Thursday 5 June 2008

Bad at the blog


Well its almost over and i am only now posting a blog.... technical difficulties??

The work is developing, maybe not in the studio... . . . . seems you always need more?

This place was a sewing machine shop in kyoto.
If it was a garage there would have been full of really beautiful old porsche's, farrari's and an array of britsh cars from bond films and one big old american muscle car...... oh and in the corner under a tarp a sliver of a lambo showing its rims...

Studio

Going between home, where the oven is, and the studio, where everything else is.

My polyester draperies are lifting the tone of the studio.



Here they are, effortlessly lifting the mood of a studio surface. Casual, yet elegant. If you squint you don't really notice the fraying.

Working/Teaser

So it's a bit late, but here are some pictures. These are my reference images du jour, not the work itself.

I'm not turning gallery 3 into a shop exactly - it's not that precise an exercise - but I'm building two window display spaces into, well, the windows.





I don't want to give too much away.

The project was called Unfinished Business, but I've changed it. Now it's called Rise and Fall. I like it better. It implies something about empires, and also dichotomies. And it's narrative, for which I am a big sucker.



Everything I'm making is becoming text. It wasn't supposed to be like that. But it's everywhere.

Saturday 19 April 2008

About, above: photos of exhibition


About above (part 2) -
installation view
a camera obscura starmap, installed in a darkened room... the luminous image is created from a pinhole-and-screen version of William Herschel's 17th Century depiction of the Milky Way


detail - with direct sunlight in late afternoon


detail - showing the park and trees outside the gallery window (image has been rotated 180º so you can see the park more clearly)

Some photos from the exhibition... all went well - good feedback, good attendance. I am happy with this little project.

The camera obscura effect created by the installation was something that I thought would be immediately recognisable to everyone that entered the darkened space - but not so, it seems... many people thought it was just light, which moved and got blurry sometimes (that 'blurriness' was the tiny upside-down pictures of trucks and buses passing by outside on Chalmers St).

I really liked how, on a rainy day, the whole effect was this soft, blue light, with little flashes of colour (people passing by in brightly-colored raincoats). And on a sunny day, in the late afternoon, the setting sun created a brilliant array of points of light, a mosaic of tiny pictures of the actual sun setting behind the fig trees of Prince Alfred Park.


myself and Fiona Hall inspecting the camera obscura for quite some time on a rainy afternoon...

I even managed to drag Fiona Hall along to see it and give me some feedback - we spent a couple of hours inside the installation, chatting and watching... Fi had a lot of thoughts to offer (as usual), which was fabulous - we discussed that fine line between over-explaining a work, and providing sufficient information so that the audience would have a sense of 'what it was all about'.

What I love about Fiona's work is how her objects reel you in with their seductive qualities, and while you're examining it you start getting the actual point of the thing (which isn't just what it looks like and in made of)... yes yes, i know that's part of 'art making 101', but still - that balance between the beguiling surface and the layers underneath it is something that I think is very relevant, especially in this world that we live in, right now.


Artist talk time, on the last day of the exhibition - we turned the lights off once everyone was inside and I spoke about the work in the darkness with the starmap glowing happily - the most eerie artists' talk I have ever done...


detail - (cloudy day)


So. The exhibition. 3 weeks of showing and an artist talk later, it's all done and dusted and currently being mulched at some cardboard recycling plant in southern Sydney. But permutations of the project seem to be putting out feelers - the Ergas Collection are featuring one of my solar-powered cardboard planetariums in a show in Melbourne in July. And it also looks likely that I'll be making some more for Sydney Observatory's 150th anniversary in June this year... so we shall see where where these cardboard universes take me...

Photos of the installed exhibition are here - and the cache of photos for About, above as a project in its entirety can be found here.


detail - bus parked outside


view of Firstdraft Gallery 3, as seen from the street outside


view of street outside gallery, as seen from the west-facing window which contained the camera obscura... this was the view that made up the tiny pictures


detail - showing the park and trees outside the gallery window (image has been rotated 180º so you can see the park more clearly)

Wednesday 2 April 2008

About, above: Exhibition


solar-powered planetarium, Hyde Park, Sydney, 22nd February 2008

About, above: Exhibition

Kirsten Bradley

Firstdraft Gallery, Sydney
2-19 April 2008


Artist talk: Saturday 19 April, 4.30pm

About, above is a project that considers the plausibility of making natural systems out of cardboard. Drawing on our enduring fascination with the night sky and the space beyond, About, above prods the viewer with gentle questions. The project explores ideas regarding our emotive reactions to natural systems, and investigate our relationship with natural pattern- recognition and our capacity for wonder, in the face of disbelief.

A project in two parts, About, above invites the viewer into a world of lo-fi nature through participatory sculpture and installation. A suite of solar-powered cardboard planetariums in the streets of Sydney, and a camera obscura universe at Firstdraft Gallery both draw in part on early texts and representations of the night sky, as well as ideas of pattern, navigation, simulation, geocentricism and the peculiar nature of light.

