A video of the artist securing his breath in a converted weather balloon as an act of carbon capture. It also has a potential for future use to drive small generators to produce enough energy to power electronic technologies, including the artist’s own electronic-based artworks in gallery environments.
The third version of Forcefield. The fence protecting the hearth and introduced apple tree lists the names of the major land grants to settlers in Tasmania prior to1830. Inside the fence, the floor is covered with glued down pages from Keith Windschuttle’s 'The Fabrication of Aboriginal History, Volume 1’, to demonstrate the problematic nature of history as we receive it…
Three reproductions of idyllic scenes from the tip shop are rescued and re-presented as living objects sustained by individually tailored environments. The low-brow images were on the way to becoming land fill rather than being preserved in the museum environment.
Composed of 185 hand-drawn images which are set out in the approximate order of a book, complete with cover, frontispiece, chapters, images and colophon, the project explores the idea of the construction of ‘knowledge’ as being an irrational process based upon the accumulation and taxonomic ordering of data, guided by curiosity rather than rationality.
The images from the Unnatural Landscape series appear to operate somewhere between promotional images of ‘pristine’ wilderness settings and simulations of the very same thing. In reality, Cuthbert’s model of this strange and accidental Tasmania is a peculiar, large rectangular garden; alive with moss and housed indoors it is continuously changing under the artist’s regular manipulation.
A performance with a customized electronic performance tool, a bag that is embedded with a computer platform for broadcasting sound, digital images [video] and text.
The Baglady is a hunter-gatherer of ephemeral moments. She carries a bag with an antenna, and embedded board that catptures these and transmits this to a server.