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Critical Reflection

These blog posts collectively explore postmodernism, critical theory, eco-criticism, and postcolonial theory, underpinning discussions of artistic practices that challenge traditional narratives and advocate for new modes of understanding and engagement with culture and nature. The theme of world-building is particularly prominent, with various artists constructing intricate, immersive environments that invite viewers to reconsider their perceptions of sacredness and materiality. The blending of satire, personal reflection, and cultural commentary in these works highlights a critical engagement with consumerism and digital culture and spirituality. Intricate, vibrant assemblages juxtapose beauty with the grotesque, provoking reflection on the above themes in one hand and in the other have a hypnotic and occasionally transcendent impact on the viewer. Interactivity seems to continue to pulse through many of the works as well. Unsurprising as this is a key element that I have been experimenting with and have made attempts to weave into my creative practice. The focus on immersive, participatory experiences also underscores a commitment to democratising art and making it accessible and relevant to contemporary audiences. Something that has come through in my professional practice as a theatre and public art producer. The blending of traditional and modern elements in these works creates a dialogue between past and present conceptions of time and sacred spaces, challenging viewers to reconsider the nature of sanctity and the role of technology in shaping contemporary spiritual practices as well as the role of time and how we can re-conceptualise it to destabilise systemic forces that keep us from said practices and experience of the world. The communities of practice represented are diverse, encompassing contemporary artists, digital media practitioners, eco-critics, and speculative designers. They are unified by their commitment to pushing the boundaries of traditional creative practices and engaging with critical social and environmental issues. Interdisciplinary collaboration is exemplified, bringing together artists, theorists, and activists to explore alternative world-building practices and temporal frameworks. The meticulous integration of found objects, digital media, and interactive elements reflects a postmodern aesthetic that values hybridity and multiplicity.

Through interdisciplinary collaboration, post-human thinking, speculative world building and and reimagining materiality (creative consumerist permaculture) I truly believe and think these creatives do as well that we can effectively re-world. Furthermore, the integration of digital technologies to reimagine urban and sacred spaces highlights the transformative potential of digital art to engage, educate, and inspire. We can literally make interactive surfaces to everywhere to use art and thought to provoke change.

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Zelda: BoTW and ToTK

As I have been designing a game with Future Play Lab for studio this semester I thought it would be remiss of me to not mention a video game that has so captured the globe and captured me personally. It is so rare to pick up a game that is so expansive but can be instantly enjoyed. One needed’ t pour countless hours into the game to reap the joy of its design. The creators have managed to build a fully fledged open world action RPG that is imbued with the essence of the arcade game that is at the heart of Nintendo’s success. I was so captured by the aesthetic of Breath of the Wild that when Tears of the kingdom was released, I was surprised to find the slight adjustments, modifications and new additions created a richly rewarding visual experience, rather than feeling like I was playing the same game again with some new features. Japan’s culture of shrine visitation and seasonal play is honoured in these brilliant iterations of the time honoured series. "Breath of the Wild" redefined player agency and exploration, offering a richly interactive environment. "Tears of the Kingdom" built upon this foundation, enhancing the depth of gameplay with sophisticated puzzles and a compelling storyline. Both games are lauded for their seamless integration of traditional Zelda elements with groundbreaking advancements, resulting in critically acclaimed experiences that resonate profoundly with both long-time fans and new players alike.

Furthermore, to justify the inclusion of these games here a question I like to pose to the unbelievers that question the artistic merit of games, inclusive of video games, TTRPGS and board games… what would games be without art? Blank boards? Cards with only text? A dude floating on a screen shooting other cubes with cubes in silence?

Zelda: Breath of The Wild, Nintendo, 2017 Zelda: Tears of The Kingdom, Nintendo, 2023

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Cowboy Bebop

Watanabe’s masterpiece, in my personal opinion. So rare is it now to to find a television series that spans one season. Just one, beginning, middle and end. Though the series jumps through time with independent stories that, for the netflix slow burn serial brain can be almost disappointing – but only because it’s so flipping good. One of the things that makes this series so perfect is its absorption and adaptation of both eastern and western popular cultural seamlessly recontextualised. My favourite thing however is the setting. A speculative future, post Earth, humans have spread throughout the galaxy to the degree that Earth is now an uninhabitable wasteland as a result of an industrial disaster – the crashing of the moon gate, basically humans first jumping off point as they travel at speeds reasonable for well, colonisation. The series is embedded with so much satire and darkness, it simply speaks to my soul and I always relish a rewatch. Masterfully intertwining jazz aesthetics with the existential narratives of its eclectic protagonists Cowboy Bebop’s artistic and narrative complexities inviting rigorous academic inquiry. Oh…and the sound track is fire!

