ArtMonth | March 1 to 25

Art Month 2017 is looking pretty juicy. Here's a line-up of what we recommend - enjoy!

Talks

Another Day in Paradise Forums | Restore

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Having been to visit the Myruan Sukumaran exhibition in February and being absolutely blown away by its visceral qualities and evocation of emotions, I strongly recommend taking a trip to Campbelltown Arts Centre to hear a panel discussion on alternative models of social justice globally.

Date: 18 March | 1pm – 4pm | Free | RSVP here

Two Up | Talk Series

Now, here’s something that caught my eye, mainly because its being held at Cake Wines Cellar Door and those guys do a great job at combining wine with the arts. Bring some mates, listen to lectures on completely unrelated topics and heckle the speakers with your questions encouraging them to interact over their specific issues while you sit back and sip some vino. As the synopsis says ‘it’s education that doesn’t take itself too seriously’.

19 March | 6.pm | $10 | Cake Wines, Redfern | Tickets here

Tours

Culture Scouts Walking Tours: Newtown Art Month Tour

Do you like your culture with libations? Join in on the creative culture walk lead by Culture Scouts and soak up Newtown’s laneways ‘brimming with street art, galleries, novelty shops and fusion restaurants.’ Oh, and don’t forget to enjoy the freshly brewed craft beer (included in your ticket price). My guess is Young Henry’s.

They’re also running tours in Surry Hills, Chippendale and Redfern.

25 march | 13:30am | $50 | Tickets here

Exhibitions

Frame of Mind

Step into Verge Gallery and be surrounded by light, mirrors, sound, video all designed to challenge ‘the way we engage with our surroundings and by renegotiating aspects of how subjectivity is defined, these works aim to raise questions about authorship, intentionality and what it means to live in a physical and digital environment at the same time.’

More information here.

1-25 March | Mon-Fri: 10am-5pm | Sat-Sun: 11am-4pm | Free | Verge Gallery, Chippendale

Antidote presents: Anthropocene

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This is Anitode’s first iteration and will explore the work of four female artists ‘who illuminate unique stories of female bodies and their interaction with the physical, socio-political and cultural landscape that they walk on’ through the theme of anthropocene.

I have seen the work Kawita Vatanajyankur before and it is visually stunning and difficult to ignore. She explores her Thai heritage and the mechanically driven, consumption fuelled world of the West

Definition: Anthropocene / adjective / relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

3-18 March | Thurs-Fri: 11am-6pm | Sat: 11am-5pm | Free | AirSpace Projects, Marrickville

Experiences

Art That Moves

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This performance looks pretty awesome. Art That Moves takes place on Saturday, 4 March from 6:30pm and is offering a ‘varied programme, encompassing music, comedy, improvisation, muscle stimulation, plant music, and puppetry.’ Taking place at the Workshop Arts Centre in Willoughby, the event will be opened by the Premier of NSW, Gladys Berejiklian and ticket holders will be able to enjoy drinks and finger food under the marquee on the Centre’s lawns.

4 March | 6:30pm | $30 - $55 | Workshop Arts Centre, Willoughby | Tickets here

Make your Mark with Me

This free experimental drawing workshop will get you to reconsider what and how your draw. Led by artists Debbie Mackinnon and Fiona Verity.

11 March | 2 Sessions | Free | me Artspace, St Leonards | Book here

Introduction to Block Printing Workshop

Learn how to create and print your own custom block designs. Get started by making a drawing and then transfer it to your rubber block after which you can use the carved block to print your design onto card or paper.

25 March | 1pm - 3pm | $15 | Ages: 16 - 25 | Pine Street Creative Arts, Chippendale | Tickets here

Art at Night

Echoes

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Step into St Peter's Tortuga studios to experience the group show, Echoes. This exhibition is one that 'reflects, reimagines, references, reinterprets and reanimates the past.' 

With a line up of notable artists, headed up by acclaimed Blue Mountains artist Ben Tankard in association with Tanya ChaitowMaz DixonCathy DrewMaria GortonCeline Roberts, and Alex Scheibner, Echoes is a passage into the past.

