- Operations Director: Madelynne Cornish
- Artistic Director: Philip Samartzis
- Design + Development: Public Office
- PO Box 456, Mount Beauty, 3699,
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The Bogong Centre for Sound Culture is a remote-regional cultural initiative situated in the foothills of Victoria’s Alpine National Park. Established by Philip Samartzis and Madelynne Cornish the Centre supports projects focusing on the processes and impacts of sustainable energy production; effects of climate change in wilderness areas; ethnographic studies of remote communities; the chronicling of vanishing industrial procedures; and systems of representation used to render natural and built environments.
Additionally, the BCSC facilitates a broad cultural program comprising, festivals, exhibitions, publications, master classes and artists’ talks focusing on site-specific art practices. These programs establish a connection with place, its inhabitants, geographic space and memory. They engage a wide range of audiences, bringing together local, interstate and international artists across multiple disciplines and fields to realise ambitious works.
The BCSC is situated at the newly restored old school at Bogong Alpine Village located 350 kilometres from Melbourne in North East Victoria.
About Bogong Village
Bogong Alpine Village is 325 kilometres North-East of Melbourne situated at an altitude of 800 meters in the Alpine National Park between Mount Beauty and Falls Creek. The village was established in the late 1930s to service the first hydroelectric scheme in mainland Australia. More recently it has become a popular site for alpine sports, recreation and ecotourism. Click here for directions.
A Short History
Work on the Kiewa Scheme commenced in 1938 with the construction of a road from Tawonga to the High Plains. Previously the only access was by foot or horseback along tracks that had been forged by cattlemen of a bygone era. Bogong Village was established once the road from Junction Camp was trafficable (March 1939); this paved the way for the construction of permanent buildings. Prior to that life was tough; large canvas tents and flies were used for sleeping quarters and smaller tents were set up to house the kitchens. By 1940 Bogong Township had grown considerably with a general store, staff offices, recreational mess, police station, and a variety of accommodation such as single men’s quarters and residences for married staff and families.
Bogong State School
In 1941 the Primary School at Bogong Village enrolled its first intake of students comprising nine pupils. Initially the school consisted of a large classroom, storeroom and boys and girls toilets. Extensions were carried out in 1944, which expanded the capabilities of the school. A library, storeroom, pupil’s lunchroom and shelter shed were added and rock gardens were established. By 1947 the number of students had grown to 46 all of whom were children of local SEC workers. Over the years class sizes fluctuated and the building remained unchanged. In 1980 it ceased to operate as a school and sat idle, eventually falling into disrepair. In 2004 it was sold along with many other buildings in the village.
Madelynne Cornish and Philip Samartzis bought the Old School and set about restoring it to its former glory. The rotting weatherboards and floorboards, smashed windows and flaking paint are now a distant memory. The newly refurbished building occupies it’s original footprint and bares a strong resemblance to it’s former self. Although the internals have been modernized remnants of it’s past history remain. The Old School once played a significant role in the fabric of village life. It inspired the community and helped shape the minds of those who studied there. It is our intention as custodians that the School once again functions as a place of inspiration.
- Reference: Kiewa Kids School Days at Bogong & Mount Beauty by Graham Gardner
- ISBN 0-646-36226-7. Published 1998
Natasha is a musician, composer and installation artist from Melbourne. She makes electro-acoustic, audiovisual and musique concrète works in a variety of forms – from live performance to commissioned scores to gallery installations. A primary interest is the creation of idiosyncratic sounds that generate tension through their precise formal placement and uncanny nature. Her works variously explore the abject, intense psychoacoustic experiences and the whiplash juxtaposition of extremes.
Jeremy Bakker is an artist based in Melbourne whose work is a contemporary expression of an timeless dilemma—how to make sense of a finite existence. Through a range of media—drawing, object, installation and photography—Bakker's practice explores the tensions between the fragmentary and the whole, the micro and the macro, the momentary and the enduring, and the impossible desire to hold on to what is fleeting and transitory.
Bakker has worked on projects in Australia, Japan, Thailand, the Netherlands and most recently in Austria for the RMIT SITUATE residency program.
Barrett is a composer working with music, research and creative uses of sound. Her work encompasses acousmatic and electroacoustic concert composition, sound installations, theatre music, large-scale outdoor media productions, sound-architectural works and interactive art. She is interested in listeners hearing and feeling music and art through sound and temporal structure, rather than them needing to understand the complexity of my techniques.
Atticus Bastow’s project is an investigation into spaces of intersection between industrial and natural, where both are devoid of human presence. For this investigation he will spend the first week exploring the Bogong Alpine village, as well as surrounding areas including Falls Creek and Pretty Valley, in search of artefacts of the natural landscape, namely raw, unshaped stone, as well as industrial sonic artefacts found near or within the various infrastructure in the area. The investigation will culminate in an presentation of the collected components; using headphones and magnifying glasses. The presentation will invite an intimate layering of space and time through augmented sonic and visual presentation.
Matthew Berka is a Melbourne based audiovisual artist/filmmaker who makes expanded narrative cinematic works. These works are made through durational processes of patient looking and listening. Often returning to his longstanding walking practice, Berka deploys walking as a generative tool prior to the use of cameras or microphones. His work sits (un)comfortably in and outside of gallery and cinema spaces. Berka's work fuses and collapses audiovisual forms that breed from an intersection of place and psyche and over recent years he has made a number of long form/feature works as well as shorts and multi-channel installations utilising a variety of environments; from Icelandic landscapes to outer suburban interzones.
Supported by Bogong Village Accommodation
Josh Berson is an essayist, novelist, procedural tinkerer, and bothy enthusiast. His work addresses the technological scaffolding of sensorimotor habits over epochs of 10 to 100,000 years, where he gives special attention to scale: the coupling of the intimate (eating, sleeping, moving, sensing) and the evolutionary (sentience, capitalism, niche exhaustion). He is the author of Computable Bodies (2015), The Meat Question (2019), and Ditch Kit (forthcoming 2020) and has held research appointments at the Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, and the Berggruen Institute, Los Angeles, along with artist’s residencies at Shiro Oni Studio, Onishi, Gunma, Japan, and LUST (now RNDR), The Hague. At Bogong CSC he will be continuing his work — incorporating field recording, procedural composition, and essay — on the theme of how we resolve the spectral envelope of the acoustic world around us into a coherent auditory scene and what emancipatory political possibilities arise from our inability to fully resolve the sonic world.
