Mr Dawes Pronounces Well
<strong>Artist Statement</strong><br />Development stage of a multi-disciplinary performance work based on the notebooks of First Fleet marine / astronomer / surveyor William Dawes who recorded his encounters between 1788-1790 with the indigenous peoples of the Sydney foreshore area most notably young Cadigal woman, Patyegarang.[...]The live action process will involve the opening up of the primary source notebook text through the actor's physiology of movement, voice, physical and emotional inter-relationships with Dawes text (words, correction marks, and spaces/silences between the words) and each other. Other source material will be diaries and letters that refer to Dawes and Patyegarang (i.e., Elizabeth Macarthur's letters & journals).<br />The secondary source material will be current writings and interpretations of their encounter (i.e. Inga Clendinnen's Dancing With Strangers). The other source text will be what the artists bring of themselves to the work, personal text, cultural stories, constellation and creation myths and their 'speakings back' to Dawes and Patyegarang from varying viewpoints. We aim to devise a chorus ensemble of indigenous performers to counterpoint the dual Dawes Patyegarang protagonist/s structure.<br /><a href="http://katerichards.net/art/dawes-point/">Source of Artist Statement</a>
Richards, Kate
Gibson, Ross
2009-ongoing
The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Gibson_mrDawes
Life After Wartime
<strong>Artist Statement</strong><br />Life After Wartime is a suite of multimedia artworks by Kate Richards and Ross Gibson. Based on 3000 archival scene-of-crime images from Sydney and thousands of evocative texts by Gibson, each iteration within the suite uses various design and interaction techniques to engage its audience. The suite comprises: Crime Scene 1999-2000 Justice & Police Museum Sydney and touring; Darkness Loiters 2000 an interactive story engine; Life After Wartime CD-ROM 2003 exhibited nationally and internationally, for sale through the artists, funded by the Australian Film Commission. Life After Wartime live with The Necks Adelaide Fringe Festival 2001 and Sydney Opera House 2003 a live improvised event with world renowned jazz trio The Necks; Street XRays 2005 Gibson's re-photography installation at ACMI. Bystander 2007 a 5 channel interactive and immersive video installation at The Performance Space@CarriageWorks Sydney 2007.<br /><a href="http://katerichards.net/project/life-after-wartime/">Source of Artist Statement</a>
Richards, Kate
Gibson, Ross
1998-ongoing
The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Gibson_wartime
Life After Wartime: Bystander
<strong>Artist Statement</strong><br />Bystander is an immersive environment composed of photographs, sequences of short text, and musical patterns that all knit together to conjure haunting moods and stories for a large, darkened gallery space. The images, texts and sound files of Bystander are all governed by computer systems to form an environment that responds evermore intelligently, semantically and aesthetically to the behaviour of visitors interacting with the historical material over time. Feedback relationships develop between the visitors and the environment so that the 'eco-system' of Bystander offers emergent patterns of narrative and ever-altering rhythms of dynamic reaction.<br /><a href="http://www.lifeafterwartime.com/law.php?section=5">Source of Artist Statement</a>
Richards, Kate
Gibson, Ross
2007
The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Gibson_Bystander
Sub-Scape
sub_scape is a real-time generative system for manipulating data streams. The software is extremely robust and will generate hours and hours of varied material by sampling, folding and remapping one data set onto another. Using elegant rules, sub_scape generates poetic ecologies of sound and image. The data sets can comprise data streams of video and audio, openGL data, and alphanumerical data - eg company reports, statistics, poems, seafloor height. What emerge from the system are aesthetic complexes and evolving patterns, along with anomalies, turbulence and recursive effects. The system exhibits confluence, paradox, metaphor and commentary, arising from the intriguing combinations of source data and formal strategies. <a href="http://sarahwaterson.net/subscape/">Source of Description</a>
Waterson, Sarah
Richards, Kate
2004-ongoing
Drummond, Jon
Copyright Sarah Waterson and Kate Richards. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Richards_subscape
Foul Whisperings, Strange Matters
<strong>Artist Statement</strong><br />Foul Whisperings, Strange Matters brings Shakespeare's world renowned and extraordinarily influential play Macbeth into a virtual worlds environment. This is an appropriate, timely use of pop culture as an adaptive bridge between classic texts and new media technology. The poetic use of metaphor, image and symbol that permeate Shakespeare's language can be brought to 3D life using the online world as a discursive design space where visitors experience the motivations and emotional journey of character, and explore and make personal sense of the universal themes of Shakespeare.<br /><a href="http://katerichards.net/art/foul-whisperings-strange-matters/">Source of Artist Statement</a>
Richards, Kate
Ely-Harper, Kerreen
Thomas, Angela
2008
Nash, Adam
The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.
English
Richards_whisperings