splitting open the surface on which it is inscribed (Shelley), 2018
site-specific solo performance for video, steel sheeting, multi-channel video with synchronised sonic recording, spatialised for site. dimensions and duration variable.
at: Gertrude Contemporary, Naarm Melbourne, curated by Zara Sigglekow
w/: Score enacted by Shelley Lasica
site-specific solo performance for video, steel sheeting, multi-channel video with synchronised sonic recording, spatialised for site. dimensions and duration variable.
at: Gertrude Contemporary, Naarm Melbourne, curated by Zara Sigglekow
w/: Score enacted by Shelley Lasica
all activations, Splitting open the surface on which it is inscribed:
GERTRUDE CONTEMPORARY
w/ score enacted by Shelley Lasica
‘Great Waves of Feeling’, 2018
ABBOTSFORD CONVENT
w/ score enacted by Helen Grogan
‘Temporal Proximities’, 2019
LATROBE REGIONAL GALLERY
‘Great Waves of Feeling’, 2021
2019 MILDURA ARTS CENTRE
‘Great Waves of Feeling’ , 2020
HAMILTON GALLERY
‘Great Waves of Feeling’, 2019
MARGARET LAWRENCE GALLERY
w/ score enacted by Helen Grogan
Victorian College of the Arts, 2019
also as:
shield/splitting, 2019
2 x pigment ink-jet photograph prints 119.0 x 67.5 cm (each)
project credits:
Sound recordist, Liam Power. Artists in 2018 ‘Lilac’ Artery Studio research, Atong Atem, Jess Gall, Laura May Grogan, Simon MacEwan, Liam Power. Documentation at Gertrude Contemporary Christo Crocker
GERTRUDE CONTEMPORARY
w/ score enacted by Shelley Lasica
‘Great Waves of Feeling’, 2018
ABBOTSFORD CONVENT
w/ score enacted by Helen Grogan
‘Temporal Proximities’, 2019
LATROBE REGIONAL GALLERY
‘Great Waves of Feeling’, 2021
2019 MILDURA ARTS CENTRE
‘Great Waves of Feeling’ , 2020
HAMILTON GALLERY
‘Great Waves of Feeling’, 2019
MARGARET LAWRENCE GALLERY
w/ score enacted by Helen Grogan
Victorian College of the Arts, 2019
also as:
shield/splitting, 2019
2 x pigment ink-jet photograph prints 119.0 x 67.5 cm (each)
project credits:
Sound recordist, Liam Power. Artists in 2018 ‘Lilac’ Artery Studio research, Atong Atem, Jess Gall, Laura May Grogan, Simon MacEwan, Liam Power. Documentation at Gertrude Contemporary Christo Crocker
From Zara Sigglekow’s catalogue essay:
Helen Grogan’s practice is concerned with systems of observing, sensing, and locating. She is hyper-aware of the ethical tensions of the subject viewing an object, an audience viewing a performer, and seeks to disrupt this relationship that can be fraught with power imbalance. ‘splitting open the surface on which it is inscribed’ (2018) is an exploration of the agency of an object. That is, how to work with an object with limited subjective impact and reveal its materiality and agency, encourage a more sympathetic relationship between viewer and artwork, and the place/architecture within which it sits.
The work consists of a 15 minute choreographic score, enacted for three different restrictive camera views and a detailed stereo audio recording. A thin mirror-finish steel disk is forged, folded, and pressed by the score participant Shelley Lasica, revealing both resistance to her actions, and compliance to her force. The manner in which Lasica undertakes her actions is sympathetic and adaptive to the object’s response. All the while, the surface reflects the room, actions, and apparatus around it. The visual replay of this event within the exhibition is fractured and dispersed across three screens, while the sonic re-articulation manifests as a synchronised real time diegetic audio recording. The sum of this effect is the creation of an embodied sensorial empathy between viewer, artwork, and gallery space in which it sits.
Helen Grogan’s practice is concerned with systems of observing, sensing, and locating. She is hyper-aware of the ethical tensions of the subject viewing an object, an audience viewing a performer, and seeks to disrupt this relationship that can be fraught with power imbalance. ‘splitting open the surface on which it is inscribed’ (2018) is an exploration of the agency of an object. That is, how to work with an object with limited subjective impact and reveal its materiality and agency, encourage a more sympathetic relationship between viewer and artwork, and the place/architecture within which it sits.
The work consists of a 15 minute choreographic score, enacted for three different restrictive camera views and a detailed stereo audio recording. A thin mirror-finish steel disk is forged, folded, and pressed by the score participant Shelley Lasica, revealing both resistance to her actions, and compliance to her force. The manner in which Lasica undertakes her actions is sympathetic and adaptive to the object’s response. All the while, the surface reflects the room, actions, and apparatus around it. The visual replay of this event within the exhibition is fractured and dispersed across three screens, while the sonic re-articulation manifests as a synchronised real time diegetic audio recording. The sum of this effect is the creation of an embodied sensorial empathy between viewer, artwork, and gallery space in which it sits.