Peter Blamey is a Sydney-based artist. His work explores themes of sound and energy, and the reimagining of technology. His practice is typically grass roots, and frequently involves establishing interactions between disparate everyday technologies in order to produce performances, artworks and installations that investigate the relationships between people, technologies and their environments, and question accepted notions of connectivity, variability and usefulness.
In 2014 Peter took part in the Instrument Builders Project, a collaboration between Australian and Indonesian artists, in Yogyakarta, Indonesia and also at the NGV in Melbourne. His work has been exhibited at Artspace, SNO, Serial Space, ICAN, Hardware, West Space, Merry Crisis, and iCAN (Indonesia). He has also performed extensively over the last sixteen years, including festivals such as Avantwhatever, What is Music, Electrofringe, Liquid Architecture, the NOWnow, Cementa_13 & 15, and ISEA, along with countless other shows. Peter is also one half of ‘fierce sound’ duo Hard Hat, with vocalist Kusum Normoyle.
Elise Bonato, multidisciplinary visual artist from Adelaide, SA, is a practitioner of the visual-aural arcane. Her predominantly experimental practice investigates contemporary notions and versions of the sublime and mysticism, through a synthesis of moving image, performance, installation, drawing and painting. Since graduating with First Class Honours in Visual Arts at the University of South Australia in 2012, she has exhibited locally in Australia (Sawtooth ARI, FELTspace, The Mill) as well as in the USA (Interstitial Theatre, NARS Foundation, Henry Art Gallery). Elise most recently lived and worked in Brooklyn, NYC, to participate in the NARS Foundation International Residency program.
Bories is a composer working with music, research and creative uses of sound. He's work encompasses acousmatic and electroacoustic concert composition, sound installations, theatre music, large-scale outdoor media productions, sound-architectural works and interactive art. Bories is interested in listeners hearing and feeling music and art through sound and temporal structure, rather than them needing to understand the complexity of my techniques.
John Billans’ career in the visual arts spans more than twenty five years, during this time he has maintained an art practice with primary concerns involving Photography, Video, Sound, and new media with an interest in experimenting with the performative potential of new technologies. These include digital image production using ink jet technology, also exploration of the interface between the traditional and the new. He has worked closely and contributed to the migration from Analogue imaging to Digital imaging practices. He has been working on projects between Australia, Japan, Argentina and the United Kingdom.
Sponsored by Alltronics at 891 Princes Highway, Springvale, 3171
Alex Braidwood is a sound artist, media designer and design educator who maintains a practice centered around a process of play, experimentation and research-through-making. His work explores methods for transforming the relationship between people and the noise in their environment.
Throughout the US and in Europe, Alex has exhibited work, led creative technology workshops, lectured on his research process, and performed live at a variety of events. Along with being Assistant Professor of Graphic Design, Alex is also faculty in the Human Computer Interaction and the Masters of Design in Sustainable Environments graduate programs at Iowa State University.
Sharyn is interested in understanding culture through a focus of sound based urban ethnography. I am particularly interested in the juxtaposition of the human voice and the sounds of the natural environment. Currently her work is investigating the notion of the sound bite. How a short 30-second recording of words may speak of one thing, yet, the same words can be edited, truncated and rearranged, then heard differently. Sharyn's work is as much an exploration of listening as it is of sound. With her partner she has renovated a 1983 Millard Caravan, The Grand Caravan is a portable purpose-built sound installation and arts venue.
Kat Be works as a conceptual visual artist. Her main focus is on photography. Ensuing from thorough research concerning a selected topic and based on a sophisticated concept she then implements her projects using photos and text. Being interested in everyday issues as well as in socially relevant topics such as sustainability she observes and combines but also arranges her material to enable observers to see familiar surroundings in an unusual way. She mirrors our presence as unpretentious as surprising: using her observation skills she analyses our daily life and lets us apprehend it in a way we rarely would perceive otherwise. Kat Be took part in various exhibitions and book projects. She is based in Berlin, Germany.
David Burrows is an audio-visual installation artist who trained in France at the Le Fresnoy National Studio of Contemporary Arts where he was mentored by Chantal Akerman and Ryoji Ikeda. He has been awarded many national and international residencies including being the Australian Antarctic Division Arts Fellowship (2011), the Cité International, Paris 2007-2009, Bundanoon Trust 2010.
For Bogong ELECTRIC David produced a photographic essay exploring the landscape as an experience framed through cultural and personal structures that limit and define our perception of the world. He worked stereoscopically to enhance the sensation of a contrived spatial experience and to continue his exploration of the mechanisms of human visual perception.
Ben Byrne is a scholar, musician and curator based at RMIT University who explores art, media and culture through technology, engaging the complexities of identity, media and environment. He has performed extensively in Australia and overseas over the past ten years and has produced and contributed to releases on labels such as Avantwhatever, Copy For Your Records, Splitrec, Wood & Wire and Factorvac. He makes installations, the latest of which, Murmur, is being presented at RMIT Spare Room Gallery in 2016. He is the director of Avantwhatever, a contemporary experimental music label that runs a series and festival in Melbourne.
Since 2003, Taiwanese artist Alice Hui-Sheng Chang’s work focuses solely on developing extended vocal technique in improvisation. Her vocal explorations include sound from varying tension of physical vocal parts, driving air into alternative passages and vibration of calls and breath.
Alice Hui-Sheng Chang has been involved in residencies in Australia, Taiwan, South Korea, France, Portugal and UK. She has performed or exhibited in Australia, Taiwan, South Korea, China, Hong Kong, France, Germany, Austria, Switzerland, Spain, Poland, UK and US. She regularly collaborate with other sound artists and artists from different mediums.
Bridget Chappell is a sound artist and activist based in Naarm (Melbourne), Australia.
She founded and coordinates Sound School, a Melbourne community music school aimed at upskilling and celebrating electronic musicians on the margins. The School has become both an exciting hub for emerging creatives and an inclusive alternative to mainstream music education. She received the 2017 Music Victoria Best Experimental/Avante Garde Award for her work with Sound School.
As Hextape (her solo project) she is published on Australian and European labels, touring both continents. Using a combination of software, hardware, voice, field recordings, and cello, Hextape pushes a harsher, faster agenda in dance music.
