Tonight was the opening of the
Gertrude Street Projection Festival for 2016. Once again there were many interesting pieces created for this year's festival, and the addition of the Atherton Gardens as its very own precinct.
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.
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| Ian De Gruchy |
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| Jacob Tolo and Susan Maco Forrester |
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| Kate Geck |
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.
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| Kit Webster; Lauren Simmonds |
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| Skunk Control |
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.
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| 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.
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| Youjia Lu; Petrina Hicks |
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| Luzena Adams |
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