Outside Time: animation and abstraction
Outside Time: animation and abstraction is part of a program of contemporary Australian and international video art presented in five chapters.
David Noonan, A Dark and Quiet Place, 2017, film, 27 min 4 sec
A Dark and Quiet Place is Noonan’s return to the medium of film since the early 2000s. Retaining a basis in theatre and utilising archival imagery, the densely layered film evolves over time in a manner more associative of a montage and collusion of representation and abstraction.
Daniel von Sturmer, These Constructs (empty white space), 2014, single-channel High Definition digital video, 16:9, colour, 8 min
These Constructs (empty white space) takes light as its ostensible subject, depicted through a white construction that appears to delineate both interior and exterior space. The video depicts a single, simple action, occurring as if by ‘action at a distance’, and propelled into motion by invisible or non-local forces. To consider the oddity of perception is to remember that the self is a subjective being, whose experience is fundamentally different to others.
Daniel Crooks, High Street (After Ruscha), 2017, single-channel video, 2:1, 4K, stereo sound, 17 min 52 sec
This video documents the artist’s local neighbourhood in High Street, Preston, in which he has sought to capture its ‘authentic old school character before it is lost’. The title pays homage to American artist Edward Ruscha’s photographic documentation of the infamous Sunset Boulevard in Los Angeles as ‘the ultimate card-board cut out town’. It is precisely the two-dimensional flatness presented in each page of Ruscha’s concertina books that is clearly referenced in Crooks’ work.
Shaun Gladwell, The Dutchman and Senta Together, 2013, hand-drawn animation on iPad, framed, looped, black and white, silent, 20 x 25 cm
Wagner’s The Flying Dutchman is interpreted as a looped animation in Gladwell’s The Dutchman and Senta Together. The opera’s central protagonists, lovers The Dutchman and Senta, are depicted as two eternally crying human skulls, a graphic distillation of their story’s tragic ending and the opera’s core themes of love and sacrifice. The simple linework animation, whose tattoo-like form refers to the sailors who populate the opera, is produced in the style of direct drawing onto film pioneered by artists such as Norman McLaren and Len Lye. It is rendered here on the iPad, a contemporaneous medium, as was film for McLaren and Lye.
Co-curated by Kelli Alred and Anna Schwartz Gallery.
Presented in partnership with Anna Schwartz Gallery.