Her electronic practice takes the form of speculative fiction: where our worlds are heading both in society and the environment. It has taken her to Frontyard (Sydney) as artist in residence; Melbourne Fringe Festival as composer and sound designer; she collaborates with dancers, animators, and VJs; and plays in bands touring Europe and Asia including Fallow Ground and Threskiornis. She is one half of DJ collective Floating Three Stripe and co-organises biannual rave Vapor Noir.
As a cellist she pursues a classical and experimental practice. She studies cello at the Melbourne Conservatorium of Music, teaches privately, and collaborates widely. She is founder of the Melbourne Squat Orchestra, a scrappy classical ensemble performing in acoustically interesting found spaces.
Christophe Charles composes music from various materials, especially sounds originating from field recordings, which extend over a long period of time and are thus articulated through space rather than time, refering to the concept of “Sculpture musicale” by Marcel Duchamp. In 2012 he visited Bogong and was astonished by the richness and the beauty of its soundscape. Sonic works using the Bogong recordings were presented in Melbourne immediately after the stay at BCSC, and during other exhibitions in 2013 including “Telofossiles” (a 6 channel sound installation at Taipei MOCA for a video work by Gregory Chatonsky), and a 16-channel piece for the “Sound Bites City” exhibition at RMIT Gallery. Further works will be experienced on site at Bogong in Lake Guy, designed to emphasize the range of environmental sounds occurring in real time.
Clara Chow is a writer from Singapore. Her short stories have appeared in the Asia Literary Review, CHA: An Asian Literary Journal and The Stockholm Review of Literature, while her columns and reporting have been published in The Straits Times and the South China Morning Post. In 2015, she co-founded the literary and art journal WeAreAWebsite.com. She is the author of Dream Storeys (Ethos), a collection of stories inspired by interviews with architects. A former writer-in-residence at the Toji Cultural Centre in South Korea, Clara blogged about the experience here.
Kristen is a time-based video installation artist. She is a PhD candidate at the University of South Australia where she is researching experimental filmmaking and the application of immersive media in its practice. Her work has been exhibited nationally, including selection in the Hatched National Graduate Exhibition at the Perth Institute of Contemporary Art (PICA), SEVENTH Gallery Melbourne, SAWTOOTH ARI Launceston, the Sydney Underground Film Festival, and FELTspace Adelaide.
Shannon Collis is an interdisciplinary artist whose studio practice focuses on creating installations and interactive environments that explore various ways in which digital technologies can transform one’s perception of audio and visual stimuli. Her work has been exhibited widely across North America as well as in Europe, Asia, Australia and Brazil. Collis is a 2005 graduate of the Master of Fine Arts program at the University of Alberta, Edmonton, and has completed post-graduate research at Concordia University in Montreal in the area of Digital Media and Computation Arts. She is also a 2015 recipient of a Visual Artist Grant from the Canada Council for the Arts. Collis is currently an Assistant Professor at the University of Maryland, where she teaches digital media and sound.
Anne Colomes, born in France in 1972, is an artist working with drawing, video and text. Her work very often leads to things that lie hidden beneath an image. She is interested in dealing with inner natures, unfathomable spaces and unattached landscapes. Like something which could always drift away. At the moment she’s inspired by geology and poetry.
Anne Colomes is currently living and working in Bordeaux where she teaches contemporary drawing at the School of Fine Arts
Melbourne artist Rod Cooper has spent 28 years exploring the sonic qualities of self-made metallic instruments and experimental recording techniques. He has performed in the UK, USA, NZ, Japan and Indonesia, and has undertaken several residencies in Asia. Released recorded works include Friction 2004, Accepting the Machines 2009, Recordings of Electrical Equipment 2010, and Magnets on Blank Tapes 2012. His output includes over 3000 recorded works and several hundred sound objects. He currently lectures on “The object in sound” at RMIT Sculpture Department.
Madelynne Cornish is an audiovisual artist and curator. She documents the effects of climate on natural and constructed environments, and the dynamics informing remote communities. Cornish’s work employs duration, landscape and stillness as a means of responding to the temporal and spatial morphology of place. Her multi-layered artworks are reflections of how humans engage with, and shape their environment. In addition to her practice Madelynne is the co-founder and director of operations for the Bogong Centre for Sound Culture, an independent arts initiative that facilitates cultural projects investigating the history and ecology of the Australian Alps.
In 2014 she was an artist-in-residence at the Vancouver Art Centre in Albany, Western Australia where she produced a project titled WIND focusing on the use and impact of wind farms in the region. In 2013 Madelynne was commissioned by the Liquid Architecture Festival of Sound Art to produce a series of sound recordings of the effects of weather on the city of Melbourne for their Sonic City Festival. Between 2010 and 2012 she undertook a three-year study in collaboration with Philip Samartzis of indigenous settlements in The Kimberley region of Western Australia through TURA’s remote regional residency program, documenting the social and environmental conditions affecting remote communities. Outcomes from this project have been presented at Fremantle Art Centre (2012), and the South African National Museum in Cape Town (2010). A new exhibition titled The Topography of Dreams has been commissioned for the Totally Huge New Music Festival scheduled for October 2019 in Perth.
Madelynne is the co-founder and director of operations for the Bogong Centre for Sound Culture, an independent arts initiative that facilitates cultural projects investigating the history and ecology of the Australian Alps. She is the co-curator of Bogong AIR (2011) and Bogong ELECTRIC (2013) festivals, Current (2015), Sonic Interventions (2016), an international sound art exhibition presented in Vienna, Current (2017) The Ecology of Place (2017) and Super Field (2017/18).
For Full CV Click Here
- Soundscapes In Nature With Curious Creators
- Super Field Exhibition
- Current Counihan Gallery
- The Ecology Of Place
- Sonic Interventions
- Bogong Electric
- Topography Of Dreams
Noé Cuéllar is a composer currently based in Chicago. His focus is on creating sound and music with air using various bellowed, pneumatic, and reed instruments like pump organs, accordions, and shruti boxes. Since 2009 Noé has developed preparation techniques and compositions for pump organs, as poured into a collaborative nexus with sound artist Joseph Kramer as Coppice. Noé’s current interests include creating new electronic instruments using physical modelling synthesis based off his work with bellows and air, and composing music pertaining to the sonic illusions of artificial air and its musical intermittence.
Based in Taiwan since 2007 Daulby's practice explores the soundscapes of this island through field recording, audio documentaries and community projects. Composing electroacoustic music (aka "musique concrète") and performing improvised music with found objects, analogue devices and digital processing. Creating soundtracks and sound environments for contemporary dance, public art and films. Involved in activities about ecology and local traditional cultures.