Watanabe Shinichiro, Cowboy Bebop, Bandai Entertainment, 1998-99.

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Rel Pham - TEMPLE

Rel Pham's "Temple," exhibited at Melbourne Now, offers a nuanced interrogation of the intersection between spirituality and digital culture. This multimedia installation, characterised by its immersive use of light, sound, and interactive technology, transforms the exhibition space into a contemporary shrine that both captivates and challenges its audience. Pham’s work skillfully blends traditional motifs with modern aesthetics, creating a dialogue between past and present conceptions of sacred spaces. Personally, I found the installation deeply hypnotic. The ‘temple’ replete with hundreds of LED computer fans generated a transportative hum. Evoking the chanting of acolytes in a temple as much as it triggered nostalgic hours of PC gaming in my early teens.    

The installation employs vibrant digital projections and ambient soundscapes to evoke a sense of otherworldliness, inviting viewers to reflect on their own experiences with spirituality in a digitally-saturated world. The interactive elements of "Temple" encourage active participation through exploration, prompting visitors to engage with the installation on a personal level with what could be an attempt at democratising the experience of the sacred. The notion of saturation here was less overwhelming than Yore’s ‘Word Made Flesh’ and more transcendent. I could not help, however, being reminded of the deep loss of experience of place that can be experienced in sacred spaces that have had their essence diminished by the extractive nature of capitalism, driven by digitally enabled tourism. There is a subtle tension here of reverence and lament.

Pham's "Temple" raises pertinent questions about the authenticity and commodification of spiritual experiences in the digital age. By constructing a sacred space using computer parts and other digital media, Pham challenges the viewer to reconsider the nature of sanctity and the role of technology in shaping contemporary spiritual practices. The juxtaposition of traditional sacred imagery with cutting-edge technology invites a reevaluation of how digital culture influences and transforms our understanding of the sacred.

Pham, Rel. TEMPLE. MELBOURNE NOW. 2023.

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Ellingson.tv

Ellingson.tv, the moniker for the artist Joshua Ellingson, presents a compelling fusion of digital media, traditional illustration, and animation within contemporary visual art. His works are distinguished by a meticulous integration of technology and artistry, exploring themes of futurism, cyberculture, and the post-human experience. Ellingson.tv's work engages with speculative narratives, drawing on elements from science fiction and cyberpunk aesthetics to critique and reflect on the pervasive influence of digital technology in modern life.

The technological architecture which he hacks, fuses and re-uses is as enthralling as the interactive illusions which they produce. Blending AV equipment from a range of eras, the apparatuses are in themselves beautiful and carry a distinct aesthetic, though whether this is intentional or rather, symptomatic of his intended uses for them is unclear.

Playable and interactive are two beats that characterise his illusory works, its not just a visual on repeat but a passerby could, in theory, manipulate the image and contribute to the works. The artist also posts instructional videos that offer an accessible step into his complex world of techno wizardry.

Joshua Ellingson, various works. 2022.

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Troy Innocent & 64 Ways of Being

"64 Ways of Being" exemplifies a pioneering approach within the domain of new media art, merging augmented reality with urban exploration to craft an innovative, site-specific experience. This interactive game leverages digital technology to transform everyday cityscapes into immersive environments, inviting participants to engage with both the physical and virtual layers of their surroundings. Through the integration of game mechanics and augmented reality, Innocent's work facilitates a unique form of participatory world-building that blurs the boundaries between the real and the virtual.

"64 Ways of Being" draws upon Innocent’s extensive background in digital art and interactive media, offering a multifaceted exploration of urban space and cultural identity. The game's design encourages players to embark on a journey of discovery, uncovering hidden narratives and historical contexts embedded within the urban fabric. This process not only enhances the player's spatial awareness but also fosters a deeper connection to the city's cultural and historical dimensions.

