This week we ventured off to the MCA COLLECTION: TODAY TOMORROW YESTERDAY at the Museum of Contemporary Art and Sounding the Future at the University of Technology Sydney Gallery. We were encouraged to take note of the installations, interpreting their concepts, placement, reception and overall notion/feel to then reflect our own ideation and potential media artworks.
Walking around the exhibitions I began to think about the possibilities of my major project. A work that stood out to me was Vernon Ah Kee’s multi-channel digital video/colour/sound screen-based work Tall Man, 2010.
“TALL MAN … IS ABOUT THE LIVES OF ABORIGINAL PEOPLE AND THE WAY WE SEE OURSELVES IN TIMES OF THIS KIND OF TROUBLE. AS A PEOPLE, THE ABORIGINE IN AUSTRALIA EXISTS IN A WORLD WHERE OUR PLACE IS ALWAYS PRESCRIBED FOR US AND WE ARE ALWAYS IN JEOPARDY. IT IS A CONTEXT THAT WE ARE CONTINUALLY HAVING TO SURVIVE. IT IS A CONTEXT UPON WHICH WE ARE CONTINUALLY HAVING TO BUILD AND RE-BUILD.”
This work resonates with my own approach and interest as a media artist, delving into deeper issues that have affected me in some form through my progression as an individual. If a work shows personal elements, I feel that it can speak to the responder on more that one level of engagement and interpretation. My family’s experience of asylum to Australia after the 2nd Indochina War has acted as a catalyst to express a narrative and highlights my storytelling as a creative practitioner and I am aiming to again encompass a similar notion in this sessions outcome. Tall Man sticks to roots of conflict between the Aboriginal people of Palm Island and the emphasised police brutality that was escalating during the events – the way it was composed and put together allowed 4 channels of perspective and engagement which generated multiple avenues of thought, which I really found compelling.
Minyma Punu Kungkarangkalpa (Seven Sisters Tree Women),
[2013, Tjanpi Desert Weavers]
Passing Time [2011, Hossein Valamanesh]