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Lara Lindsay-Parker

Title: Glitch
Year: 2018
Length: 02.05
Format: Part of a 3 channel video entitled Beach body
The following is an exercise in attempting to localise my train of thought. Often fragmented and linked in ways that aren’t immediately clear to the spectator, it serves to negotiate and navigate the fruits of my research, my body, my emotions, my subjectivity and my objectivity. Although it seems conceptually naïve at times, I think it’s important to understand the complexity and extent that our technological landscape is being covertly constructed to serve and perpetuate the social and political interests of the hegemony. Particularly in relation to ideas surrounding freedom from the body (planet earth) and freedom from the body (human form) and the push to frame this ‘freedom’ as the ultimate form of liberation.
Thematic tags: Performance, body, landscape, feminism, technology

Title: Sad @ the beach 
Year: 2017
Length: 03:00
Format: Digital video diptych 
Originally made in response to a home video from the 90’s and walking by an abandoned VHS on the side of the road left in the rain. I was overwhelmingly sad upon both watching the old home video and seeing the VHS all alone in the rain, thinking back to all the nostalgic currency the two things hold. The work comes from a desire to be reconnected with a previous version of self; an obsolete self. The female body contextualises technology within the realms of objectified flesh and contextualises flesh within the realms of objectified technology. Both remain indifferent to the encroaching tide and miserable weather.
Thematic tags: Performance, body, landscape, feminism, technology, sex and sexuality

Predominantly working in moving image and video, Lindsay-Parker aims to examine the ways in which female identity is constructed and represented through shifting technological interfaces. At varying degrees of depth and seriousness, her practice is built around the metaphorical premise that technological objects have the capacity to feel. Lindsay-Parker frequently return to nostalgia as a means to explore empathy, emotions, identity and ultimately, to disrupt a general sense of apathy towards our current techno-social condition.

https://www.circuit.org.nz/artist/lara-lindsay-parker
https://vimeo.com/userlaralp


Laura Duffy

Title: Garden of Purity
Year: 2018
Length: Various
Format: Digital video
Garden of Purity considers how we read and ingest imagery, drawing links through history from art history to advertising. Duffy sees the works as being a layered conversation about Catholicism, advertising, abjection, and queerness. She uses edible materials as a starting point for the series of digitally manipulated photographs in the light boxes and online video works. The series intends to prompt questions about traditional notions of beauty and divinity by blurring the lines between repulsion and desire. 
Thematic tags: Performance, narrative, body, abstraction, new media, technology, sound, spirituality, indigenous methodologies.

Laura Duffy’s photographic and video works explore the objectification of the feminine body. Using food as a sculptural material, she draws on gestural techniques found within the world of modern advertising including dripping, dropping, pouring and slow motion. With reference to art historical still life, the work asserts positive identification of women and femmes as subject over object as well as exposing the abject treatment of the feminine image throughout history.

https://www.circuit.org.nz/artist/laura-duffy


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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