In The Process of...
an online anthology where ten artists present their creative processes together with a selection of artworks/art projects in progress
In the Process of... an online anthology where ten artists present their creative processes together with a selection of artworks/art projects in progress. Based in different countries, and working in disparate fields, the artists all share the practice of process based working methods.
Loosely connected through professional encounters and friendships, the artists are also connected by their decisions to live and work away from what might be considered the dedicated centres of art.
This web based exhibition showcases works in progress. Presenting a selection of ongoing projects and processes, in which they convey substantial aesthetic statements.
Pinioned II
2022
Vision and Sound John Carberry
Choreography and Performance Sym Parr and Jessica Hesford
Digital Video
Monochrome
Duration 02:56
Aspect Ratio: 16:9
Vision and Sound John Carberry
Choreography and Performance Sym Parr and Jessica Hesford
Digital Video
Monochrome
Duration 02:56
Aspect Ratio: 16:9
The central theme of the ‘Pinioned’ series is feeling trapped in repetitive cycles. With all the disruptions of the past few years I feel my days have all become virtually the same. The process of making videos and animation can become monotonous after the initial excitement wears off. Multiple takes of shots during filming and watching footage over and over during the editing process is repetitive. It requires a conscious effort to look at the subject with fresh eyes. In my work with dancers I feel they have similar problems with rehearsing the phrases and then multiple performances of the same piece.
I am inspired by David Hockney's work with polaroids. He would go from room to room in the houses he was staying at, taking a photo of each room. He talked about how he realised he was also capturing time as he went along as the sun would move in the 30 minutes or so that he was taking the photographs. Video does the same thing already much faster so I have been thinking about how to show that process in other ways. So I have been layering strips of different takes over each other.
Using multiple takes at once you see the variation and the passage of time during the process of recording the footage. It breaks up the human form in compelling ways that accentuate both the movement, and the body. Pulling and pushing the human form apart/together. It plays with the human brain's ability to seek out other human shapes, like seeing faces in clouds.
The Sound design is composed of recordings of the familiar sounds of car engines and the fan of my computer. I altered the recordings digitally to be warmer and less abrasive. I wanted to use the repetition of the mechanical devices to set the beat of the audio, and highlight the fluidity of the dancers movements.
The variation ‘Pinioned II’ is ultimately about finding new ways to stay interested in your daily grind.It can be dull, but there is some comfort in repetition and you can always do things a little differently.
The central theme of the Pinioned series is feeling trapped in repetitive cycles. With all the disruptions of the past few years I feel my days have all become virtually the same. The process of making videos and animation can become monotonous after the initial excitement wears off. Multiple takes of shots during filming and watching footage over and over during the editing process is repetitive. It requires a conscious effort to look at the subject with fresh eyes. In my work with dancers I feel they have similar problems with rehearsing the phrases and then multiple performances of the same piece.
I am inspired by David Hockney's work with polaroids. He would go from room to room in the houses he was staying at, taking a photo of each room. He talked about how he realised he was also capturing time as he went along as the sun would move in the 30 minutes or so that he was taking the photographs. Video does the same thing already much faster so I have been thinking about how to show that process in other ways. So I have been layering strips of different takes over each other.
Using multiple takes at once you see the variation and the passage of time during the process of recording the footage. It breaks up the human form in compelling ways that accentuate both the movement, and the body. Pulling and pushing the human form apart/together. It plays with the human brain's ability to seek out other human shapes, like seeing faces in clouds.
The Sound design is composed of recordings of the familiar sounds of car engines and the fan of my computer. I altered the recordings digitally to be warmer and less abrasive. I wanted to use the repetition of the mechanical devices to set the beat of the audio, and highlight the fluidity of the dancers movements.
The variation ‘Pinioned II’ is ultimately about finding new ways to stay interested in your daily grind.It can be dull, but there is some comfort in repetition and you can always do things a little differently.