Byron Huang-Dean is a sound artist and experimental musician based in Melbourne. He creates compositions, installations and site-specific works that explore sonic environments and urban experiences through field recording. Situated at an intersection between the practices of acoustic ecology, acousmatic music and psychogeography, his work aims to re-imagine place and generate new perspectives of environments, through intricate and multi-layered soundscape compositions. Drawing relationships between the sound he collects, his works foreground an approach to field recording and composition that emphasize textural ambiguity and semi-narrative forms.
In 1990 Jim Denley was a member of Derek Bailey’s Company for a week of concerts in London. He co-founded with the electro-acoustic text/music group Machine for Making Sense. An emphasis on spontaneity, site-specific work and collaboration has been central to his work. He sees no clear distinctions between his roles as instrumentalist, improviser and composer.
He has played throughout Australia, Europe, Japan and the US with artists such as Laura Altman, Maggie Nichols, Carolyn Connors, Kari Rønnekleiv, Sidsel Endresen, Thembi Soddell, Natasha Anderson, Monika Brooks, Clare Cooper, Tess de Quincy, Ami Yoshida, Amanda Stewart, Ikue Mori, Satchiko M, and Annette Krebs.
Lesley Duxbury was born in the UK, and has lived and worked in Australia since 1983. She uses print media—Photography and Printmaking—to make works that question our perceptions of the natural environment. Lesley’s research interests include sustainability and the natural environment, in particular the atmosphere and its phenomena, which she explores through work that emulates and recreates our experiences and perception of it. The phenomenological experiences of extended walks in remote landscapes, during which Lesley takes photographs and makes extensive notes, are the impetus for her investigations. She is also interested in the use of text in art and the role it can play in focusing attention and altering the readings of images allowing for a personal intervention and interpretation.
Sarah Edwards is a Melbourne-based artist inspired by natural history museums. She has worked in the cultural heritage sector since 1990, is currently undertaking a PhD in the School of Art at RMIT University as a Research Fellow at Museum Victoria. Her art practice is concerned with transforming museum methods in order to re-animate the former spirit of natural history specimens using sound and light. By creating wonder, she aims to engage the viewer in remembered and imagined encounters with nature.
English is composer, artist and curator based in Australia. Working across an array of aesthetic investigations, English’s work explores the politics of perception and prompts questions of field, perception and memory. English utilises a variety of approaches including visceral live performance and installation to create works that ask participants to consider their relationship to place and embodiment.
Kylie Esler is experience in print media and has developed her technique of conveying a message or predicament in a single scene. Using in camera controls to create surreal effects, Esler explores the relationship of people and their environment, composing a scene that symbolically interprets the situation. Her approach engages directly with the subject to draw out their emotional response, creating a character that conveys the emotional load of their dilemma so the viewer feels the weight of the situation.
- Art— Talking 3
Klaus Filip is a performer/composer/programmer. The main focus of his current work is sinewaves, whose subtle and adducent sounds are used in a wide dynamic range depending on the project; that could be a noisy set with Chulki Hong or playing at the odor detection threshold with Radu Malfatti.
Listening to a “sine-wave speech” several times produces a very different perception of a fully intelligible spoken sentence. This dramatic change in perception is an example of “perceptual insight”, “perceptual learning” or pop-out. The main focus of Klaus Filip’s current work are sine waves whose subtle and variable sounds are mostly performed by him in combination with acoustic instruments. The installation Photophon uses the principle of Graham Bell’s invention “photophone”. It features a direct translation from sound into light, multiple lamp transmission of this light-signal and a transformation back into sound. There are no sounds in the room that can be heard without the aid of a specially developed headphone. Only 6 gently pulsing light bulbs can be seen transmitting different sound-sources transformed into light signals. The sounds consist of carefully selected field recordings and also synthetic sounds such as sine waves.
Klus was funded by the Austrian Embassy in Canberra
Stefan Fraunberger: sound-performer, sonic-linguist and composer working on a radical approach to transformation / the drama of states / acoustic embodiment of ideas / asymmetric laws of presence and perception
imaginary sculpture / sound architecture / composition of tongues / sonic hermeneutics / the other
electrons / strings / hammers / pipes / bells / relations / data crisis / organic machines / postkraut
lived & worked in: vienna, verwang, tehran, sibiu, istanbul, aleppo, banares, london
The sound of Hughes Germain, enveloping material and volume in movement, lead the place for other expressions without losing his substance. As a sound sphere with function of space to penetrate, to measure, to explore. His sound areas invent the worlds for meeting.
Based in Melbourne, Geurts produces site-specific projects that draw out the dynamics of physical forces and geographic fields. Geurts’ practice locates ‘paradigms of measurement’ and ‘psychogeographic methods’ as they unfold over extended periods of field research. Through critical investigation Geurts focuses on conceptual lines in perception, and lines constructed within natural space, such as meridians, fault lines, tidal zones, flood lines, horizons, and orbitals.
Geurts’ work has been presented internationally by galleries including White Cube, London; GEMAK, The Hague; Centre for Contemporary Art, Tel Aviv; Art Gallery of South Australia; La Chambre Blanche, Quebec; Aurora, Dallas, and the Australian Centre for Contemporary Art, Melbourne.
Geurts is represented by Greenaway Art Gallery, Adelaide/Berlin and Contemporary Art Society, London.
Rosalind Hall is a performer and composer, using sound, technology, improvisation and space as my mediums. She is interested in sound as both a tangible and elusive expression, in connecting with a moment in time, the collaborative experience, the body as a vibrating form, layers of meaning, states of awareness and the shared listening space between performer and audience. The sound worlds Rosalind creates in performance are bodily and organically evolving, using the saxophone with preparations to abstract and alter the sounds and playing techniques. She makes reeds from plastics and metals and place objects in the bells that become vibrating objects and extensions to the instrument. Rosalind uses the breath, saliva and gestures with small, sensitive microphones attached to her throat and horn to capture the sonic microcosm of her body and the internal world of her saxophone extension.
Kate Hill is a Melbourne based artist. Her practice explores temporal engagements with place, utilising site-specific materials such as earth, clay and water to express local contexts through ceramic processes. In the past she has sourced local clay and water from sites to create functional vessels, and in the process of excavation and refinement she explores the place that the materials are coming from, the stories that are held there and the broader environmental and political questions associated with larger scale industries using similar processes. The use of video and photography juxtapose her traditional methods of making, and provide vivid references to actions, stories and place.