In a broader context, Innocent's project reflects contemporary discourses on interactivity, spatiality, and the role of digital technologies in art. By reimagining the urban environment as a dynamic, participatory canvas, "64 Ways of Being" challenges traditional notions of space and place, highlighting the transformative potential of digital art to engage, educate, and inspire.

This type of game design reinforces the concepts of the mapping and urban coding as a practice that we all engage on a day to day basis as we navigate through urban spaces. 64 Ways of Being by Troy Innocent, one step at a time like this and Millipede. 2021.

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The Emerald Podcast

The Emerald

By Joshua Michael Schrei 2019-present https://www.patreon.com/theemeraldpodcast

The "Emerald" podcast stands as a significant contribution to contemporary artistic and spiritual discourse, providing a platform for in-depth exploration of the intersections between ecology, culture, and aesthetics. Each episode of the podcast delves into complex themes such as sustainability, indigenous knowledge systems, and the environmental impact of artistic practices. By featuring a diverse array of voices, including artists, curators, and scholars, "Emerald" facilitates a rich, multidisciplinary dialogue that enhances our understanding of art's role in addressing ecological crises.

The podcast’s analytical framework is rooted in eco-criticism and postcolonial theory, examining how historical and cultural narratives shape our interactions with the natural world. Through its rigorous discussions, "Emerald" challenges listeners to rethink conventional cultural paradigms and consider the transformative potential of eco-centric practices. This auditory medium, therefore, not only disseminates knowledge but also actively participates in the re-worlding process, fostering a community of practice oriented towards ecological stewardship and cultural resilience.

One of the podcast’s guiding notions is that ‘animism is normative conciousness’. There is an early episode devoted to this and I believe it is a central tenant of every episode. Flipping the paradigm to make us realise that we are actually just in a paradigm and its much shorter and isolated than we would believe. Rather than berating listeners with the folly of western-centric thought and lifestyle, the author offers alternatives to speculate on different futures that might possible.

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Long Time Academy Podcast Ella Saltmarshe, 2021

The "Long Time Academy" podcast, examines the intricate relationship between temporality, our experience of modern life and the issues that we face. Central to the podcast’s ethos is the concept of deep time, urging listeners to transcend the immediacy of present-day concerns and engage with broader temporal scales. This perspective is instrumental in fostering a more sustainable and reflective creative practice and life in general.

Each episode of the "Long Time Academy" features dialogues with artists, theorists, and activists, weaving together insights from diverse disciplines to highlight how an expanded temporal framework can enrich creative processes. The podcast’s analytical approach is informed by eco-criticism, philosophy, and social theory, exploring how understanding temporal depth can inspire more thoughtful and impactful artistic interventions. By emphasising slow, deliberate methodologies, the podcast advocates for a shift away from the fast-paced, market-driven world towards practices that are more attuned to ecological and societal rhythms.

In this way, the "Long Time Academy" podcast not only informs but also transforms creative practice, promoting a paradigm where art becomes a conduit for enduring cultural and environmental stewardship.

Following each episode there is a ‘bonus’ episode which contains a ‘deep time’ practice, a meditation of sorts to connect one’s self with the past and future. I found this a powerful method of preparing for creative practice and developing speculative futures.

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Centre for Reworlding: Clare Coleman & Jen Rae:

https://www.centreforreworlding.com

The Centre for Reworlding represents a pioneering initiative within contemporary art discourse, dedicated to the exploration and enactment of alternative world-building practices. This interdisciplinary platform engages artists, theorists, and activists in a collaborative effort to envision and materialise futures beyond the constraints of current socio-political paradigms. Rooted in postcolonial theory, eco-criticism, and speculative design, the Centre for Reworlding challenges dominant narratives and seeks to cultivate spaces of radical imagination and transformation.

Central to the Centre's mission is the concept of reworlding—a process of reimagining and reconstructing worlds that prioritise ecological sustainability, social justice, and cultural diversity. Through its diverse programming, which includes exhibitions, residencies, workshops, and public dialogues, the Centre fosters a critical engagement with issues such as climate change, decolonisation, and technological ethics. The artworks and projects supported by the Centre often employ innovative methodologies, blending digital and traditional media to create immersive experiences that provoke thought and inspire action.

By providing a forum for experimental and speculative art practices, the Centre for Reworlding contributes to the ongoing discourse on the role of art in shaping alternative futures. It underscores the potential of creative practice as a catalyst for social and environmental change, advocating for a holistic and inclusive approach to world-building.

