Sound Atlas Series: Central Victoria, Robert Curgenven with Tara Gilbee

Sound Atlas Series:
Central Victoria
Robert Curgenven with Tara Gilbee

Detailed, dream-like photographs and field recordings realised in conjunction with the Test Match project at Allans Walk Artist Run Initiative in Bendigo (Central Victoria), 14-20 November 2007. A beautifully produced collection of photographs and field recording compositions presenting an audiovisual survey of the area in and surround Castlemaine to the growing regional centre of Bendigo, combining an intimate local knowledge with an extensive understanding of the Australian landscape. Re-approaching the concept of the Sound Atlas developed in RF001, Gilbee and Curgenven uncover the regions’ socioeconomic and geo-historical dimensions – from the site of the world biggest alluvial goldrush in the 1850s to a landscape radically transformed: to ghost towns; by the ravages of prospecting, industrial developments; and the new tide of “settlers” fleeing the big cities.

Blindside Exhibition 2007

Video work exhibited by Tara Gilbee and Andrew Goodman related to the collaborative project, Deluge. The small video and sound pieces were part of a series of works which explored concepts about the transformative nature of and metaphors associated with water. In their recent work both artists have explored the experience of the human body.

Drawing upon the writings of Deleuze and Bataille that advocate the immersion of the body in physical sensation, these projects explored the concept of ‘affect’, the direct physical connection between the viewer’s body and the ‘event’ that works to blur boundaries between the two. The work references science fiction, anime and Japanese horror films which frequently exploit an Animist view of the world. In this small work the viewer’s engagement with the work was intimate and voyeuristic.

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mise en abyme 2007

Mise en Abyme

Gilbee’s oeuvre entails a complex exploration of human existence that often borders on the ineffable.  The ethereal and somewhat ephemeral nature of her materials complements this sensibility while enhancing an intrinsic poeticism in her work.  While this exhibition continues her investigation of ‘interior’ worlds - on both physical and psychological levels – the work shifts towards an exploration of the relationship(s) that exist between consciousness and the creative impulse through emotions such as fear, anguish and desire.

Using photography (light) as her principal medium, Gilbee has constructed mysterious and elusive collages in both still and video formats.  Comprised of abstract and fragmented human (mostly male) forms - including eyes - Gilbee transforms popular imagery found in magazines into a preferred aesthetic derived from her unconscious and/or the shifting, shadowy forms of dreams and imagination.  Reminiscent of surrealist photography and cinema, these evocative forms also act as symbols of erotic desire which the surrealists saw as providing the stimulus for revelation and creativity.

What is interesting, however, is Gilbee’s further use of light to ‘ephemeralise’ the above formats and intensify the dreamlike quality of her chosen imagery.  For example, a light placed underneath the stills - mounted on semi-opaque Perspex - casts residual phantom-like forms onto the walls.  On the other hand, the video is projected into a three-dimensional, translucent black Perspex structure that reflects, diffracts and diffuses the imagery through layered, angular surfaces so it forms a continuously changing shape that mutates and transforms in a rhythmic pattern determined by a breathy, whispering voice that repeatedly utters the words, “his eyes, his eyes, his eyes…”

As the allegory of Plato’s cave would have us believe, these shadow- or dream-like forms demonstrate that the foundation of reality can never be reached and we can only ever observe and/or know things in their ideal forms.  Another protagonist of this idea was Lacan, who often stated that “the real is impossible”.  But for both, this is because we are caught up in a symbolic order of language ie. reality cannot be expressed in language because the very entrance into language marks our irrevocable separation from the real…

By asserting that the unconscious is also structured like a language[1], Lacan suggests that our lack of any relation to reality is what gives rise to our fantasies and leaves us in a constant state of desire.  If we return to Gilbee’s work and her exploration of consciousness, her use of the idealised man is as a symbol of fantasy and desire.  But in recognising this and completely transforming the ideal into an abstracted, dream-like form it also becomes a symbol of her own creativity.

As the title Mise en Abyme suggests, the imagery in the primary photographic and video formats represent an emblematic structure that belongs to a larger narrative, which is represented in the projections.  The ensuing phantom-like forms and infinitely transforming images within the black Perspex structure are like a dream-within-a-dream and symbolise our lack of reality through the intertextual nature of language.  But it also symbolises the artists’ studio - an unending journey into the unconscious, releasing fantasy, desire and creativity.

© Kirsten Rann, Melbourne July 2007

[1] Lacan, Jacques, The Four Fundamentals of Psychoanalysis (The Seminar of Jacques Lacan, Book 11), 1998, p. 203.

exhibition ' 3X3 = 6 degrees of separation' in Darwin @DVAA

Further images for this show will be posted in time, however I thought it would be good to add this link from a work that Jacques Soddell did for the show.

Titled 'Spaces' 2007 : Jacques derived sounds from the spaces betweens words in earlier interviews he had recorded for Punctum's production of 'Shed' in 2005.

Chinese Whispers

Castlemaine State Festival : 2007

Installation in New China Restaurant,Castlmaine. Collaboration between Tara Gilbee and Andrew Goodman.

This art work was composed of digital stills on transperant film, light boxes, paper leaves and surround sound. The work emulated an asian pagoda and worked with the idea of rumour mills and secretative conversations, furtive sound bites in small towns.

Utilising inspiration from the decor and site the work created a small installation which was a new custom within the restaurant for two weeks. The audience to this work where a broad range of people, from the elderly who had a regular table at the front of the restaurant, to children who ran around the work exclaiming "its alive in there".