of a space station, a spinning reel of magnetic tape echoes a spinning seed.

Overlaying and interweaving sounds and visions, Subduction provides an immersive aporia. Opposites like ‘nature’ and ‘technology’ are subducted, losing their direct oppositional status. Subduction exemplifies rave culture’s promotion of the dissolution of distinctions: between self and community, inside and outside, culture and nature.’

Thematic tags:environment/ecology, sound, technology

Shelley Simpson’s multi-disciplinary art practice is concerned with exploring the porous boundaries between the binary concepts of nature/culture and human/non-human. She works with materials that reference ecology and materialism, with specific attention given to agency, affect, labour, transformation, cooperation and symbiosis. Her recent projects explore extractive mining practices as a vehicle for examining wider issues. She is the recipient of a Wild Creations grant from CNZ and DOC for 2018 which funded a project based on 19th century tin mining in Stewart Island. Shelley received an MFA (First class honours) from Elam in 2016. In September 2017 she attended the course Posthuman Ethics in the Anthropocene, with Prof. Rosi Braidotti at Utrecht University, The Netherlands.
www.art.shelleysimpson.co.nz


Antonia Nisbet

Title: Take care now
Year: 2018
Length: 03:06
Format: Video based installation, double sided projection
Credits: With thanks to Lila and RM Gallery
Take care now uses performance, installation and video navigate the complexities of value and progress in relation to capitalism, and to illuminate the emotional labour present within daily processes of caring. Formed through a porous and durational threshold between art-making and ‘life-living’, Take care now is ultimately concerned with encouraging practices of caring response to encounter. It seeks to set up a consciousness and criticality regarding modes of maintenance, responsibility and privilege within daily interactions, and establishes a necessary change of pace in regards to ‘life-living’. This type of caring is not based in grand gestures, but rather is embedded in the accumulation of caring actions.

Installation view, RM Gallery, 2018


Thematic tags: Performance, Capitalism, Environment/ecology, Feminism, Sex and sexuality, Work/labour


Sarah Callesen and Shelley Simpson

Title: The Entities
Year: 2018
Length: 15.00
Format: Two screen digital video
Credits: Audio: Sarah Callesen, video: Shelley Simpson
Our experience of the world around us is often mediated by technology, contributing to the idea that humans are separate from nature. In The Entities, artists Sarah Callesen and Shelley Simpson use visual and audio relationships between human and non-human, natural and artificial, culture and nature. All recording is subjective, mediated by both humans and technologies used in the process. The Entities considers the role of each player within the communication system, where each offers its own affect.

Simpson has created photographs of forest floor worlds in the temperate bush of Rakiura, Stewart Island – an intense, remote environment mostly devoid of human activity. We generally perceive events that occur at human scale, not too big, not too small. We can extend our perceptual range using technology. Scale shifts, time slows. The images are presented as a two-channel video work scaled up to an immersive size. Subtle animation augments the imagery, bringing attention to the sense of process, of visibility, of observer and of mediation.

In response to the macro imagery, Callesen presents an accompanying sound piece that considers change in sound at a qualitative scale other than loudness. Echo and reverb are tropes often used in film to exaggerate the sound of small things. Natural history documentaries often apply imagined sounds to visual footage, particularly for small fauna such as insects, which are too minute to capture with existing technology. Designed sound in film, television and now virtual environments, continue to fabricate what humans imagine unheard phenomena to sound like. Callesen has used designed planet atmospheres and other constructed sounds sourced from stock libraries, as well as manipulated field recordings taken by both artists.

Shelley Simpson’s images were created with the support of Creative New Zealand Toi Aotearoa and The Department of Conservation Te Papa Atawhai.