3-15 March | 6pm-9pm Opening Night | Free | Tortuga Studios, St Peters

Let's Talk about Text

Celebrate the opening on March 16 as Artbank presents Let's Talk about Text, a stimulating exhibition surveying its collection of works with a specific focus on pieces that 'harness text based communication as a pictorial device. 

Curated by Daniel Mudie Cunningham and Miriam Kelly, the exhibition includes work from over twelve artists who focus on the written word as the basis for their practice.

16 March | 6pm | Free | Artbank, Waterloo  

Media Artist Monday | Kade Valja

Introducing the extremely talented Kade Valja, the twenty-year-old from NSW’s Jacaranda capital.

You might have seen the post we put up on Friday, Feb 24 revealing Kade’s VR guerrilla plans for the Grafton bridge. We had the opportunity to speak with the young artist over email about his practice.

Born and bred in Grafton, Valja began his art practice at a young age starting with graffiti before becoming more interested in other forms of painting through art electives in high school. He was lucky enough to have very supportive teachers who showed a keen interest in his graffiti work and his application of this practice to more traditional styles of painting. He has just commenced his second and final year of a Visual Arts Diploma at TAFE in Coffs Harbour.

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Having always been fascinated with VR technology, Kade jumped at the chance to use it as soon as he saw ‘a VR camera and smartphone headset display in a large electronics shop’ as it was previously out of reach to him due to high costs.  ‘As soon as I saw it, I knew I could use this now very accessible technology in conjunction with computer editing to expand on my whole art-making practice in a profound way’ he said.

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Trial and error was Kade’s main assistance in learning the technology as well as absorbing multitudes of information from a range of sources, and he looks forward to applying it to more of his work.  Kade told dLux that he looks at VR as ‘being one of the strongest tools in human communication already and am excited to see where it goes and what paths it will illuminate, with the help of artists’.

Going on to speak about his latest work, Inner-space VR, Kade explains that it is a ‘very intimate installation and is to be one of a kind’. Inner-space VR is an interconnected media artwork using pillars on the Grafton train bridge as its black cube. The installation includes sculpture, light,  paintings and the hand-painted smartphone headset using the same design. Kade says that ‘the whole instalment has been created though automatic (subconscious) techniques of form making and in the process of making in this fashion, certainly in painting and sculpting, I find myself able to perceive new or unrevealed parts of my consciousness.'

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The work is both a meditation for real life viewers and a ‘mirror to those whose eyes have not yet seen [the installation], and maybe, depictions of innerspace.'

For those not living in Grafton, but would like to experience Kade’s work, you can purchase the Inner-space hand painted vr headset complete including the VR instalment footage (day and night versions) and bonus media plus quality small prints of two of the paintings used in the installation from his

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6 Projects Combining Art & Technology

It's a brand new year and there’s no slowing down. While many people are still enjoying their holiday, we’re hitting the ground running with some major projects both in Sydney and around New South Wales.

1. Guest Curators for ‘The Connection’ in Rhodes

We're curating three community engagement programs from January to June taking place in the brand new development, ‘The Connection’, a bold investment by Canada Bay Council set to position Rhodes as ‘the City’s heart for civic, business, cultural and artistic celebration’.

The premier engagement will feature a three-week exhibition ‘Moving Histories//Future Projections’ from January 12 to February 3. This all-female collection of video art will be showcased on a bank of screens in the Digital Gallery space.

Colonial Grab | Joan Ross | 2014 | 7:47

Colonial Grab | Joan Ross | 2014 | 7:47

In March/April we'll be bringing the hugely successful exhibition (Un)Seen Sculptures to the precinct. This unique attraction can only be seen through smart devices designed to augment our reality. Community members will be given the opportunity to create their very own augmented reality artworks that can then be viewed around the complex and along the water.

Following the stellar response received following its debut in September last year, we will be presenting sARTorial: where digital art meets fashion, sound and technology as part of VIVID in May at its newest satellite location in Rhodes. sARTorial brings together creatives, artists, designers and technophiles together to collaborate and make their very own pieces of wearable art.