Website, accessed 2024.

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Moon Girle: A TraShy Dreamland - Walker Street Gallery, Dandenong I recently visited Moon Girle’s exhibition ‘Tra$hy Dreamland’ at Walker Street Gallery in Dandenong. I had been interested in catching one of their exhibitions for some time after missing an install I only saw photos of. "Tra$hy Dreamland" is characterized by its vibrant, chaotic assemblages that juxtapose the alluring aesthetics of consumerism with the detritus it leaves behind. The exhibition's title itself, a play on "trashy," underscores the dual nature of the works: simultaneously captivating and repellent. This duality is a recurring theme in Moon Girle's oeuvre, reflecting the artist's ongoing exploration of beauty within the grotesque. Utilising a mixed-media approach, Moon Girle combines found objects, digital art, and traditional techniques to create immersive installations that challenge viewers to reconsider their relationship with disposable goods.

Initially, I thought the work derivative of Paul Yore’s, however, in Tra$hy Dreamland - or least this iteration - the audience is invited to play, to interact, to leave their mark upon the many shiny surfaces stuck together by the artist. A bowl of markers, the pallet resplendent of Moon Girle’s aesthetic, calls the audience to write on the walls. The impact of being able to contribute to and altar the work shatters the fourth wall as its breaks the rules of the white cube. Far from being a gimmick it evokes the theatre of the absurd and completely flips the gallery experience.

Installation, mixed media, digital, scrawling on wall, Moon Girle 2024.

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Shrine On’s uses the simple ritualistic act of repetition to create worlds within his sculptures and architectural decorative paintings. The structures that he creates are immense in size and deeply impressive in their use of refuse materials. More recently the artist has been painting buildings around the globe, clearly inspired by the decorative styles and techniques used in South Asia, this works transform rather plain buildings into other worldly structures. Utilising basic architectural features in the planning of his designs, Shrine On can literally transform a cinder brick toilet block into a place of worship. Once again, the seemingly wonton collection of materials and objects which are then meticulously placed to create new worlds piques my interest and leaves me inspired to what can be created out of the barest of beginnings. Shrine On's creations reflect a profound engagement with the idea of art as a transformative, world-building process, where each piece acts as a portal to a reimagined reality. The artist's work challenges viewers to reconsider the intersections of the sacred and the everyday, fostering a dialogue on the power of art to construct new realms of meaning and experience.

Various works, 2021-2024

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Paul Yore, ‘Word Made Flesh’ - ACCA

When collating list of artists that have left me inspired and connect to my own practice it is difficult to look past Paul Yore. I first encountered his work at Dark Mofo in 2019 and have been following him ever since. When I saw Word Made Flesh at ACCA I was transported to another world. Paul Yore's exhibition "Word Made Flesh" intricately weaves together themes of shrines, temples, and world-building, creating a complex narrative that challenges conventional understandings of sacred spaces. Through a diverse array of mediums, Yore constructs immersive environments that echo the intricate detail and symbolic richness of religious sanctuaries. His works are replete with vibrant textiles, found objects, and multimedia elements, forming visually dense, altar-like assemblages that invite viewers into an otherworldly realm.

Yore’s blending of satire, commentary, personal reflection and world building is truly masterful. Thousands of individual pieces diligently arranged, combined and hot glued to create shrines and temples the criticise as much as they pay homage. Word Made Flesh, the commission that was the centrepiece of this exhibition which showed a large collection of his works was overwhelming. An array of monitors, reflective surfaces. Riddled with a saturation of images and messaging. The aesthetic blending late 1990s internet culture with late 1990s Microsoft Office products spoke to a nostalgia familiar to me and at the time of its creation was a pioneering step in the design aesthetic of a lot of the graphic work coming out of Melbourne. Though on closer inspection a lot of the construction was hot glue, incorrectly selected screws and bits of balsa wood (or in the case of Word Made Flesh, scaffolding) I was nonetheless left pondering on the hours upon hours taken in constructing the strange world I was occupying. There is such a deep manifestation of Yore’s inner world – imagination, humour, beliefs, self criticism, politics – made into installations that truly invite the looker to explore them.

Paul Yore. Word Made Flesh. 2022.