online portfolio for "developing your creative practice"
I am an early-career curator with an interest in the role of computational technologies in generating modes of meaning, cultural expressions and infrastructures of society. My practice includes making exhibitions, writing texts and software and forming collectives in order to speculate on media systems of automation, social computing, and immaterial labour. I am interested in pursuing collaborative curatorial methods and collective production of knowledge as a mode of de-universalisation. Below is a selection of some of my curatorial projects to give an overview of my work.
Play Safe was an exhibition I curated for Compiler, New Cross, examining the surveillance inherent in the practices of states, corporations, technological spaces and the idioms of digital art. The works in this exhibition moved from dystopian and disciplinary aspects of surveillance to the participatory, communal and ludic.
My brief from Compiler required that the project be cross-disciplinary and connect artists and audiences. The artists in the exhibition included a journalist, a software developer and cryptography expert, a choreographer, an interaction designer and a sound designer. All works were interactive, including "If the Internet Could Dance", which translated websites into instructions for dance so that the public could participate in their own surveillance, and "Cryptobar" where visitors to the exhibition paired with a "Cryptobartender" who could diagnose their privacy complaints and prescribe a cocktail of cyber-security tools.
The exhibition took place in New Cross between 6-8 April 2017. Photos to the right are by Howard Melnyczuk.
DOES IT MATTER?
Does It Matter was a collaborative curatorial project with Compiler (Tanya Boyarkina, Oscar Cass-Darweish and Eleanor Chownsmith), investigating the boundaries of digital and organic, virtual and physical, and self and non-self. The exhibition took place simultaneously online and in the basement of Out of the Brew, New Cross between 25-26 May 2017.
The exhibition brought together four London-based artists whose work traces the relationship between matter and identity to challenge the idea of digital technology as virtual or immaterial. Through investigating the way in which individual realities are created, their work reminds us that our relationship to the digital world is also one of materiality: of circuits, wires, and silicon.
Through this project I developed an interest in working towards curatorial projects that do not replicate traditional exhibition modes, but are adapted and appropriate to the media and ideas being expressed
South west art now
Bunbury Regional Art Gallery (BRAG) was established by the Western Australian government as one of two state-run public art museums for audiences living in regional areas. I was Exhibitions Curator at BRAG 2014-2018, which meant that I took primary responsibility for all temporary exhibitions.
During this time I curated a comprehensive survey which aimed to map the current state of contemporary artistic practice in an area 60,000 square kilometres in size, and trace correspondences and contradictions in the work of artists living in the South West corner of Western Australia. I conducted studio visits throughout the region, culminating in an exhibition and publication, which were launched in February 2018.
The exhibition presented the work of 60 artists under the themes of mapping, materials and movement, and focused on allowing suppressed histories to be heard. This project developed on BRAG's core objective of highlighting the voice of Aboriginal artists and curators. I handed over management of the project to Noongar Arts Officer Cassie Jetta before leaving my position at BRAG.
This exhibition looked at the politics of technology within the institution. The exhibition was held on the site of former mental hospital, Heathcote Museum and Gallery, at Goolyagatup - originally a Noongar place of initiation for young men. Noise was positioned in ideological opposition to the museum' construction of systems of categorization imposing order and meaning on objects, as a way of shifting emphasis to the qualitative, contextual and extrinsic. Six artists from UK, Australia and Germany were invited to make new site specific work in order to create a shared aural environment. I sought to experiment with methods of curating sound using digital technologies in order to allow audiences to experience and interact with sound objects haptically and bodily. The exhibition attempted to work with the environment, creating an immersive social space and challenging the boundaries between sound, noise, music and art.
Paper Mountain was established in 2011 as an artist-run gallery and studio space for emerging and experimental artists in Northbridge, Western Australia. I was invited to take a position on the board in 2013 and assist with the organisation's incorporation as a Not-For-Profit entity, and remained in the position for two years.
During my time as Co-Director I facilitated over 20 exhibitions, two national symposiums on artist-run spaces, and countless events. I also raised over $60,000 through government and philanthropic sources in my capacity as head of development.
Alongside the directors of 21 other Australian artist-run spaces, I curated the exhibitions "Run Artist Run" (2013) and "Keep Running" (2015) which explored the importance of community, collaboration and collective support in national artist-run culture.