2. Inner West History Project

Partnering with the Heritage Group of Leichhardt District (HGOLD), we will be presenting an audio guide during September’s History Week that will highlight particular sites of interest in the suburbs of Annandale, Leichhardt and Balmain.

We’ll be working with an artist specialising in animation who will bring chosen walks and sites as well as characters and stories to life through moving images.

3. Orange MakerSpace & Art/Tech Engagement

Orange is bursting with creative possibilities and there’s a thriving art and cultural scene, but locals want to take it to the next level and become even more collaborative and innovative. We’ll be heading out there for Youth Week in April with our expert Mel Fuller to host a pop-up maker space for the community.

Following this engagement, we’ll be facilitating hands-on digital art workshops with a group of young people throughout the year, culminating in an exhibition as part of the Orange Youth Arts Festival in October.

4. Scanlines in Lake Macquarie

Currently, our national touring exhibition, Scanlines, is showing at Orange Regional Gallery until the end of next week before it heads to Lake Macquarie City Art Gallery from May 5 to June 25.

Scanlines is the first of its kind: a comprehensive group show with an education focus that examines the heritage of new media art in Australia since the 1980s. An exciting journey through time, Scanlines includes rare early works and well-known favourites by some of Australia’s best-known contemporary artists. The display’s ground breaking design also allows the visitor access to video studio tours and interviews with the artists

5. BOSTES Workshops

After a fantastic first workshop late last year, we’ll be rolling out our teacher accredited courses regularly in 2017. These workshops were inspired by the themes and techniques used by some of the artists featured in Scanlines, pulled from our extensive archive of the same name.

Here's what one participant had to say about the stop-motion animation workshop she attended in November 2016:

Great day. I really loved the links & resources, the critical & history side. Great reassurance and [made] me be creative again.
— Annabel | Participant 18/11/16

We've partnered with the National Maritime Museum to host these amazing experiences and we couldn't ask for a better background than the glittering Darling Harbour to give our participants inspiration for their work.

For more information on each of the workshops, click here.

6. PLUS ONE Matched Funding Campaign

By far our toughest task this year - reaching out to our network and beyond to get behind us and donate to something we truly believe in - creating the next generation of Australia’s visionaries. Harnessing the knowledge of our network of creative technologists we will produce STEAM (Science, Technology, Engineering, Art & Mathematics) education modules that will help teachers and students confidently embrace the digital world.

For a short time only, every dollar donated will be equalled by Creative Partnerships Australia’s PLUS ONE matched funding program. For more information click here, or DONATE click the image below.

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How can quality creative education be a catalyst for individuals and communities?

Art makes children powerful
— Bob & Roberta Smith

In my talk today I want to answer the question – as briefly as I can - how can quality creative education be a catalyst for individuals and communities?

This presentation will discuss creative learning as a vehicle for community regeneration, and suggest that in addition to providing skills such as designing, making, and critical and creative thinking, it fosters engagement, supports aspiration, and is an important arena for the discussion of issues central to our communities, and our collective future.

So I want to talk about creative education as a way of generating three things: young people who are skilled in relation to the future of work; young people who are aware in relation to the idea of a sustainable future; and young people with the confidence to develop connections, with peers, their families and communities; and with contributions to make to society and culture through those connections.

While I have specialized in art & design, I hold this true for all creative practices, including music, drama, dance and all forms of writing; and indeed that there are transferable skills from creative learning that benefit whatever career path young people take – art learning does not only produce artists & designers, but individuals who are capable of: independent & creative thinking, problem solving, research, creative visualization, interpersonal communication, the list goes on. A skill set that the Foundation for Young Australians defines as crucial to the changing face of the future workplace. In their report The New Basics this skill set includes: problem solving, communication skills, digital literacy, teamwork, presentation skills, critical thinking and creativity. The report states that “critically around 1/3 of Australian 15 year olds are not proficient in problem solving or digital literacy”; and that this percentage increases markedly for young people from low socio-economic backgrounds and for Indigenous students. It describes the change in the way we work as the “most significant disruption of the world of work since the industrial revolution”.