About, above aims to consider how we choose to navigate through our worlds, and how we choose what it is that we see.

Documentation and process of About, above can be found here.


About, above room sheet: click each page to enlarge


The artist would like to thank the Directors of Firstdraft for being such a sterling crew, Fiona Hall for her encouragement and mentorship, Nick Ritar for being himself, Jack Barton for his truck, Michelle McKosker for her enthusiasim, and Sofie Loizou for her floor and her friendship. Thanks also to John Power for his ongoing discussion and to Experimenta for facilitating the Fiona Hall mentorship.

This project has been made possible by Firstdraft Gallery through their Emerging Artist-in-residence program, and by EXPERIMENTA through their Media Art Mentorship program. Firstdraft is supported by NSW Ministry for the Arts and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

EXPERIMENTA 's Media Art Mentorship project has been assisted by the Australian Government’s Young and Emerging Artists Initiative through the Australia Council, its arts funding and advisory body. EXPERIMENTA gratefully acknowledges the assistance of CraftSouth to the EXPERIMENTA Media Art Mentorship Program.

Tuesday 1 April 2008

All in the pinhole


Installation view of my pinhole starmap at Firstdraft, prior to it being covered with a screen in order to create the camera obscura...

Camera obscura is something that I am rather in love with, and I have been ever since I made Forgetting you is like breathing water and the Ever Rotating Sky series, back in Banff last June... I do feel that this fundamentally simple yet gawkingly special technique is something that I could spend many years coming to know.

The second part of About, above is therefore a little marriage between the solar-powered-planetarium theme and camera obscura... in the form of an installation in the front gallery of Firstdraft in Sydney.

all in the name of exploring simplicity as an emotional experience, of considering light as a revered substance, and playing with patterns and tessellations and multiple images in order to create a small piece of contemplation... and, of course, the chance to create a cardboard grotto...


Gallery 3, all blacked out with cardboard - there are big windows behind said cardboard at center and at right. The starmap is holes in MDF, attached the window at the center of the image. All this needs is a rear-projection screen over the mdf (on a frame, which creates the necessary cavity between pinhole and screen), the lights turned out, and we're rolling -


my MDF-and-pinhole version of William Herschel's 1785 depiction of the Milky Way (prior to screen palcementover the top). There is an exterior window (west facing across Chalmers St) directly behind the MDF. The camera obscura starmap that is created will measure 2.5m wide by 1.5m high.

Tuesday 25 March 2008

Drawing the birds path


The Lund Observatory illustration of the Milky Way, completed in 1956. The original work is 2m wide. Click image for a larger view - it's absolutely scrumptious.

More Milky Way-ness. Like the Orrery, depictions of the sky above have been something we have really tried hard to encompass. And so I must mention a couple of especially endearing representations...

The Lund map of the Milky way (in which you can see the Emu dark cloud constellation quite well) is actually an illustration, even though it looks very much like a photograph. Professor Knut Lundmark, in 1955 or something, had a team of astronomers sit down for what must have been quite some time and accurately map and depict the Milky way for all posterity.

Apparently, upon completion of the grand task, the brighter stars had to be 'mussed up' somewhat and made a little more fuzzy. Though painstakingly accurate in their relative brightness to the rest of the illustration, the closer stars just didn't look right... too pointy and sharp. And so, the astronomers pulled out the 19th century version of the Gaussian blur and made everything a little more misty... less accurate, but more believable...


The shape of the Milky Way as deduced from star counts by William Herschel in 1785; the Solar System was assumed near center.

My other favorite depiction of the Milky Way is by William Herschel. When I first saw this I assumed it was from way back, maybe the 13th or 14th century... but no, William made this one in 1785. It is a diagram he made while attempting to count the stars in the Milky way. You may notice that all the stars are all of a rather even amplitude of brightness... it would seem that William had the opposite problem to Professor Lund and his team...

Monday 24 March 2008

The Birds path


The Milky Way, as depicted by Goldbach, C. F. (Christoph Friedrich), 1763-1811, from somewhere in the northern hemisphere...

The Milky Way is dear to the hearts of many throughout history, including me, always, but especially now. Known as the Bird's Path in the Baltic, the Path of Straw in parts of Africa and Asia, and the Silver River System in Japanese, the Milky Way has, understandably, played a very important role in the Mythologies of our species.

A couple of years ago, I was in Outback Australia, at night. A core group of us were camping together at an abandoned camel-train camp next to a dry creekbed, south of Alice Springs. We were getting to know each other because we were planning to make a theater piece together - Ngapartji Ngapartji.