Kate Hunter makes inter-disciplinary work that is stimulated by investigations into cognitive neuroscience, the body, the senses, diseases and dying, autobiography, talking to herself, sadness, and the strange territory of memory. She creates solo performance work as well as collaborations with other artists across a range of disciplines. She is interested in relationships between the brain and the body, embodied cognition and its relevance to physical theatre trainings and improvisation. Recently, Kate has been exploring the use of self-recorded monologues to perform intersecting narratives of live and pre-recorded story, memories and imaginings.
Leahlani Johnson is a Sydney based artist. Her current practice is concerned with the representation of the paradoxical nature of time. Working across the disciplines of ceramics, painting, installation, floristry and the moving image, she employs disparate materials to reveal opposing durational qualities of stillness, temporality and flux. Leahlani further explores divergent concepts of time through the process of making the work and in the final form an exhibition may take. With labor intensive and site-specific interventions lasting only briefly and exhibition lengths becoming extended or condensed in size. The passage of time becoming rearticulated through the work, reimagined from a linear formation into a more malleable substance.
Supported by Bogong Village Accommodation
Chinese sound artist Yan Jun investigates the fringes of audible sound in site of the performance space and within audience-performer relationships.
Korean artist Jungho Jung abstract visual explorations delve into different forms of the element water. From his wanderings into snowfields, around water dams and wonderings about his inner self, his practice is concerned with the tension between the visible and invisible, between being and nothingness.
Martin Kay is a sound recordist/artist/designer currently producing audio-montages and compositions that explore the intersection of architecture, psychoacoustics, social-dynamics and place. Martin's works are constructed primarily from un-mixed and un-edited environmental sound recordings, which he captures using a mixture of straight, extended and oblique recording techniques – probing the various unheard material realities, angles and perspectives of a given sound event, as well as providing a tactile space that has surface, texture and reflection, whereby the listener is sensitised to hearing as if it were touch. Through employing a technologically limited (recording focused) work methodology Martin has been increasingly motivated to find inventive ways of capturing sound and increasingly compelled to develop fresh compositional approaches that reflect his own psychological and emotional relationships to the places and situations he encounters.
Aidan Kelly is an RMIT Fine Art- Sound graduate and practicing sound artist/sound designer. Aidan’s work uses sound as a means of augmenting the way we perceive objects and space, often highlighting their darker side and adding weight to their existence. An extensive background in composition and performance with multiple Melbourne bands brings a decidedly musical aspect to his work. This coupled with an interest in interactive and subversive public art has already seen his work used in ad campaigns for Aesop and Myer as well as appearing in national art festivals such as Tasmania’s Dark Mofo.
Born in Salzburg/Austria in 1984. Studies of electroacoustics at the institute for experimental music/ university of music and interpretative arts Vienna. Master Degree / Multimediaart in 2011
Works in fields of Music/Sound-engineering/ Sound-design /location-recording/experimental sound and video treatment.
Peter Kutin is a Vienna based producer/composer of advanced electronic music/soundart and a founding member of Ventil Records. He often combines and extends his music with formats like film, video & light. His works have been shown and commissioned at various music- & film festivals across the globe. They were described as undeniably effective by the Wire Magazine. Constantly active in cooperations with musicians, composers, theater-/film directors on an international scale.
In cooperation with the sound artist Florian Kindlinger, he realized mixed-media compositions and 'audio-films' where tiniest sounds get amplified to an extreme level, creating a form of acoustic-hyper-realism.
‘' Kutin offers an enlightened richness of ear-thrilling sounds and arrangements …'' (xlr8r on Kutins LP Split)
Slavek Kwi is sound-artist, composer and researcher whose main interest lies in the phenomena of perception as the fundamental determinant of relations with Reality. He has been fascinated by sound-environments for the last 30 years, focusing on electroacoustic sound-paintings. These complex audio-situations are created mainly from site-specific recordings, resulting in subjective reports for radio-broadcast, “cinema for ears” performed on multiple speakers, sound-installations integrated into the environment and performances.
The propagation of sound in a locale is a complex vibratory / undulatory phenomenon which involves acoustic measurement just as much as it involves aesthetic appreciation. How to account for the size of things by their sonic properties? Beyond technical protocol, listening becomes tied up in the surfaces of the world. Recordings, sonic readings, open out into a musical form which reactivates a perception of that which surrounds us, whether visible or not; a reinjection.
Thus, for twenty years or so, Eric La Casa’s musical practice has been a series of experimentations / improvisations with this sonic locale. As it passes through my microphones, the site of the survey – everyday life – is transformed into a site of play. The dimensions of the real world generate sonic representations whose proportions found another perspective on the world.
Kim Lane is an art teacher in the Secondary School System. She values opportunities for students to learn from contemporary artists and their art making practice to inspire and expand students own creative endeavours.
Artist Sarah Edwards and educator Kim Lane are working in collaboration with the students from Mount Beauty Secondary College to create a series of mixed sculptures inspired by the natural and social history of Bogong Village. The sculptures will be imbedded in Bogong Village to evoke the spirit of place.
Daniel Lercher is a musician, composer and sound artist based in Vienna. His practice deals with the subject of perception and conversion of aural sensations. His major interests lie in the creation of certain states for the recipients with an emphasis on the parameters of space and time, which he often tries to dissolve in favour of an in depth experience. Daniel works in the field of minimalism and its varied interpretations.
Lopez explores the relationship between sound and our social and environmental heritage. His aural journeys document the disappearing acoustic ecologies of northern New South Wales, Australia. working with sound and field recordings. Local to the Northern Rivers region of NSW, Australia his work reflects the social and environmental anxieties of the early 21st century. Initially trained in classical performance and composition he now uses field recordings as a way to question the complexities of our natural and social environments.
Fiona Martin is a multi-disciplinary artist based in Melbourne. She creates works which focus on the human condition, social justice and what lies waiting in the wings and the shadows, patient for kudos. She uses empathy, education and laterality in her works in order to forge thought and insight. Fiona is, in no particular order: a poet, improvisational mover, dancer, installation artist, actor, director, teacher, fitness instructor and dance therapist. Her work often presses buttons and leans on boundaries, at other times it is subtle and quiet.