But I don't want to only prioritise work skills – I think so many young people today are experiencing pressures and responsibilities and traumas that they need support with – and that creative learning opportunities are also opportunities for personal growth and the development of qualities like resilience, empathy and maturity. We need to be giving young people opportunities to develop their sense of themselves as individuals, and as empowered in their own lives.

So the how I want to try to identify as the catalyst for change and, crucially, for connection, is based in my experiences teaching art and design in many contexts here and in the UK; and in the long-term experience of dLux as an arts organization working with regional and remote communities for many years.

The how I want to outline includes a handful of ingredients that when combined bring about such a change of trajectory in the educational, creative and professional path of any young person, that we can and must harness and maximise these learning experiences for ALL young people and for the longer term benefit of communities, & society as a whole.

I will outline a few of these components of quality creative learning experiences, and propose some ways we can create access to these ideas & processes, outside and alongside mainstream education, to support community regeneration.

CONTEXT

In this age of austerity, and of a rapidly changing education environment, profoundly affected by the evolution of digital interfaces, there are a range of political & social concerns that can be addressed through creative education to improve engagement, participation & achievement for young people.

Currently, we are working in the context of concerted attacks on the arts and on creative education, with the defunding of both the small to medium arts sector and TAFE, and the threats to close two of the three major art schools in Sydney, representative of the commercialisation and privitisation of (art) education internationally. At the same time, in schools teachers are under duress to adapt to new curriculum and integrate teaching the skills needed for the cultural change of the future workplace: all the while ensuring that all of our young people have access and opportunity in education generally, and in creative learning in particular.

By way of comparison, Bob & Roberta Smith is a British artist who has been outspoken in the face of increasing pressure for schools in the UK to drop arts teaching from core curriculum, making work that directly addresses education policy, and even running for election on an arts platform in his home constituency. While here in Australia – in NSW at least – visual art is core in mainstream education, I fear that we will adopt, as we have so often in the past, this UK shift away from creative learning.

So we as arts workers and educators are fighting for representative time and resources, and our place in the debate about what to prioritise in learning – the shift from STEM to STEAM if you like. We are negotiating the big picture of arts and creative education culture here in light of global economic and cultural trends that are not friendly to the culture we want to champion and we have to adapt, and we have to be effective.

So in terms of how we engage young people in creative learning, I want to mention three characteristics of how to be effective: we must ask ourselves about our approach, our content, and the outcomes we want.

APPROACH

First we must ask: what do WE bring to the creative learning experience?

This is not just about knowledge and expertise though of course those things are important. More than this, one of the biggest factors in student achievement is absolutely the expectations of the teacher or facilitator. Nothing annoys me more than the consistent underestimation of young people, especially young people with disabilities. Or, still, the expectation that young women can’t work with technology – we are still having to explain that so much of the development of technology was undertaken by women, and that young women can and do engage with and excel at developing and working with technology. I would add of course, that tech is just a tool, and that the ideas and visual language of what we make with the technology is paramount: this is what gives young people a voice through creative learning. Put simply, when we expect students to be high achievers they will live up to our expectations, and when we expect the opposite they will live down to them; and this needs to inform out approach.

CONTENT

Second, we can ask: how do we RESPOND to individuals/groups/communities?

We must always find out who our students or workshop participants are, and what they are interested in personally: we need to know what ideas they want to work with and what they want to communicate, and integrate that into the learning experience. Genuine interest in individuals and their concerns will always produce interesting creative work. Which is not to say we don't have a plan, and particular content – like thematic ideas about identity, or globalization, or sustainability, but that alongside the formal content there needs to be flexibility, adaptability and interpersonal conversations. In this way we forge connections between content and young people’s concerns.

OUTCOMES

And third, we ask: what is the aim or outcome of the learning process over time?

