Research Background:

I was approached by Jenna Green from People.Artist.Place to contribute to the group show. The brief was to re-educate the Brisbane public about water consumption for stakeholders SEQ Water. The opportunity allowed me to interrogate the ambivalence and the loss of literality in the interpretation of art, and traumatic personal/collective narrative in the by-proxy artist/audience relationship. The work consists of 8000 ball bearings, 3 cement mixer and temporally programmed electrical circuits. Site specific, the sound was chaotic in close proximity and serine like a waterfall from a distance.

Research Contribution:

Further developed technical skills programming timed power circuits and calculating power consumption of three mixers supplied by a portable solar panel circuit. I Integrated rather agitating and discursive concepts pertaining to the nature of my research into the discourse of public art and theme of the brief.

Research Significance:

I used the opportunity to investigate the relevance of interactivity (after my reflections on Boggo Rd’s installation and Summersong). The work resulted in researching the application of sound/moving objects and programming in new and unique ways in relation to audience participation and site specific intervention. As the intensity of the sound changes with proximity, the agency of the art object over the subject is proven.