Pinioned 1
2022
Choreography and Performance
Sym Parr
Sound/Vision
John Carberry
Digital Video
Monochrome
Duration
Aspect Ratio: 16:9
Pinioned II
2022
Choreography and Performance: Sym Parr and Jessica Ruggera
Sound/Vision: John Carberry
Digital Video
Monochrome
Duration 02:56
Aspect Ratio: 16:9
Erosion
2023
Choreography and Performance: Jessica Ruggera
Additional Choreography: Sym Parr
Music and Sound Design: Zero Shaw
Videography and Editing: John Carberry
Digital Video
Colour
Duration
Aspect Ratio: 16:9
2022
Digital Video
Choreography and Performance: Sym Parr
Sound/Vision: John Carberry
Pinioned II
2022
Digital Video
Choreography and Performance:
Sym Parr and Jessica Ruggera
Sound/Vision:
John Carberry
Erosion
2023
Digital Video
Choreography and Performance:
Jessica Ruggera
Additional Choreography:
Sym Parr
Music and Sound Design:
Zero Shaw
Videography and Editing:
John Carberry
Mediated Process, Cullity Gallery, Perth, 2024
Photo: Gustav Hellberg
Pinioned 1
2022
Choreography and Performance
Sym Parr
Sound/Vision
John Carberry
Digital Video
Monochrome
Duration
Aspect Ratio: 16:9
Pinioned II
2022
Choreography and Performance: Sym Parr and Jessica Ruggera
Sound/Vision: John Carberry
Digital Video
Monochrome
Duration 02:56
Aspect Ratio: 16:9
2022
Digital Video
Choreography and Performance: Sym Parr
Sound/Vision: John Carberry
Pinioned II
2022
Digital Video
Choreography and Performance:
Sym Parr and Jessica Ruggera
Sound/Vision:
John Carberry
Mediated Process, Cullity Gallery, Perth, 2024
Photo: Gustav Hellberg
Erosion
2023
Choreography and Performance: Jessica Ruggera
Additional Choreography: Sym Parr
Music and Sound Design: Zero Shaw
Videography and Editing: John Carberry
Digital Video
Colour
Duration
Aspect Ratio: 16:9
Photo: Gustav Hellberg
John Carberry
Photo: Gustav Hellberg
From Stairwell to Dollhouse
2022
Håkan Carlbrand
HD
Duration 02:42
Aspect Ratio: 16:9
Håkan Carlbrand
HD
Duration 02:42
Aspect Ratio: 16:9
From Stairway to Dollhouse is a film about Martin Joss. It is a film about life.
Receiving a death notice and knowing that the future is limited in time, what can it do to the mental state? The film addresses the question of appreciating life anew and gaining insight into what is important in life. Love, friends, what feelings are the strongest when you examine yourself?
What happens in a person's head when the doctor gives the message that there is only a limited time left to live?
This is exactly what happens to Martin Joss. He contracted Hepatitis C at a young age, lived with the virus for a long time and has now developed an incurable cancer. He has between six months and maybe a couple of years left to live.
The film addresses his perspective on life, his questions about life and the value of living. His thoughts about friends, family, about what he will leave behind.
Martin has a passion for music and plays several instruments. He has a venue in central Hisingen that he rents out to music enthusiasts who don't have money or are otherwise a bit outside society. There is a large circle of friends here that means a lot to him.
Another passion he has acquired recently is a dollhouse that he built as a parallel world of his life. In the doll's cabinet, he has single-handedly built an interior in the form of a mirror image of his own home and the music venue. A mirror image of his own life.
The film is supposed to move between Martin's physical world and his dollhouse world where he reflects on central values in his life and how his outlook on life has changed due to the disease.
Stairwell to Dollhouse
Receiving a death notice and knowing that the future is limited in time, what can it do to the mental state? The film addresses the question of appreciating life anew and gaining insight into what is important in life. Love, friends, what feelings are the strongest when you examine yourself?
A film about life.
What happens in a person's head when the doctor gives the message that there is only a limited time left to live? This is exactly what happens to Martin, which the film is about. He contracted hepatitis C at a young age, lived with the virus for a long time and has now developed an incurable cancer. He has between six months and maybe a couple of years left to live. The film addresses his perspective on life, his questions about life and the value of living. His thoughts about friends, family, about what he will leave behind.
Martin has a passion for music and plays several instruments. He has a venue in central Hisingen that he rents out to music enthusiasts who don't have money or are otherwise a bit outside society. There is a large circle of friends here that means a lot to him.
Another passion he has acquired recently is a dollhouse that he built as a parallel world of his life. In the doll's cabinet, he has single-handedly built an interior in the form of a mirror image of his own home and the music venue. A mirror image of his own life.
The film is supposed to move between Martin's physical world and his dollhouse world where he reflects on central values in his life and how his outlook on life has changed due to the disease.