While we might aim for improved participation in school, or the development of new aspirations, and a new skill set, all of which are worthwhile, I think in the long term we are aiming to foster in young people a sense of themselves and their place in the world, and to give them the idea that they have choices in their lives, and can make an impact on the world. And that developing their creative vision is the doorway to these long-term goals. What this requires is in part developing long term relationships over time; returning to communities to build a program over months and years. This is where we practice and model connection.

We at dLux have spent many years working with regional & remote communities, young people, professional artists, women and girls from CALD backgrounds and indigenous communities, to support and encourage creative learning & access to digital artforms, and to the ongoing creative skills development of those communities.

In NSW it is clear that there are many things we must engage with – sustainability, desertification, cultural diversity & autonomy in particular - and we believe digital artforms can provide an empowering vehicle for this engagement.

We need to plant the idea that the future holds possibilities, and that young people can actively engage in shaping those possibilities; for themselves, for their families and communities.

Having taught in the UK, and personally worked with a broad range of young people – many of whom had had difficult education experiences before ending up in an arts studio – I want to emphasise this potential of creative education to change lives. Whether you have 3 hours, or 12 hours a week for a year, it is a great way to reach those who have not been served by mainstream or conventional education, and engage them with the idea of their future, a future with possibilities.

While we strive to put these processes in place here in Australia, and given the impact of US & UK education fashions on our policies, it is worth noting that the current Labour leadership challenge in the UK has made several bold statements about arts policy and their political platform, including proposing the reversal of University fees, the restoration of arts sector funding, and the introduction of a pupil premium for creative education from primary school onwards.

From what I have said I think it is clear that I believe that creative education changes young lives. We here already know why the arts and creative education are important – how they make children powerful and empowered - and based on the fantastic discourse coming out of the rallying against arts and education cuts, I am hopeful that this galvanizing of our creative communities will yield rich processes and practices that we can weave into our education programs, for the benefit of the young people in our care, and our culture in the future.

Presented by Liz Bradshaw at Artlands in Dubbo, October 2016

Transitional

 

These three artists in some way explore the myth of progress, inviting us to determine our place in the enculturated mythology of the present and the past. The “myth of progress”, a term borrowed from Anthropologist Bruno Latour, reminds us that we are all part of a larger body politic, which exists as a feature of an enculturated landscape. We embody our own cultures through an enculturated self, in every pore and cell of our being.

These three Artists self-examine, and examine the world around them – in an act of anthropological investigation, inviting us to untangle our own comprehension of and complicity in the functions of the wider world. Do we believe in the myth of progress, or do we feel entitled to challenge and unpack these notions? Gilbert Grace, Joan Ross, and David Watson invite us to join them in exploring our own cultures as if we are our own anthropologists, untangling the illusions and power structures that determine our place in the world. The future is always transitioning, always in flux – it is not yet set in stone. In this transitional state, guided by these artists and many others like them, we are given a passport to visit a notional place that emboldens a community with curiosity and the capacity to declare their vision for their future.

Participating Artists

Gilbert Grace is a considered artist. Through his paintings he elaborates the connections between our personal functionality in the world, and the functions of the wider world. The strokes of his paintings weave together to create surfaces which resonate like connective tissue – from the body of the individual to the body of the world. His paintings place each individual in the body of the enculturated world, drawing out the interplay of our political landscapes and power structures. In Transitional, Gilbert’s selected work investigates power and desire in the sight lines of exploration, “discovery”, ownership, and responsibility. His wide lens scrutinizes the deeper meanings which give weight – a gravitas – to our connective tissue both within and without, allowing us to stay connected to the plight (historically and contemporaneously) of our place in the world.

David Watson’s work, in the words of the Artist “blends suburban terrains with evanescent memory.” His oeuvre is infused with an acute awareness of the signs of culture and power in the suburban landscape. David Watson’s filmic work Swimming Home is mesmeric, luring us into the movement – stroke by stroke of the swimmer, David Watson himself. We are immersed even more fully – into the beating heart, the connective tissue of ‘country.’ His swim formed the return leg of a suburban pilgrimage, which had commenced with an inquisitive two-year meander on foot from Rozelle towards his childhood home in Brush Farm. His 2000 photographic series New South Wonderland  was taken on the Artist’s return to Australia after a number of years away. Interestingly he utilised his fresh view of Australia, actively choosing to blur his images. By softening the harsh Australian light and structured form in his photographs, David releases their cultural potency, turning the semiotics of the every day into curios, assisting us to reimagine the present moment.