Veronika Mayer (*1977) is a composer, musician and sound artist from Vienna, Austria. In her compositions, sound installations and in free electronic improvisation, she is engaged in most subtle nuances of sound modulation and in phenomena of focused auditive perception.
Natural given phenomena and material as well as pure sounds and noises are the basis for her compositional concepts, always emphasizing hardly perceptible elements, giving it a reduced but essential form and clearly defined structures, following the characteristics and inner behaviour of the sound itself. She is exploring the continuous evolvement and expansion of single grains of sound, focusing on the striking results of very smooth and minimal changes and the observation of slightest differences and variations during these processes of manipulation.
Willy Merz is a Swiss born composer, academic and director of the Merz Foundation. During his residency he will compose a new work designed for a new international exhibition of art and concert series planned for Turin and Bern in 2015 focusing on environment, climate variations and global warming.
- MIcro Residency — 2014
Norbert Möslang is from St.Gallen, Switzerland. He plays cracked everyday electronics. Möslang was the member of the band Voice Crack (which also featured Günter Müller) until the end of 2002 and has also played in Poire_z. Additionally, he has collaborated with many musicians including Borbetomagus, Otomo Yoshihide, Günter Müller, eRikm, Jerome Noetinger, Lionel Marchetti, Jim O’rourke, Kevin Drumm, Jason Kahn, Oren Ambarchi, Tomas Korber, Keith Rowe, I-sound, Carlos Zingaro, e Hecker and others.
Nankin is a photographer, environmental artist and educator. His work examines the contested ethical, emotional and aesthetic meanings of the non-human world, of ‘place’ and ‘nature’. Under the shadow of the emerging global ecological crisis, this has become an enquiry into the affective and ontological space between wonder and Tragedy, which he calls an ‘ecological gaze’. Rather than picture the world seen by the naked eye or camera Harry prefers to employ the cameraless ‘photogram’or ‘shadowgram’ to reveal the abject, ambient, transient and invisible —
Members include founder Tim Catlin, Dave Brown, Philip Brophy and Atticus Bastow. They perform using self built “vibrissa’ instruments.
The group create drone-based, immersive soundscapes. Their performances explore and manipulate acoustic phenomena such as phasing, difference and beat tones, sympathetic vibrations and room resonance - a liminal zone where acoustic instruments vibrate with eerie electronic verisimilitude and familiar instruments sound strangely alien.
Dianne Peacock is a Melbourne based artist, architect and researcher. In 2009 she established Subplot, a small Melbourne based architectural practice. It operates alongside the production of writing, collage, and video and other works. Her research interests include creative practice and a history of architects’ photomontage.
Leandro Pisano is a curator and researcher who is interested in intersections between art, sound and technoculture. He is founder and director of Interferenze new arts festival and frequently he is involved in projects dealing with sound art and ecology of rural and marginal territories, such as Liminaria. Among the sonic art exhibitions he has curated, there are “Otros sonidos, otros paisajes” (MACRO Museum - Rome, Italy, 2017) and “Alteridades de lo invisible” (Festival Tsonami - Valparaíso, Chile, 2018). He holds a PhD in Cultural and Post-Colonial Studies from University of Naples “L’Orientale” and he is presently Honorary Research Fellow at University of Urbino “Carlo Bo”.
Leandro was funded by the Instituto Italiano di Cultura – Melbourne
Lizzie Pogson’s practice involves the collection and abstraction of field recordings. By juxtaposing natural and synthetic sound material in different combinations recorded natural spaces act as environments for the inclusion of synthetic sounds and vice versa. Having trained as a classical violinist, many of Lizzie’s works are overtly musical.
Caroline Profanter, born 1985 in Bolzano, studied Computer Music and Electronic Media at the University of Music and Performing Arts in Vienna and is currently attending a Master's degree program in Acousmatic Composition at the Conservatoire Royal de Mons in Belgium. Works in the field of electroacoustic music and sound art as a composer and performer.
Her focus lies on acousmatic composition, soundscapes and live electronics. She is interested in sounds and noises taken from the context of everyday life, transformed digitally and used as pure material. Therefore she collects and classifies recorded sounds and relates them to instrumental sounds or generated sounds, from analog synthesizers
and feedback systems. She collaborates with different musicians and artists within interdisciplinary projects between video, literature and radio art.
Since 2009 she is an active member of Velak association for Electroacoustic Music of Vienna. Since 2011 she is on the committee of FKL – Forum Klanglandschaft. Together with Ulrike Bernard she was awarded with the TransartSKBMuseion Prize 2013 for the Live Radio Play Aui Oi held in the cable car Rittner Seilbahn in Bolzano (I).
Adam is an active performer as a solo artist and with numerous international projects. His recent work is focused on exploring resonance and texture on the double bass, as well as developing new strategies for electroacoustic composition and instrument design, often using psychoacoustic research and embodied phenomenological approaches toward this goal.
As a composer, Adam has written acoustic and electroacoustic music for smaller and larger ensembles as well as theatre, sound installations, dance and film and has created 3D-printed sculptures generated by sound and movement.
Douglas Quin, Ph.D., is a world-renowned sound designer and naturalist. Quin’s soundscape compositions and music have been performed at numerous festivals and venues including Merkin Hall, The Kitchen, the Kennedy Center for the Performing Arts, Spoleto Festival USA, and Venice International Performance Art Week. He is the recipient of numerous awards and grants from the Ars Acustica International prize, the National Endowment for the Arts to multiple fellowships from the National Science Foundation's Antarctic Artists and Writers Program.
Quin’s extensive polar work over more than two decades includes the recordings Antarctica and Fathom. He was commissioned by Westdeutscher Rundfunk Köln to create a live satellite sound art project broadcast from Antarctica at the millennium. In 2011, he was commissioned to compose Polar Suite for the award-winning Kronos Quartet featuring soundscapes and interactive electronics. Other polar oriented work includes a fellowship at the National Film and Sound Archive Australia and Liquid Architecture Sound Art Festival and Tour 13: Antarctic Convergence (2012). Among his film credits, Quin created the sound design for and mixed Werner Herzog's Academy Award–nominated documentary film about Antarctica, Encounters at the End of the World as well as Under Antarctic Ice, a documentary for the PBS Nature series. He has also worked on audio exhibits with a polar focus for the American Museum of Natural History and the Polish Academy of Sciences, among others. Quin has and continues to collaborate with scientists including co-authoring a study of Weddell seal vocalisations which was published in Polar Biology.
