Collaborative Stream Building

First of all thank you for reading this, becoming one of the eyes that turn these static words into musing for meat vehicles. 

I hope these words can be as electric for you reading, as it has been for me to collect and write them.

I also hope that these words are as cumbersome for you to read and it's been for me to communicate as I untangle my meanings. 

I hope there is pleasure in deciphering.

I should also add that this in no way presents itself as “new” rather a recontextualization of the many people who have provoked these questions and conclusions.

“I see this offering as a noticing that can shape our next steps, as more water joining the river” (Brown, 2017, p.6)

That's the importance of the work here, it's about inhabiting space with wonder and nuance

 
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This projects has blurry boundaries

Its bathing in the richness

Of autonomy 

A collection of stories of objects, movements of energy and growth
(growing mushrooms at home, building wind turbines from trash, composting)
The poetics and aesthetics of autonomy

Origin stories that's influx growing and developing as culture adapts

 

oppressions go both ways 

When I shit in a toilet I inadvertently 

oppress the environment with energy used to move the faeces

 I also burden the governing body that deals with my shit which takes "care" of my faeces

(Which eventually trickles down back to me through tax or rates) 

That is why when you encourage a community to use compost toilets and take responsibility for their shit the autonomy becomes liberated for the creatures and people hauling the brunt of the oppression. 

It also takes away from these centralised systems that have histories of abusing power

These needs become circular


Start with exploring the technological “waste”
to unpick the tangled oppressions embedded inside it.

How do we inhabit and build spaces without oppressing people we cannot see?

How do we Utilise the gallery and museum space to inhabit care for those unspoken?

 Paper cathode soon to be Graphitised behind lenticular film

 Two failed microbial fuel cells,

 Microbial fuel cells, rock used for imprinting and three books technology by John Plant, Retro Suburbia by David Holgren and Future by Dorling Kindersley

 carbon coated copper cathode and Anode for initial tests with microbial fuel cell

blue mountains trains 2020

I enact a reappropriation of skin as I engage in my own personal way to feminise, decolonise and restructure our shared space,

eugene-vibrating-with-the-mellow-days-within-the-reservoir

Jon on another grainy day in the gore

foundcamera the jestation lost and the taker will never see

Graffiti

Graffiti

Most
emanates
 the same
useless
profession
 of
itself

as the indoctrinated advertising it sorts to
rebel against, it only competes however,
bound in an eternal stalemate between folk far apart.

There is however any form of imposition
onto the built environment that conforms to perhaps the
colour or texture,
is in some way sensitive to the aesthetics
of the place, taking its form but imbuing
it with a relatively lost human element.

This is a radical act
in defiance of our cultures
oppressional
exporting
of the built environment
into
the mass produced.

milk and honey

Property does not have rights.

Resources make their way into our life through us they are our fluids

Feces curdles its way through my body 

Thankful into to found sawdust of my local
birds and bees structured
cared for perhaps
child abreast
that which is led away to find the same fate as their mother
milk and honey
perhaps west for now
but I live in the south
and that only depends on where one is situated

Oppressional comfort,
the thing of disconnection of the outsourced labor afforded by our privilege.

From cigarette's to fertilizers

Can we unpick our addictions .

Create something without depending on people we have never met.

Timothy Willis

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Timothy Willis 2018 - detroid 1,2,3

Over the past couple of decades we have the breaking down of René Descartes assumption "I think therefore I am" as we move into object orientated world, where no longer is the human at the center of the universe.
We no see our self as a some what dysfunctional part of the earths ecosystem, with the beginning of the Anthropocene around the 1980's  there was a collective reassessment of our role in this ecosystem, now in 2019 the effects of climate change and unfettered capitalism as real impact on the way our culture in adapting, I think the grass root moments such as permaculture,environmentalism and social Justice orientated Anarchism are outcomes for this re-contextualization into a field of equal objects.
 
And so as an Artist how does this perspective change the way I bring Objects into the world, (if that is even what I am doing I'm really bring different raw materials into different contexts and states, nothing comes from no where) when I younger and I made art that wasn't purposeful I would tel those around me that my sub-conscious brain made it, its interesting contextualizing that against the assumption i have today that my work is phenomenological and my body is merely as reflective space from which raw materials can pass through and become identifiable to the viewer as a contextualized object in there living environment, and so the object then becomes a product of its environment rather then a product of my hands sprouting out of my singular vision.

2018 - Timothy Willis

2018- Timothy Willis

gypsum // copper // glass // aluminium //

Asbestos

Image courtesy of Geo-Science Australia

Unpalpable

Unpalpable is an exploration of the edges of our understanding. What happens at the interface between comprehension and incomprehension? How do we recruit our bodies as instruments for embodied perception? A collection of artefacts map and model our attempts to navigate the seemly illogical, impossible or imaginary. The exhibition space becomes a live studio/laboratory/archive to examine physicality, virtuality and perception. An exhibition-project by Timothy Willis and Rex Rollin.

//This exhibition is an exploration of catalog, the aesthetics of  maintenance that are an invisible but indispensable part of any collection//

 

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The scanning was apart of the cataloging, viewers where encouraged to scan in objects over different texts and the room sheets bringing a liveliness to the sometimes serine environment of the gallery, objects transform relationally from something untouchable because of social code, to that code being broken down somewhat, we where very conscious of having a spectrum of relations to objects in the space.

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This put simply is an attempt to play with the authority of viewership, the difference between the way a museum interprets and object compared to a human.

Objects integrated into computer shaped forms

what am i doing: what is this space i have created in this vast silicon universe, I think it is perhaps most simply practice or a space in which practice is possible in an open dedicated form. because you cannot build anything without space, and that is challenging when you are confronted with the commodification of space under capitalism however, i must bless my privilege here as this output has come a lot easier than it might for others I am grateful for this and hope to never take it for granted.

This web site will be and has been created on the many different lands of the first Australians of this land,  i pay my respects to all elders past and present, sovereignty was never seeded.

My deepest apologies to all the people, animal, plants and microorganism that make up our great ecosystems that have been destroyed in the process of modern privilege, i do not deny my part in this destruction and aim in my self and vicariously through this website to create a future that this destruction is no more.