In BBQ This Sunday, BYO, Artist Joan Ross plays with absurd disjuncture’s and disruptions on a stage set borrowed from convict painter Joseph Lycett; transported to Australia for the crime of forgery. Ross appropriates one of Lycett’s paintings, and it is assumed that if anyone would understand this re-appropriation of his work it would be a forger. Ross re-interprets Lycett’s18th Century view of the world and utilises it as a base for the interplay of intruding cultures and cultural forms, most overtly in the form of the safety conscious fluro work vest. A group of Aboriginals rest within Lycett’s 18th Century painted view (already a culture jam), and interweaves a story of overlays, ever expanding until the disjuncting cultures morph into a new state: a blur of this and that and the other thing. Ross depicts a transition, from calm landscape to crowded scene, and somehow animates the normalising quality of change. Perhaps Ross also speaks of the risk adverse society we now live in, that entraps so much of our creative force behind forms, fees and fear.

Bronwyn Tuohy, 2016

3D Printing is revolutionizing how and what we produce

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At its most basic definition, 3D printing is a general term used to describe technologies that build objects layer-by-layer. Did you know that 3D printing dates back to the 1980s? The first 3D printer was created by Charles Hull, an American engineer, for use in manufacturing and rapid prototyping on a commercial level. However, a lot has changed since the 1984 and 3D printing is now more accessible than ever.

Growing rapidly in the last few years, 3D printing has been adopted by many industries. The area of medicine was quick to recognize the uses of the technology and has produced incredible results from the creation of plastic tracheal splints and limb prosthetics to 3D printed skin and casts.

3D printing offers a range of benefits not least of all its incredible ability to create customizable objects and fittings like no other machine before. Compared to subtractive manufacturing, the process by which 3D objects are constructed by the cutting away of elements from a solid block of material, the 3D printer employs the additive method allowing complex production and far less, if any, wastage than the former.

The material used in the printing process ranges from plastic and metal to glass and ceramics and this is diversifying with companies already looking at 3D printed food. Natural Machines, a start-up based in Barcelona has used the same technology to create a 3D printer that deploys edible ingredients through stainless steel capsules. This invention is called the ‘Foodini’ and although it is a long way from be a staple item in homes across the world, it is a testament to just how many options a 3D printer can allow.

On a general level, the maker movement has been instrumental in providing pathways for the everyday person to access 3D printing for a range of uses. This movement describes the contemporary trend in which individuals or a group of individuals employ the do-it-yourself (DIY) and/or do-it-with-others (DIWO) approach to ‘making’.

The great information highway has allowed creatives and makers to connect and form communities with the intent to exchange ideas and resources. These exchanges are also found in physical spaces. Think of Maker Spaces as a more egalitarian take on the ‘Men’s Shed’ in that they are literally a space where anyone, regardless of age or sex, can come to use equipment, partake in a workshop, work on a project, or learn new skills. 3D printers can often be found in Maker Spaces, as common these days as a saw or angle grinder.

So, you have access to a 3D printer because your local library or arts centre has become a Maker Space or you just bought one from Aldi (yes, Aldi!), but how do you use it? Almost all files that a 3D printer is capable of reading can be produced using CAD (computer-aided design) software and the machines themselves come with a software suite of their own. CAD software can be bought at a range of prices from expensive commercial packages like AutoCAD or free/open-source products like FreeCAD that are multi-platform. Don’t worry if you’re not a designer either because you can access 3D object databases such as Cults 3D, Thingiverse or GrabCAD that eliminate the need to design your own.