Thematic tags: Landscape, environment/ecology, sound, technology

Sarah Callesen holds a Postgraduate Diploma in Fine Arts (with distinction) and a Bachelor of Design. Her practice explores a relationship with technology, particularly the mediation of perceptual experience. She works predominantly in the mediums of drawing and sound. Her work has been exhibited as a Merit Award winner in the 2018 Parkin Drawing Prize, as well as a finalist in the 2016, 2015 prize exhibitions. A finalist in the Molly Morpeth Canaday Award (2017), and in the Wallace Art Awards winners and finalists travelling exhibition (2015). The artist had a site specific work in the 2018 Auckland Art Fair ‘Projects’ exhibition, the group show ‘I Understand If You Are Busy’ at RM gallery (2018), and group shows at the George Fraser and Projectspace galleries, Elam School of Fine Arts (2017, 2016).
www.sarahcallesen.com

Shelley Simpson’s multi-disciplinary art practice is concerned with exploring the porous boundaries between the binary concepts of nature/culture and human/non-human. She works with materials that reference ecology and materialism, with specific attention given to agency, affect, labour, transformation, cooperation and symbiosis. Her recent projects explore extractive mining practices as a vehicle for examining wider issues. She is the recipient of a Wild Creations grant from CNZ and DOC for 2018 which funded a project based on 19th century tin mining in Stewart Island. Shelley received an MFA (First class honours) from Elam in 2016. In September 2017 she attended the course Posthuman Ethics in the Anthropocene, with Prof. Rosi Braidotti at Utrecht University, The Netherlands.
www.art.shelleysimpson.co.nz


Jasmine Tuia and Ashleigh Taupaki

Title: Vai i saanapu
Year: 2018
Length: 05:06
Format: HD Video
Credits: Narration: Lemalu Fa’ataumamatemalsoatau Filiga

Title: Siumu
Year: 2018
Length: 03:55
Format: HD Video
Credits: Narrated by Lemalu Fa’ataumamatemalsoatau Filiga, Lemalu Shirley Auvele

Jasmine Tuia and Ashleigh Taupaki explore Samoan and Maori concepts of body, space, place-making and the relationships that connect these. Through the use of indigenous Pacific narrative and recordings natural spaces of cultural and personal significance, the va (relational space) becomes evident.


Raewyn Turner

Title: Fallible
Year: 2016
Length: 03:49
Format: HD video
Credits: Cinematography: Raewyn Turner & Brian HarrisEditing and green screen: Raewyn Turner

To detect the scent variations in flowers, unscented flowers rotate above a vase which holds a sensor. As the rotating flowers are passed over the smell sensor a computer fan draws their scent past a ceramic bead sensor and a microprocessor measures a voltage dependent on the scent concentration and type. The notes are synthesised in piano voice. The sound changes as the flowers wilt and die. Synopsis: The political and cultural interests of the 1700’s that sent out explorers to collect exotic and rare botanical specimens also created an aesthetic of beauty that embodied the precarious balance of life; one tilt out of balance, one degree of heat, one minute and its gone. 
We’re exploring the fragrance of contemporary existence, illusion, and sense-making in a largely visual culture. We’re interested in subliminal odours, airborne particles that affect minds and emotions.


Thematic tags: environment and ecology, technology, history, affect, sound, olfactory

Title: Lucky
Year: 2006
Length: 21:51
Format: Digital
Lucky is a documentary about the making of a fragrance to fortify the lower senses of the gambler playing with chance on pokie machines, which are essentially random number generators. Each perfume bottle is unique as there is a random number generator in the design.
Thematic tags: environment and ecology, technology, affect, olfactory

Title: Pick Up Styx
Year: 2008
Length: 01:04
Format: Interactive software
Credits:
The video interacts with the movements of the players playing a game of pick up sticks which were each fragranced with celebrity perfumes brought to market during the years ofthe war on terror 2001-2008
Thematic tags: politics, history, olfactory, technology, interactive

Raewyn Turner’s interdisciplinary work is concerned with cross-sensory perception and the uncharted territories of the senses. Her works have been shown in numerous national and international exhibitions including Museum of Contemporary Art, LA, Parque de las Ciencias, Granada, Spain, 11th Prague Quadrennial of Scenography and Theatre Architecture 2007,Prumyslovy Palace, Prague, Argentina, Georges Pompidou Center, Te Papa Museum, and Academy of Fine Arts, New Zealand. She has worked with olfaction since 1999 and in collaboration with Dr Richard Newcomb, molecular biologist, NZ. In 2011 she was recipient of a Fulbright Travel Grant for an artists residency at Monell Chemical Senses Center, Philadelphia. Her works include videos, interactive installations, performances, exhibitions and large scale international performance in theatres and stadiums, working as a concept and design artist and lighting designer in collaborations with musicians, orchestras and choreographers.

http://www.raewynturner.com


Moving Image Archive is a RM Gallery and Project Space project
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