The large building projections are always very popular attractions. Ian De Gruchy's Digital Op Pop was a kaleidoscope of color and design. The Atherton Towers were lit up by Jacob Tolo and Susan Maco Forrester's Fractures, which explored identity and whiteness. The Builders Arms Hotel was utilised by Kate Geck for her work Apeiron on the effects of technology on people's attention spans.
|Ian De Gruchy|
|Jacob Tolo and Susan Maco Forrester|
Geometric shapes were evident in a few pieces. Kit Webster's Morphic Prism is a pyramidal video installation of a recursive reflection tunnel. Lauren Simmonds utilised sculpture and projections in her piece The State of Becoming. Skunk Control were back again this year with Systematic Sanctions, which contained a little urban landscape on a hill that had lights going on and off in the houses.
|Kit Webster; Lauren Simmonds|
One of the more political pieces was Alfeo Sanches Pereira and Eneti Waretini's A Natural Resource Curse, an animation about the maritime boundary dispute between Australia and Timor-Leste.
|Alfeo Sanches Pereira and Eneti Waretini|
Finally, some of my favorites were filmed pieces featuring women. Youjia Lu's Chora showed the artist as a bath gradually filled with water. Petrina Hicks' Gloss featured a butterfly flapping its wings in slow motion while perched on a woman's mouth. The highlight of the festival for me though was Luzena Adams' piece Reverie with its graceful redhead swimming underwater and dipping in and out of the top and bottom of the frame.
|Youjia Lu; Petrina Hicks|