The question remains though, why might you use a 3D printer? You’re not a doctor, or a food producer or a designer, so what can you do with this technology? Here is a simple example: you’ve lost the panel that covers the batteries in your tv remote. Instead of taping the batteries in place or buying a totally new remote, you can use a 3D printer to make a new one, usually for a few cents! Perhaps you have some machinery that needs fixing, but the parts are so expensive you may as well purchase a replacement. If you had access to a 3D printer, you can print the items you need for a fraction of the cost, eliminating the need to waste what you have by throwing the machine out.

 Although you may not see a 3D printer in your home any time soon, the technology is developing at a rapid pace. Places like arts centres, makers places and service providers are already making it easy for people to use this equipment, creating fun, collaborative places where you can meet like-minded people, learn new skills and contribute to a society that produces less waste.

Erica Gray & Jake Hempson - A Match Made in sARTorial Heaven

Last month, we hosted the inaugural sARTorial: where digital art meets fashion, sound and technology. It was the result of just six week's preparation and collaboration between artists of varied disciplines; one of which was that between Gold Coast based practitioners, Erica Gray and Jake Hempson.

Infinity | Erica Gray

Infinity | Erica Gray

Erica Gray came on board as ambassador for the event, throwing her weight as an award-winning wearable art designer behind this fusion of fashion and tech. She presented us first with her piece Infinity, a personal representation of what she imagines as internet 'data being stored, backlogged and rewritten into wriggly, twisted thick black data cables and plastic antennae.'

As the weeks wore on, Erica sought to add another layer to two brand new designs she made specifically for debut at sARTorial - LUX OPERON. This layer would not be one of fabric or 3D printed material, but rather that of a reality augmented. Cue Jake Hempson digital character artist, creature designer and animator. 

LUX OPERON | Erica Gray | Image Credit: Aaron Leung Photography

LUX OPERON | Erica Gray | Image Credit: Aaron Leung Photography

Erica describes LUX OPERON thusly:

'Lux Operon represents the duality of visual expression observed in one form or another by an array of living creatures, be they some form of marine animals, or be they a form of bacteria, or be they an imagined entity within ourselves, they have the enviable ability to produce bio luminescence as a reaction to their environment. As humans we need technology, our own form of luminescence, to utilise and enhance our clothing, our accessories, our immediate environment…'

LUX OPERON | Erica Gray | Image Credit: Dusk Devi Vision

LUX OPERON | Erica Gray | Image Credit: Dusk Devi Vision

It was from this look and feel that Jake created his 3D models that would be viewed through augmented reality app Aurasma, providing audiences with more pieces to the LUX OPERON puzzle and unlocking a third-eye of imagination and possibility. 

Erica recently reflected on her and Jake's partnership:

'In September, Jake Hempson and I displayed our collaborative installation piece LUX OPERON at sARTorial: a Fashion meets technology event through DLUX. I designed and produced the 3D wearables and Jake designed and produced the 3D digital elements. It was the first time collaborating on a project for me and it was a great experience all round. The ephemeral quality of Augmented Reality over solid sculptural forms intrigues me and as applications become more user friendly, I see (AR) use becoming second nature as a means of displaying layered content to artwork, sculptures and wearables.'

LUX OPERON | Erica Gray AR Component | Jake Hempson

LUX OPERON | Erica Gray

AR Component | Jake Hempson

Students Prototype for a Better Town

Prototyping_1

For the past few days, dLux artist and National dLab Facilitator, Annie McKinnon has been working with students from Coonabarabran High School on a project that they will showcase tomorrow at the Dubbo Sustainable City Expo & Science Festival.

At the beginning of the week, Annie asked the participants "What is something that we could make better in Coonabarabran?" and after a brainstorming session they came up with a way to prototype a motion sensor that will activate the street lights in town turning on when needed and switching off when not. If realised, this idea would eliminate light pollution, save energy and allow a clearer view of the night sky as intended by the International Dark Sky Park project that inspired the prototype.

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This is the second of three residencies for this year. Each engagement period has centred around a program called 'Thinking Machines' where students are encouraged to use design-thinking, problem-solving and teamwork to use technology for positive outcomes either for the school or the wider community.

dLux would like to thank Coonabarabran High School and Orana Arts for their involvement and assistance on this program.