The main actor/co-writer of the piece, Trevor Jamieson - a young man from the Spinefex mob, suddenly stood up from the campfire and asked if we wanted to see the Emu in the Milky way? Um, sure... (I was expecting a constellation which required, like most of the European constellations, a fair bit of grace and imagination in order to make an image out of 5 disparate stars)... and so we plodded off into the desert night, away from the campfire... and looked up.

The Emu constellation Trevor showed us stretched across the entire sky, from south to north, and was completely, instantly, recognizable, once we knew how to look. The Emu's head rests on the Southern Cross, and its feathers and its body stretch across the sky, right overhead, down to its clawed feet on the northern horizon.

Now for the clincher that had me in tears; it was an anti-constellation. It was the darkness that made the outline of the Emu, not the light. The Emu was made up of the voids within the Milky way, from its beak to its tail... to see it, you looked past the stars, past all that twinkly brightness, into the darkness beyond. And that was where the Emu was.

A constellation like the Emu is what is known in Western archeoastronomy as a dark cloud constellation - I've found a couple of references to cultures that encompass them within their astronomy.. mostly Indigenous Australian nations, cultures from Peru (where the sky is very clear) and some Pacific cultures where they pull the sky past them while traveling.

The idea of shapes and entities made up of voids... of light's role being that of a surrounding boundary, not the substance of the entity... mmm.

Saturday 23 February 2008

About, above: Day 2


Belmore Park, 9am


looking up and into the planetarium - you can see the stars!


curiosity got the better of them
Belmore Park, 11.20am


Belmore Park, 11am


Belmore Park, 11.01am


matching shorts
Belmore Park, 9am


kids just ran straight towards it, and got it immediately... they didn't need to read no tag...
Belmore Park, 11.30am


Belmore Park, 11.30am


Camera obscuras of the leafy canopy above, seen from inside the planetarium
Belmore Park, 3.30pm


Day 2 was so very different from Day 1... I had made this planetarium just over double the size of the ones I installed on Day 1, and the scale of this one turned out to be an ideal balance between largesse and seclusion.

The crowds passing through Belmore Park (which is next to Central Station in Sydney, so quite a busy thoroughfare) were much more inclined to segue from the path and interact with this planetarium, it seemed... lots of people and kids running over to it, ducking under and staying in there for ages. We even had a line-up a couple of times...

This planetarium was an experience that people could easily share with each other, which is what I had hoped would happen. Being more than twice as wide as the Day 1 planetariums, this one fitted about 3 adults or 5 kids comfortably inside at once... which made for some great moments... lots of little kids being lifted up to see the stars, then put back down, then crying to be lifted up again and see more stars...

Although I'm new at object-street-art (if that's what it is...?...), it is already clear to me that there is a fine line between an object which invites both curiosity and interaction, and an object that invites curiosity only... the Day 1 planetariums were, for the most part, on the 'curiosity only' side of that line... people did occasionally duck inside to investigate, but it wasn't an immediate reaction. Clearly, small weird cardboard things that hang from trees are there to be photographed infront of. However, slightly larger weird cardboard things that hang from trees are there to be fully investigated, explored, enjoyed and shared.

So it's the excitement of one's first fridge-sized box all over again. Only the box is impregnated with the night sky. And it's hanging from a tree.

Stacks of photos from the day here.
Thanks to Kat Spat and her homeboy Kurt for adding to the documentation. Thanks to Nick for being a legend. Thanks to Jack for his truck. Thanks to Sydney for being the wonderfully curious and twisted town that it is.

Friday 22 February 2008

About, above: Day 1


Cardboard Planetarium, Macquarie Place, 7am


Macquarie Place, 9.20am


Hyde Park, 10.30am


Inside the Planetarium, 10.35am


Macquarie Place, 10.50am


Hyde Park, 8.15am

Thursday 21 February 2008

About, above: Locations


fliers for the event - made from scraps of genuine planetariums!

About, above: Part 1

solar-powered cardboard planetariums.
Friday 22nd - Saturday 23rd February, 2008

Viewing welcome at the following locations:

Friday 22nd onwards, starting at sunrise:
Hyde Park (nr Park St)
Macquarie Place (nr Customs House)

Saturay 23rd onwards, starting at sunrise:
Belmore Park (nr Central Station)


Three cardboard planetariums installed throughout the Sydney CBD , rain, hail or shine. You are welcome to duck inside, and to stand for a moment (or as long as you like) inside a solar-powered simulation of the night sky. Full project description.


The planetariums are both delicate and temporary. Being installed, as they are, in public spaces, it is hard to say how they will fare and how long they will last. If you cannot find the planetarium that you have come to visit, it is possible that it has been re-purposed, or transplanted by someone... try visiting one of the other planetariums on the map.


Enjoy! Comments and feedback very welcome.


View Larger Map

Tuesday 19 February 2008

INVITE to About, above: Part 1


Cardboard planetarium - first outing.