From Stairwell to Dollhouse
2023
HD
Duration
Aspect Ratio: 16:9
Filmed and produced:
Håkan Carlbrand & Peter Ojstersek
Translation: Leslie Johnson
Special thanks to participants
Martin Joss and Maia Joss
HD
Duration
Aspect Ratio: 16:9
Filmed and produced by
Peter Ojstersek & Håkan Carlbrand
Translation by Leslie Johnson
Special thanks to participants
Martin Joss and Maia Joss
Mediated Process, Cullity Gallery, Perth, 2024
Photo: Gustav Hellberg
Filmed and produced by
Peter Ojstersek & Håkan Carlbrand
Translation by Leslie Johnson
Special thanks to participants
Martin Joss and Maia Joss
Mediated Process, Cullity Gallery, Perth, 2024
Photo: Gustav Hellberg
Filmed and produced by
Peter Ojstersek & Håkan Carlbrand
Translation by Leslie Johnson
Special thanks to participants
Martin Joss and Maia Joss
Mediated Process, Cullity Gallery, Perth, 2024
Photo: Gustav Hellberg
Håkan Carlbrand
Photo: Gustav Hellberg
On Off Shore is an ongoing video project where I am revisiting a four year old video film project that never was shot. Using research material and location video footage I am recreating the essence of my original visions and intentions.
At the end of 2018, I started planning a video project about the careless exploitation of land in South Korea. Since I began working in South Korea in 2016, I have been fascinated by the massive tidal mudflats surrounding the country's west and south coasts. When you fly into Incheon Airport, you have a grand view of this muddy topography. From the air, it looks like a submerged empty landscape with meandering valleys and rivers. At high tide, it becomes a vast desolate flatland of mud stretching out towards the horizon.
In my outlines for the project, I wanted to create a narrative video with actors. I envisioned a story where two groups of people viewed the mudflats with opposing understandings, perspectives, and prospects. One group would represent the Korean economic elite, whose sole goal is to make as much profit as possible through the traditions of Korean finance, industry, and politics. The other contingent would have a more scientific and observational approach. All protagonists were to be anonymous and maybe even faceless. The idea was to create a collage of scenes mixing landscape footage of typical Korean mudflats with staged and theatrical scenes of actors playing out stereotyped situations, such as executive board meetings and an activist hacker den.
My intention was to capture conflicting interpretations of a specific land area and simultaneously show the indifference to the land itself that either approach would generate. The mudflats are what they are due to many factors. Human activities certainly have an immense impact, usually in a complex and unfathomable constellation.
On Off Shore – alpha version (2022) and On Off Shore – beta version (2024) are two versions that has emereged in my attempt waking up a dormant art project.
Gustav Hellberg, Goheung, 27 June 2024
On Off Shore – alpha version
2022
Gustav Hellberg
Video HD1080
Duration 07:33
Aspect Ratio: 16:9
Duration 07:33
Aspect Ratio: 16:9
On Off Shore is an ongoing video project where I am revisiting a four year old video film project that never was shot. Using research material and location video footage I am recreating the essence of my original visions and intentions.
On Off Shore is part the collaborative project In the Process of... where it is one of the developing projects that viewers are allowed to follow.
On Off Shore is an ongoing video project where I am revisiting a four year old video film project that never was shot. Using research material and location video footage I am recreating the essence of my original visions and intentions.
On Off Shore is part the collaborative project In the Process of... where it is one of the projects development that viewers are allowed to follow, a work in progress.
The tidal mudflats off the coast of Baegmihang, Buan, Chebudo, Ganghwado and Julpo have been through relentless and thoughtless campaigns to be altered into suitable land for industrial and sometimes agricultural development projects. Korean industry, finance and politicians make out a tight and impenetrable power conglomerate focusing entirely on finacial control and economic growth. The results of their activities are damaged eco systems and social disaster. Very few of these, extraordinary expensive, undertakings led to desired economical outcome. On the contrary, most of them have been costly financial failures. People’s livelihood lie in ruins and the land has become useless for any human endeavour. Several ecological systems have become irreversibly broken.
I find the tidal mudflats interesting as a metaphor for the dilemma that people's understanding of their environment engender. These mudflats are only pieces of land half of the time. The other half of their existence they are submerged under water. This establishes a dualistic continuance of being. Not only does the tidal mudflat avoid an unambiguous definition its physical constitution further evades a distinct apprehension. The emerged plane can have any consistence from being solid through viscous to fluid. Its continuously changing character is of such confusing demeanour that most people avoid ideas to exploit this transient land areas.