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Lily Worrall

Title: The Corner
Year: 2017
Length: 06:42
Format: Documentation of installation
“A house constitutes a body of images that give mankind proofs or illusions of stability.”— Bachelard, Gaston & John R. Stilgoe. The Poetics of Space. Beacon Press, 1994.
The corner grounds itself on the plane of the fragile. It is a project that sits within the interstice, and within this frame of solidity, we see the negative space of solitude; the home, the family, the corner.
The house in this presentation acts as a frame that both envelops and projects. These projected images permeate from within the home. In doing so, they inhabit and acknowledge a sense of ‘presence’. Tentative in their pursuits, the hand-held movements of the camera allude to the maker of the images, and their fragmented and cropped nature intensify the actions within the frame. By capturing a sense of voyeurism and imagined senses, these ‘home videos’ elicit both forms of experience for the viewer and the editor. 
The ‘close-up’ gives a sense of integrity to an image of an action. To find a way of encapsulating stillness in action was a push towards angling the camera down towards the feet, to hide the figure but confess its intimacies within anonymity. I have acted as a mobile figure within an immobile space, taking cues from the traversal entity of the flâneur; regarding my imposed limitations within the home.
This body of work reflects that space within the corner, and my proximity with these figures and movements slowly drifts onto the suburban street; noticeable to those who are open to see within this liminality. The use of familial images and experiences prompts me to reflect on the self, whilst speaking to the fragmentation of the familial archive. It has become a way of forming this ‘self’ within and around the home; through presenting and concealing isolated forms of my parents, and to explore the practice of investigating personal and intimate surroundings and how they can permeate into the immediate exterior of a commonly revered solidified structure. 


Thematic tags: documentary, feminism, photography, fine art

Title: Trip
Year: 2015
Length: 12:04
Format: Video
“Just as in life, one can only really see and hear when one is in a state of availability.” (T. Minh-ha 215).

The interlude, the in-between, and the interstitial spaces in films are traditionally shot by a second unit. I seek to inhabit the role of the second-hand filmmaker, disconnected from the clear narrative of the classical form of filmmaking. I act as a Flâneuse, my camera the wandering eye of my observations. Through investigating these preliminary practices, this work acts as an on-going project that questions ways of organising connections; collecting and montaging images for future thoughts and reflection. In this way the work performs like a photo album. A curated composition that aims  to revel in the isolation and fragmentation of familial memories and the family unit. Although curated images may insight a degree of disconnect between family members, they also create a sense of alienation when viewed by a stranger. The stranger must then look in a state of availability, with the responsibility and challenge to form their own narrative, potentially over many sittings. 

“As that claustrophobic unit, the nuclear family, was being carved out of a much larger family aggregate, photography came along to memorialize, to restate symbolically, the imperiled continuity and vanishing extendedness of family life.” (Sontag 9). Working with family comes as an intrinsic type of collaboration. Documenting family experience is regularly perceived through the parents eyes, and becomes the child’s responsibility as the family comes to a point of separation. The “claustrophobic unit” performs within a structure that includes several subjectivities. Through my organisation of captured moments, editing with footage and photographs taken by different members of the family, the images become realised and coherent to us as relatives, despite its stagnated structure and resistance to convenient narrative hooks.

To those that are not privy to the omitted experiences, the film creates a place for projected memories. The uncertainty of duration or erratic changes in focus call for the audience to develop their own narratives and way to work around the images. Its position is to thrive on fragile ground. The awkward nature of interspersed static material and long traveling shots invite reflection and discomfort.  

Title: Cafe Undone
Year: 2014
Length: 10:18
Format: HD video

Lily Worrall is an Auckland based artist, who has recently completed her BFA at Elam School of Fine Arts with first class Honours, and a BA in Film theory at the University of Auckland. She is a structuralist filmmaker, whose practice integrates familial archives, digital materiality, found  materials and feminist film theory. 

Worrall’s practice intuitively leans towards capturing the uncanny. Her videos encompass her relationship to family life which meld cinematic narratives to the personal.

https://lilygracemercedes.wixsite.com


Mary MacGregor-Reid

Title: Hive Oracle
Year: 2015
Length: 04:40
Format: HD video
There is some old beekeeping folklore about talking to your bees, telling them everything that is going on in the home, letting go of your troubles, trusting them with your secrets. Anyone can talk to the bees, but not everyone can hear them speak.

Title: Albedo
Year: 2016
Length: 11:12
Format: HD video
Credits: Soundtrack by RapoonStorey, R. (2003) Breathing Gold, from the album Fallen Gods (Cidar)
ALBEDO
: a measure of reflectivity :
: alchemical purification :
: spiritualisation of the body :

When delving into realms of the otherworldly, it is sometimes necessary to suspend doubt (even if not to admit belief) so that one can fully engage with the experience. To the curious mind, exploration of a question can be as fulfilling, if not more so, than attainment of an answer. Perhaps art can be used like a scryer’s black mirror, a refracted vision of ourselves that gives us a view into the unknown.

Title:  The Pelican Surrenders the Blood of Her Heart
Year: 2019
Length: 16:38
Format: HD video
The final transformational stage in the alchemical process is the Rubedo. It marks the penultimate shift from base matter to perfect gold, the apotheosis of both the material and immaterial worlds. These works explore this intangible experience through the symbolism of the blood, the rose, the pelican and transformation through self sacrifice.

Mary MacGregor-Reid’s work explores otherworldly spaces in the context of performance and the performative. Experiencing the role of the artist as both creator, director and performer – MacGregor-Reid has begun building a cosmology through the linking of objects and ideas, a cultivated web of interrelationships. Her method of working has been flexible; spanning object, live performance and video, but always with a focus on the performative. Ritual as performance seemed an appropriate space to interact with the otherworldy, while also allowing the work to quite naturally manifest across a range of media. Working with the performative – particularly recorded performance – she has discovered a method that allows for the sublime, the unnerving and the amusing to exist side by side in a contemporary art context. It has been an evolutionary process, with branches on her ‘cosmology tree’ growing and joining to create a scaffold of ideas and symbols. This has been a process of uncovering, or discovering, these interrelationships as much as it is of creating them. MacGregor-Reid completed a Master of Fine Arts degree in 2016, she was a finalist in the Glaistor Ennor Awards (NZ, 2016) and had had her work shown at Art Ache (Auckland, NZ, 2016), Buratti Galleries (Perth, Australia, 2016) and Kingsize (Auckland, NZ, 2018). In 2017 she talked at the City Gallery in Wellington, NZ for their international “Occulture” exhibition. Her subject was ‘The embodiment of character in art and the occult”. In 2017 she went to Finland for a month to take part in an artists residency at Arteles Creative Centre.


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