Please be advised that on Friday 22nd + Saturday 23rd February, 2008, there will be three Cardboard Planetariums installed throughout the Sydney CBD, rain, hail or shine. You are very much invited. Details of exact locations will be advised on this website on Thursday 21st Feb.

The splendor of the night sky has been a source of wonder, discovery and agitation for our species throughout human history. The observation of the heavens has defined religions, revolutionized scientific thought, guided navigators, and inspired countless mythologies. It has been said that 'they who cannot see the night sky, cannot see...'

In most urban environments, and cities in particular, light pollution renders the night sky down to a few of the brightest stars and planets, obscuring the majority of what has been so essential to our species' development. Perhaps it doesn't matter. Perhaps the stimulus of stargazing is not essential to a happy life. But just in case...

The Cardboard Planetariums will be found throughout the city, hanging in space, rotating lazily around their central hanging axis. You are welcome to duck inside, and to stand for a moment (or as long as you like) inside a solar-powered simulation of the night sky.

These cardboard universes, created with pinholes, contain a starchart accurate to 12 Midnight on Friday 22nd Feb, 2008. A solar-powered simulation of what is hidden, about and above, on a nightly basis.

About, above is a project in two parts, created by Kirsten Bradley during her time as Artist-in-Residence at Firstdraft Gallery, Sydney. Part 1 is the installation and documentation of Cardboard Planetariums throughout the Sydney CBD in mid-February 2008. Part 2 is an installation at First Draft Gallery in April, 2008.

About, above
looks at pattern recognition and simulation, how we view 'nature', and what constitutes 'the natural' at this point in western thought. In a world out of balance, About, above also touches on points of Geocentricism, and asks how, as an urbanised culture, have we chosen to see as we do, for all this time.



This project has been made possible by Firstdraft Gallery through their Emerging Artist-in-residence program, and by EXPERIMENTA through their Media Art Mentorship program.

Firstdraft is supported by NSW Ministry for the Arts and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. EXPERIMENTA 's Media Art Mentorship projec
t has been assisted by the Australian Government’s Young and Emerging Artists Initiative through the Australia Council, its arts funding and advisory body. EXPERIMENTA gratefully acknowledges the assistance of CraftSouth to the EXPERIMENTA Media Art Mentorship Program.

Sunday 17 February 2008

LEO COYTE



LEO COYTE






Here are some more images of various source material. All is going well in the studio, I have completed most of the paintings and I am getting ready to start building a few structures/objects. Only a few weeks left now, I'll put some images of the actual work up closer to opening night.

Friday 8 February 2008

ouchy cardboard arm


my first two small cardboard spheres... hard-won little cardboard worlds that they are...

I have now two small planetariums mostly finished, after much, much, much cutting of cardboard circles, and the makings of a third planetarium, which will be double in size.

As sore as my arm currently is, I must say there is no substitute for hard labour to familiarize oneself with the particulars of creation. I could now make 2v geodesic domes (that's the name of the particular geodesic structures I've been making) in my sleep, with my sore hand tied behind my back. Which is just as well, cause until you get your head around the construction of geodesic structures, they're really confusing.

Thank crikey for a couple of essential online resources - particularly this fab 'how to make a cardboard dome for your classroom' page, and this excellent dome calculator, which helped me get all the lengths right.

Next innings, it's all about mapping accurate starmaps onto the domes. Which will be sweet confusion all over again, but at least i dont have to cut out anymore cardboard circles.

Thursday 7 February 2008

Planetarium library





Reading list of all things helpful when trying to come to terms with object-making, geocentricism, the psychological role of nature in our history, and the aesthetics of rare experience...

Nature Design: From Inspiration to Innovation
by Barry Bergdoll (Contributor), Dario Gamboni (Contributor), Philip Ursprung (Contributor), Museum für Gestaltung Zürich (Editor), Angeli Sachs (Editor)
One of the *most useful* catalogs of natural patterning's influences on design that I've come across - lots of art nouveau examples as well.

Forests: The Shadow of Civilization
by Robert Pogue Harrison
Some really good thoughts on early Christianity's relationship to the concept and actuality of the forest and the open night sky of the plains.


Landscape And Memory
by Simon Schama
A bit of a classic in the genre of 'landscape, and you'. Seriously interesting.

A Field Guide to Getting Lost
by Rebecca Solnit
I keep coming back to this text. It is full of anecdotes, deliciously told, which feed into my projects and jack into that part of my brain that is unconcerned with everyday life. Yum.

The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History.

by David Freedburg
Very useful regarding the birth of heliocentric astronomy (versus the 'everything revolves around us' theory, as outlined here). The rest is probably good too, I just haven't read the rest yet...

Fiona Hall
by Julie Ewington
Yes well the woman is also my mentor currently, but this book is just exquisite - very good overview of her work, with all its intricacies and political implications.