My practice draws on auto-ethnographic reflections on quotidian urban environments, and is particularly driven by a curiosity for architectural spaces’ psychological and poetic meditations.
The environments that surround us continually influence a fluid sense of identity, itself interwoven with a rhizomatic, ever-changing material environment. Our identities are composed of complex, intricate unfixed elements, through which we experience a state of constant ‘becomings’. A City Orchestra flows with this fluidity, opposed to a fixed state, as an unbound multi-faceted installation within and external to the white cube. The work is equal parts performance, process and residue, responding to the traditions of psycho-geography. It sees the city as a living organism, recognising seemingly inanimate elements and structures as living agents, acknowledging the various ‘voices’ in both coalescence and guidance of the Orchestra’s composition.
We acknowledge and pay respect to the Traditional Owners of the lands upon which our campus is situated, the Boonwurrung and Woiwurrung people of the Kulin Nations, who have created art, made music and told their stories here for thousands of generations. We also acknowledge and extend our respect to the Traditional Owners of all lands on which our work is viewed, shared and enjoyed, and to all Elders, past, present and emerging.
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