Tina Gonsalves
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Contact Information*:
Port Douglas QLD Australia |
Contact Type: Artist |
| web: http://www.tinagonsalves.com | |
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Bio:
Tina Gonsalves artist Australia Over the last six years Tina’s media exploration has focused on exploring the human condition, from internal/external and emotional landscapes, through to studies on movement, perceptions, and personal space. This work has been widely exhibited, screened and awarded inter/nationally. Over this time she has created 40 experimental digital films that have been screened, awarded, and televised inter/nationally, as well as large format digital prints, paintings and various forms of mixed media. Currently her short films have/will be involved with the European Media Arts Festival in Germany, Digital Beidermeier ‘reproducing the private’ in Vienna, MAAP festival in Beijing, Recent Australian digital video at the Art Institute of Chicago, The First International Video Art Biennial in Tel Aviv, Women on Women film Festival and inter/national tour, Experimenta Film Festival, Kasseler Dokumetarfilm-und videofest in Germany,the Back_up festival in Germany, Fine Art Forums Inter/national Media Arts Festival and Tour, St Kilda Film Festival and Sydney Film Festival. Her installation work was exhibited in Prague in April, New York City in September and Munich, Germany in November. Most recently her work was televised in Czech Republic, New York, and Australia. She has just returned from six months of creating new artwork, taking part in Artist in Residence programs at The Banff Center in Canada, and also at the Centre for Contemporary Art in Prague. In November she will travel to Germany to take part in various film festivals and an exhibition, and in December she will start a four-month artist in residence at Chulalongkorn University, Thailand. Over the last six months Tina has focused on creating experimental documentaries. In September she created a piece on the Yolngu elder women of North East Arnhem Land. She has also created pieces on Prague, Morocco and New York City. Over the last eight years, Tina has developed her company which specialises in directing and producing experimental music video clips and imagery for the music industry. Her clients have included Savage Garden, Yothu Yindi and the Australia National Museum and MTV New York. Filmography/Awards Info: Tina Gonsalves http://www.tinagonsalves.com tina@tinagonsalves.com Formal Education and Study: Degree in Honours Swinburne School of Design 1994 Masters Candidate - Art and Interactive Media RMIT 2000 Profession: Multimedia Artist, Director, Animator, Graphic Designer, Illustrator, Web Designer Lecturer in Media Arts, Digital Compositor, Digital Editor Awards: 2001 Runner up Digesis Film Festival 2001 Sound Award (Mark Eden) Digesis Film Festival 2001 Animation Award Digesis Film Festival 1999 FirstPrize Animation F1 Digital Film Festival 1999 Finalist Nescafe Short Film Award 1998 Preselected Moet Chandon Art Award 1997 First Prize Toshiba International Digital Art Award 1996 First Prize Victorian National Gallery Award for Digital Art. 1995 First Prize International Student Award For Packaging Design Grants/Corporate Sponsorship: 2002 The Australian Film Commission Travel Grant 2002 Artist in Residence, Asialink Chulalongkorn University, Thailand 2002 Artist in Residence Thematic Residency Upfront and Personal – The Banff Center Banff, Canada (Australia Arts Council) 2002 Artist in Residence Prague, Czech Republic, Prague Center for Contemporary Art 2002 Australian Network for Art and Technology Travel Grant 2002 Australia Arts Council Run_way Grant 2000/2002 Macintosh Computers technical/machine/software support 1999 F1 Digital Film Festival best animation prize $12 000 Software from Discreet 1999 Nescafe Short Film Award Finalist $1500 award 1999 Open Channel Multimedia Center Artist in Residence Access to equipment/in-kind support 1999 Multimedia Australia Asia Pacific Online Artist in Residence 6 month online Artist in Residency $10000 worth of Software from Macromedia/Meta Creations 1999 Australian Film Commission Women in New Technologies Support Scheme CDrom Production, Web Design Training $780 1999 Australia Film Television and Radio School Access to equipment in-kind support 1998 Banyule Printing inkind support 1998 Open Channel Multimedia Centre inkind support 1997 On Demand Digital Printing inkind support 1997 Australian Film Commission Women in New Technologies