2007
Timber, wheels, acrylic paint, fixings
200x200x200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
Remnants of past works are compressed and corralled into a bristling, top heavy structure. The work’s title alludes to both the trials of the mythic figure Hercules and the dry, procedural approach to artmaking taken by artists such as Sol LeWitt and Barry Le Va.
2007
Timber, wheels, acrylic paint, fixings
200x200x200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
Remnants of past works are compressed and corralled into a bristling, top heavy structure. The work’s title alludes to both the trials of the mythic figure Hercules and the dry, procedural approach to artmaking taken by artists such as Sol LeWitt and Barry Le Va.
2007
Timber, wheels, acrylic paint, fixings
200x200x200cm
Installation view, Artspace, Adelaide Festival Centre
Photograph by Mick Bradley
Remnants of past works are compressed and corralled into a bristling, top heavy structure. The work’s title alludes to both the trials of the mythic figure Hercules and the dry, procedural approach to artmaking taken by artists such as Sol LeWitt and Barry Le Va.
2008
Dimensions variable
Installation view, Gippsland Art Gallery, Victoria
Photographs by Geoff Parrington
Driven in part by logistical considerations like freight and availability of studio space, these works utilise hinges, latches, and straps across a range of collapsible, concentric forms.
2008
Dimensions variable
Installation view, Gippsland Art Gallery, Victoria
Photographs by Geoff Parrington
Driven in part by logistical considerations like freight and availability of studio space, these works utilise hinges, latches, and straps across a range of collapsible, concentric forms.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2008
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
A rigorously process-driven period of studio practice yields this iterative series of sculptures, digital animations, and pseudo-instructional diagrams.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photographs by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2009
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, Dianne Tanzer Gallery + Projects, Melbourne
Photograph by Andrew Noble
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.
2010
Balsa wood, pins, acrylic paint, foam, found objects
Dimensions variable
Installation view, GrantPirrie Gallery, Sydney
The approach and aesthetic of previous large-scale, process-based works are applied to a scale more associated with architectural models. In doing so, they engage with the world-building impulse of the model train enthusiast or tabletop miniature gamer.