He teaches in the Television, Radio & Film Department at the S. I. Newhouse School of Public Communications at Syracuse University.
Quomi’s work, explores his personal connection to Australia’s post-war industrial development and its influence upon his practice of architecture.
His work has evolved to include oral history and the collating of archival documentation including photographs, technical information, company memorabilia and press articles, followed by rigorous analysis and documentation in the field. This research will conclude with the publication of three books. Two will tell the stories of the construction companies Electric Power Transmission (E.P.T.) and Transfield. The third book will be a historical chronology of ski-lift infrastructure.
Charinthorn Rachurutchata is a Thai digital artist whose practice revolves around issues of identity, psychology, surrealism and fantasy in children and adolescent. Her recent photographic installations depict costume dressing, cartoon characters and other subculture iconography to explore themes of childhood, escapism and loneliness. Charinthorn’s practice portrays the subject matter in a surreal fantastic way and draws audiences into a world of inconceivable events that shadow life. She makes visible what is overlooked and unheard in our society and world.
Supported by Bogong Village Accommodation
Emily Richardson is a UK based filmmaker who creates film portraits of particular places. Her work focuses on sites in transition and covers an extraordinarily diverse range of landscapes including empty East London streets, forests, North Sea oil fields, post-war tower blocks, empty cinemas and Cold War military facilities.
Geoff Robinson creates process-determined works that involve sound mapping and duration. His practice investigates the transformation of sonic experiences into form and the charting of time through reflected light works and sound performance.
Philip Samartzis is a Melbourne sound artist, scholar and curator who has exhibited widely including presentations at The Cartier Foundation for Contemporary Art, Paris (2001); The Andy Warhol Museum, Pittsburgh (2002); San Francisco Museum of Modern Art (2002); The Mori Arts Centre, Tokyo (2003); The National Taiwan Museum of Fine Arts, Taichung (2007); The National Center for Contemporary Art, Moscow (2009); The South African National Museum, Cape Town (2010); The Art Gallery of South Australia (2012); The Merz Foundation, Turin (2016); and The National Gallery of Victoria (2018). Philip is the recipient of two Australian Antarctic Division Arts Fellowships (2009 and 2015), which he used to document the effects of extreme climate and weather events in Eastern Antarctica, and Macquarie Island. Artworks produced from his Fellowships have been incorporated into the National Archives of Australia’s Traversing Antarctica: the Australian Experience (2011-14); Polar South: Art in Antarctica, Muntref Museum, the National University of Tres de Febrero, Buenos Aires (2011); the 11th International Symposium on Antarctic Earth Sciences, Edinburgh (2011); and the Balance-Unbalance International Conference, Arizona (2015). France Culture, in association with the INA-GRM and ABC Radio National commissioned a one-hour radio composition titled Antarctica, An Absent Presence (2014) based on the book he produced for Thames & Hudson (2016). Most recently France Culture in association with Deutschlandradio have commissioned a new work titled A Surrender to Wind in 9 Parts focusing on the geophysical effects of wind on wilderness areas. Philip researches in the areas of sound art, acoustic ecology and spatial sound practice, and has been a chief investigator on two Australian Research Council funded projects, Designing Sound for Health and Wellbeing (2008-10), and Spatial Dialogues: Public Art and Climate Change (2011-13). Philip is an Associate Professor and studio coordinator of Sound within the School of Art – RMIT University in Melbourne.
Antarctica: An Absent Presence book review Anthropo[s]cenic Antarctica
- Polar Force
- A Futurist S Cookbook
- Super Field Exhibition
- A Surrender To Wind In 9 Parts
- Open Field
- The Ecology Of Place
- Polar Patterns
- Sonic Interventions
- Topography Of Dreams
- New Geography
- Antarctique Une Presence Absente
- Bogong Electric
- Bogong Air 2011
Hidden Places deals with descriptions of landscapes. The hidden place here may be small enough to fit into your palm, or it may stretch between horizons. A sense of space meets up with the notion of a frame of mind. There are accordances between inner topographies and outer environment that people call magic. Hidden Places investigates these spaces which begin to unfold as the people tell about these places.
Gabi Schaffner (1965). MA literature , photography, ethnography. Works as an interdisciplinary travelling artist within the realm of sound art, composition and poetic documentation.
Vinzenz Schwab works in the fields of electroacoustic music and live electronics, focusing on concrete sound material and its transformation possibilities with regard to algorithmic compositions for multichannel concerts as well as improvisation in different formations.
Jacqui Shelton is a Melbourne-based artist. Working in video, photography, performance, and writing, her work seeks to establish a relationship with the temporalities of communication, labour and repetition. Jacqui’s interest in the politicisation of time takes form through poetic exploration of repetition, narrative, delegation and physical activity. Her current research focuses on post-work politics, laziness, and practices of alternative temporal relations to our current understanding of work from a western perspective.
Utako Shindo is an artist who is based in-between Tokyo and Melbourne. She is interested in art’s ability to enable anyone to experience perceiving and reflecting on the world in a richer and more poetic manner. Through her recent research project, she investigated concepts of ‘untranslatability’, and considered the untranslatable as a poetic place characterized by fertile silence and nuanced shadow. Her installation artwork, comprised of projections and imprints, attempts to articulate this, and prompting poetic translation between image and material, sound and texture, and subject and object. Utako’s practice also includes organizing trans-cultural art projects.
Polly Stanton’s practice utilizes photography and the temporal mediums of video and sound to investigate cinemas power to shape and reflect human experiences of place and environment. Stanton’s work employs duration, cinematic codes, and landscape to consider the intersection between the spaces of film and the spaces of geography.
Bill Sutton has lived and worked in the High Plains area for over 50 years.
Bill was an employee of the SEC for many years. Some of his responsibilities included, the training of personnel for guiding duties in the Kiewa power stations in addition to public relations work.
Some of Bill's other duties included managing the Mount Beauty Visitor Information Centre, Bogong Village and the Bogong High Plains prior to it being declared a National Park.
During Bogong ELECTRIC 2013 Bill was invited to participate in the festival as a Guest Speaker because of his knowledge and experiences, in the area.
Bill Sutton is a supporter of Bogong Centre for Sound Culture. He generously shares his knowledge of the area with many of the artists who have taken part in the BCSC AiR programs.