Support Scheme Adobe After Effects, Media 100 training $1000 Present Employment: 1994-2002 I have been running my multimedia business Virago Design. The services of Virago include filmaking, directing, web design, animation and digital video editing and compositing. Over the last few years it has been concentrating on music video clips. These music video clips have been produced, shot, directed,edited and animated by myself. Clients have included Yothu Yindi(Festival Mushroom Group), Nokturnl(Festival Mushroom Group), Augie March (BMG), Savage Garden, the Australian National Museum and MTV NewYork. While the company has been supporting my artistic exploration, it has also been successful in pushing experimental design/animation to the corporate/music sector educating them on the importance of this, and adding a more innovative corporate marketing strategy to their company. Over the last four years I have been lecturing in computer art, experimental video and interactive media at Victoria University of Technology and the Melbourne School of Art. Over the last four years, I played a vital role in the continued exploration of art and new technologies as part of the New York based collective of artists called PaperVeins. The Paperveins Project has long been an active participant in examining the intimate relationships between technology, society, and the human body. Group and Individual Exhibitions and screening installations: Over the last ten years have produced thousands of digital art pieces that have been involved in many solo and group exhibitions throughout Australia and internationally. Her media exploration has focused on exploring the human condition, from internal/external and emotional landscapes, through to studies on movement, perceptions, and personal space. She have produced, directed and animated 40 short films. My animation and video work has been widely awarded, exhibited, screened and televised inter/nationally. Most recently, Australian Television station SBS, have just bought 13 more of Tina’s films. Currently her short films have/will be involved with the European Media Arts Festival in Germany, Digital Beidermeier ‘reproducing the private’ in Vienna, MAAP festival in Beijing, Recent Australian digital video at the Art Institute of Chicago, The First International Video Art Biennial in Tel Aviv, Women on Women film Festival and inter/national tour, Experimenta Film Festival, Kasseler Dokumetarfilm-und videofest in Germany,the Back_up festival in Germany, Fine Art Forums Inter/national Media Arts Festival and Tour, St Kilda Film Festival and Sydney Film Festival. Her installation work was exhibited in Prague in April, New York City in September and Munich, Germany in November. Most recently her work was televised in Czech Republic, New York, and Australia. She has just returned from six months of creating new artwork, taking part in Artist in Residence programs at The Banff Center in Canada, and also at the Centre for Contemporary Art in Prague. In November she will travel to Germany to take part in various film festivals and an exhibition, and in December she will start a four-month artist in residence at Chulalongkorn University, Thailand. Collections 2002 235 Media GERMANY 2002 Goethe Institute Weimar backup_festival GERMANY 2002 Snack on Art TV, New York Cable TV USA 2001 Australian Center of Moving Image AUSTRALIA 2001-2004 Eat Carpet 2001 European Media Arts GERMANY 1999 Griffith University AUSTRALIA 1999 F1 Digital Film Festival 1999 Australian Film Television and Radio School AUSTRALIA 1999-2002 EAT CARPET SBS television AUSTRALIA 1999 DLUX Media Arts Collection AUSTRALIA 1999 The Kitchen USA 1998 Thundergulch USA 1999/98 ArtRage video collection series AUSTRALIA Publications, Media, Radio: My work has been televised on ABC, SBS and Channel 9 and Channel 31 in Australia. It has been featured on the Sunday Program (interview and showing), Eat Carpet, The Loud Short Film Festival Special and the Recovery Program. SBS have licencesd 17 short films and animations. The animations also featured on the documentary Digital Art In Australia (Interview and showing), which will be released soon by ABC. I have been interviewed by Radio National Arts program and 3CR Community Radio. My work has been showcased regularly through print applications including Panorama Magazine, Artlink, Mesh, Black and White, The Age, Herald, and Weekend Australian Newspapers. Most recently I have been interviewed by Czech TV. Technical Skills Final Cut Pro video effecting, compositing,animation & editing Adobe Photoshop 5.5 digital imaging, visual editing Illustrator typography, illustration QuarkXpress 4 design layout,colour separation Adobe After Effects 4 video effecting, compositing,animation & editing Painter digital imaging Sound Edit 16 Sound design, sound editing Macromind Director animation, CDROM scripting Power Point slide presentations Media 100 video effects and non linear editing, sound editing FLASH web design Dreamweaver web design Fireworks web design Web Art: ‘Release’ A Virtual Memorial and Le Musee di-visioniste 2002 ‘Release’ MAID IN CYBERSPACE FESTIVAL/WWW Montreal CANADA 2001 ‘Release’ MAAP Festival 1999/WWW Brisbane AUSTRALIA 1999 VIDEOGRAPHY: All pieces produced, written, directed, edited and animated by Tina Gonsalves All sound originally composed, written, recorded and mixed by Mark Eden * All sound originally composed, written, recorded and mixed by Tina Gonsalves All pieces have been produced on a very low budget with no financial support from any funding bodies. TAPE ONE 1994-1998 1. Process of Becoming 4 minutes created 1997 Photoshop, illustrator, Director, Media 100 Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 VideoLounge@The Knitting Factory NYC USA 1999 Melbourne International Film Festival AUST1999 Independent Exposure World tour 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA1999 The Sync.com screening - WWW 1999 Paperviens Project screening installation at Gallery 128 - NYC USA1998 WWW Conference Auckland New Zealand 1998 Moet Chandon Art Award 1998 Shortlisted MAAP Brisbane AUS 1998 Art Rage Australian National Television/ABC/ Recovery AUS1998 Digital Art in Australia A documentary on Australian Digital Art AUS 1998 Interact 'Altered States' Video installation Melbourne Exhibition Centre AUS 1997 Pan Pacifica Festival, Amsterdam NETHERLANDS 1997 Loud Short Film Festival Australian National Television/Eat Carpet/SBS AUS 1997 A 4 minute exploration into the power of surreal symbolic forms based on the body and issues of identity. Process of Becoming focuses on a raw primal sensibility as it seeks to inquire into the energy created through the juxtapositions of potent, visually loaded symbols - mixing hospital diagnostic documentation, with digital generated iconic forms, video grabs and drawings. The narrative is loosely based on the theme of death and rebirth and the organic cycle of regeneration. 2. The Graves of Craving 4 minutes created 1994/97 Photoshop, illustrator, Director, Media 100 Australian Center of Moving Image AUSTRALIA Dallas Film Festival Dallas USA 2000 [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 VideoLounge@The Knitting Factory NYC USA 1999 Independent Exposure World Tour 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA1999 Paperviens Project screening installation at Gallery 128 - USA NYC Montevideo festival NETHERLANDS 1998 LOUD Short Film Festival Australian national television/ABC television AUS 1998 The Graves of Craving is a four minute animation inspired by collaged visual journals of 1994. This piece probes into realm of memories past and future aspirations. With so much time spent on past associations and future hopes, how much time is given to the present moment? 3. Perception 4 minutes created 1997 Photoshop, illustrator, Director, Media 100 Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 Independent Exposure World Tour 1999 Digital Film Festival World Tour 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Digital Art in Australia - A documentary on Australian Digital Art AUS 1998 Paperviens Project screening installation at Gallery 128 - NYC USA 1998 A computer generated animation exploring a range of constantly changing fluid symbols. Perception seeks to become a visual language that can only be subjectively decoded by what may be triggered by the viewer. It hopes to entice the viewer into the trance-like state - similar to my own experience while creating the piece over an intense seven day period. 