Pilgrim's Progress by Bernadette Smith and Dr Mark Elliot-Ranken at the Harbour Sculpture Prize. When people believed the Earth was flat sailors thought if they sailed beyond the known sea they could fall off the edge of the world. This collaborative mixed-media work honours the brave seafarers from many cultures, both Pacific and European who ventured across unknown oceans to reach new lands.
OHP projections and video Waterline were projected at Dick Street Chippendale for the 2016 Beams Festival. More info here http://beamsfestival.com.au/whats-on/artistic-works/bernadette-smith/
My temporal guerrilla art intervention at the Redfern Biennale which included 'readymades, sculpture, multi media, new media, painting, found object, anything and everything placed along Walker Street, Redfern between Cooper and Redfern Streets'.
Bernadette Smith and Mark Elliot-Ranken transform the exterior of a Wesley sandstone church into 'Vanishing Shore' a Climate Change performance/installation at Wollongong's Nocturnal Arts Festival when the sun goes down on the 25th, 26th and 27th February and the 3rd, 4th and 5th March 2016.
It was created for Wollongong Council's 2016 Nocturnal Arts Festival outside Wesley Church in Crown Street Mall and brings together scientific, political and religious thoughts about climate change and water security.
Passersby were given an apocalyptic vision of a precarious world with unsafe drinking water, compromised food supply and ocean inundation based on actual data modelling. Performed by Bernadette Smith and Mark Elliot-Ranken. Created by artist Bernadette Smith. 'Vanishing Shore' at Nocturnal Arts Festival trailer link here.
My art installation investigates the issue of ableism or discrimination against less able bodied swimmers in public pools. In a throwback to the Nazi era elite swimmers are often unfairly privileged while those with injuries, disabilities or older swimmers struggle for equal access. This artwork highlights such social inequality and presents a protest banner, photographic documentation and actual email correspondence between a less able bodied swimmer and pool management. The installation also includes portraits of people randomly selected from the street who were asked to pose in front of this banner to be part of the exhibition if they agreed with its message.
Review of the show can be seen here http://rochfordstreetreview.com/2016/01/21/visceral-art-and-political-voids-bernadette-smith-reviews-refuge-have-your-say-at-verge-gallery-articulate-project-space/
Using abandoned shopping trolleys in Sydney streets I upcycle them to state facts about Australia’s invisible underclass rarely mentioned in the mainstream media. I then document this urban bricollage in situ both as photographs and as filmed performance pushing it up and down the street until a point of exhaustion is reached where it is finally left as an art intervention on the side of the road (in this case Edgeware Road, Enmore). See work-in-progress film here https://vimeo.com/150654794
"The value of what we discard, conceal and detain outlines the border of our collective culture. Thus the artist’s gesture of displaying a work of art in public space becomes one of defiance and generosity. In doing so, it confounds Duchamp’s exhortation to indifference to the aesthetics or origin of an object – it enforces direct interaction with the situation of appearance and context. Destructions should take place more rapidly.” YELLAM NRE, 2014. (Accessed Nov 2015 from Clusterfuck Aesthetics http://damienmintongallery.blogspot.com.au)