SYNCHRONATOR is a Dutch multimedia duo of Gert-Jan Prins and Bas van Koolwijk. The artists are devoted to exploring the possibilities created by modern televisual equipment, both analogue and digital, through the distortion and manipulation of the electronic image. Thus they create images that expose and reflect the true nature of the machines used to generate a TV picture by investigating the possibilities offered by televisual hardware. The artists, among other activities, also experiment with the visual representation of sound by direct implementation of audio signal to special, self-made picture generating systems.
tarab explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees. More than simply documenting a given site, tarab is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
tarab presented a hyperreal composition, created from sounds collected, foraged, coaxed and dragged from Bogong Village. Designed to sit along side and underneath the village’s existing soundscape but to be listened to from within it.
Erin K Taylor's practice creates social and psychophysiological disruptions within the local perceptual environment, reinforcing the body as site of production of her work. Interrupting the passivity of the spectator through the use of participatory strategies, Erin's works are designed to invite engagement rather than inflict it in an examination of alternate power models.
Informed by a dual practice as drummer/electronic musician she creates work focused on rhythm and noise aimed at extending listening practices and drawing attention to one’s self as a part of the surrounding environment.
Michael Terren is interested in field recording as a practice of deliberate aesthetic and technical construction, eschewing the objective/documentary status of many field recording works. This process of prioritisation and selection of certain sounds to record—and thus the process of suppressing “extraneous” sound—is fascinating in its oblique reflection of our own perspectives of sound in everyday life.
Michael explores this theme by placing loudspeakers directly in the environment of a field recording situation, playing a variety of synthetic sounds and other field recordings. This practice engenders new dialogues between loudspeaker and microphone—the two central media of our contemporary experience of sound—and calls into question the proprietorship of sound in natural environments, the ethics of sonic “contamination,” and the politics of the “hi-fi” soundscape.
Tetzlaff’s practice looks at ways in which barely visible or the intangible energies—things such as the weight of air, the force of gravity or thewarmth of light—mark and are revealed through material. By juxtaposing photomedia with simple objects or processes his work is an effort to poetically draw out and manifest the small complexities of the world around us.
Tetzlaff is an academic, artist, curator and currently a PhD candidate at RMIT University. He has shown work in exhibitions in Australia, the United States, Japan, Austria and Germany.
Diego is a Colombian-American Brooklyn-based multidisciplinary artist working in collage, mixed media painting, and experimental sound. His work explores the transformation of an individual and territorial restructuring through layering, wanderlust, and the play of concealment and revelation. With his nomadic tendencies, the spatial limitations of NYC, and a natural attraction to symbolism, expressionism, and romanticism, this preoccupation manifests as a picture-poem in the form of a collaged, layered reconstruction of history, memory, symbolic interiors, figures, and landscapes, as a way to promote healing or escapism in the search for a better view.
Born in 1982 in Hong Kong, Cissi Tsang is an emerging cross-disciplinary artist living in Perth, Australia. As both a musician and photographer, Tsang has been fascinated by the concept of combining both mediums, and her current practice involves exploring the connection between photography and music through hexadecimal data.
As a flautist Sabine Vogel focuses on sound and improvisation, using extended techniques both acoustic as well as electronic, creating a very personal contemporary language for the flute. Discovering and producing the unheard, the intimate, in relation to sound production within the flute, is her main focus of exploration.
She takes the sounds from the inside of her flute - the microcosm of her flute world – and transports these sounds, with the help of amplification, into a sound-able-hear-able world. Bringing what is inside into the outside. She then combines this world of sound with self-made field recordings- the natural macrocosm of existing sound - forming a composed mixture between the macro and microcosmic.
Recently she became more and more interested in site specific work, doing sound installation combined with live playing in natural environment.
Michael Vorfeld is a visual artist and musician based in Berlin who creates installations and performances with light and sound and also works with photography and film. He plays percussion and self-designed string instruments and realises electro-acoustic sound pieces. He is active in the field of experimental music, improvised music and sound art and is often involved in site-specific art projects. Michael Vorfeld is a member of various groups and collaborates with artists who work in many different art forms. His list of activities includes numerous performances, exhibitions and concerts in Europe, America, Asia and Australia.
Michael was funded by the Institute of Foreign Affairs – Berlin
Watson specialises in recording wildlife and natural phenomena. He records the wildlife sounds of animals, habitats and atmospheres from around the world. As a freelance composer and sound recordist Watson specialises creating spatial sound installations which feature a strong sense and spirit of place. He has contributed to a number of David Attenborough documentaries in the Life and Frozen Planet series and has released albums of his field recordings.
Bryden Williams art making practice focusses on the changing nature of Australia’s cultural identity, as influenced by both man-made surroundings and natural environments. He uses photography, video, found object and site-specific installations to canvas our changing technological landscape – one that facilitates the spaces around us in both restrictive and enabling manners.
Bryden's work is concerned with themes of decay and preservation, organic and artificial duality, the sublime in nature and technology and the containment of space, objects and time within man-made and natural environments.
Bryden was funded by Arts NSW’s NSW Artists’ Grant Scheme.
Sarah Wilmot is a Sound and Improvisational Voice Artist, and a Speech Pathologist based in Melbourne. She combines Voice, Breath, and Nature to create Soundscapes of fleeting melodies and moments using the mediums of audio recordings, multimedia and performance. Sarah uses the internal acoustic spaces of her body to explore the bridge between the internal psychic landscape and outer landscape. She views sound as a multi-sensory experience, seeking to invoke emotion, intellect and spirit. She searches for beauty in these landscapes to create mystical sounds that both soothe and inspire us anew.
- Image –Kylie Esler
Felix Wilson is working primarily with photographic images to engage viewers with some of the complexities and paradoxes of the human relationship to nature. For Wilson these are the most urgent questions of our time. He is particularly interested in the ways that images can be employed to draw out the connections between disparate ecological phenomena across spatial and temporal gaps and to bring viewers into new understandings without overtly didactic approaches.
Wilson is currently completing a PhD at RMIT University where his project explores using a photography based visual poetics as a strategy to explore the ecologies of the contemporary night-time city, through case studies in Melbourne and Berlin which have drawn out the interrelationships between brown coal and artificial light, within a context of global climate change and ecological crisis.
Winderen researches the hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses are brought to the surface. She is concerned with finding and revealing sounds from hidden sources, both inaudible for the human senses and sounds from places and creatures difficult to access.