4. Memoirs of my reproduction 1.5 minutes created 1997 Photoshop, illustrator, Director, Media 100 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 VideoLounge@The Knitting Factory NYC USA 1999 Eat Carpet - televised screening on SBS Australia 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Independent Exposure World Tour 1999 Melbourne Film Festival AUS 1998 Sydney Film Festival / Dlux screening ÔMousetrap Sydney AUS 1998 Paperviens Project screening installation at Gallery 128 - NYC USA 1998 A playful look at the concept of reproduction. Monstrous figures, made of collaged human body parts, parade the ‘stage of life’ to perform ritual mating acts. Is this where I come from? 5. Purge 1.5 minutes created 1998 Photoshop, illustrator, Adobe After Effects, Media 100, digital video camera Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Dallas Film Festival Dallas USA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 VideoLounge@The Knitting Factory NYC USA 1999 Eat Carpet - televised screening on SBS Australia AUS 1999 ArtRage 1998/1999 - A compilation video of Australian Digital Art AUS 1998/1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Digital Art in Australia - A documentary on Australian Digital Art AUS 1998 Independent Exposure World Tour 1999 Paperviens Project screening installation at Gallery 128 - NYC USA 1998 Purge is a two minute video/animation exploration into the suspension of time. In the space of an highly emotional and fear based state, the concept of time and environment appears to lose form and existence, and all that is left is the heavy purging of anger, sadness and hopes - bereavement of the self. 6. Swelling 4 minutes created 1998 Photoshop, illustrator, Adobe After Effects, director, Media 100, digital video camera Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 4i?me Manifestation interantionale VidZˇo et Art Montreal CANADA 1999 Dart Dlux Media Art Event Sydney Film Festival and Inter/national Tour AUSTRALIA 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Independent Exposure World Tour 1999 Paperviens Project- screening installation at Gallery 128 - NYC USA 1998 BlackChair Productions - screening - Seattle USA 1999 The Sync.com screening - WWW 1999 Swelling was inspired by twelve disk based animation I created in 1997. It journeys through a pathological dissection of diseases, tumours and corporeal abnormalities mutating into autonomous entities, giving an abstract impression of the internal body. All the sourced imagery is hospital diagnostic imaging, leaving the viewer questioning - could it be my internal self portrait? The sound is a mixture of bodily noises, digitally effected and mixed into a rhythmic repetition of the breath and the heartbeat. After four minutes of this rhythmic mutation, it is hoped the viewer is left a little on the 'giddy' side. 7. Nothingness 1.14 minutes created 1998 Adobe After Effects, Media 100, Hi 8 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 Eat Carpet - televised screening on SBS Australia 1999 - 2002 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Independent Exposure World Tour 1999 Paperviens Project- screening installation at Gallery 128 - NYC USA 1998 Nothingness is a short video piece that abstractly seeks to question the pursuit for happiness through the attainment of goals. With the constant pressure to move forward, being still is being left behind. What is left when there is no space for silence? 8. Touch 3.3 minutes created 1998 Photoshop, Illustrator, Adobe After Effects, Director, Media 100, Digital Video Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 Nescafe short Film Award 1999 Nescafe Short Film Award Nescafe Short Film Award Screenings Sydney Australia 1999 Women on Women Film Festival and National Tour AUSTRALIA 1999 4I’me Manifestation interantionale Videˇo et Art Montreal CANADA 1999 European Media Arts Festival and European Tour Osnabruk Germany 1999 Digital Film Festival World Tour 1999 Independent Exposure World Tour 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Paperviens Project - screening at Gallery 128 - NYC USA 1998 A highly layered (up to a thousand layers) video/animation which seeks to explore the dichotomy of spirituality and the ego. In a society where instant gratification is omnipresent and omnipotent and spirituality is its antithesis, where do they meet? 9. Immerse 2.30 minutes created 1998 Photoshop, Illustrator, Adobe After Effects, Director, Media 100, Digital Video Snack on Art TV – screening on public/cable TV, New York City, USA 2002 Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000 Independent Exposure World Tour 1999 Paperviens Project - screening at Gallery 128 - NYC USA 1998 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Immerse is a short journey into the realm of self acceptance. I sourced friends of all ages, nationalities, and walks of life. The huge cult of physical perfection creates so much anxiety through constant judgements and comparisons. The media has immersed us into a world where a very limited and narrow portrayal of beauty and success exist - how does this reflect when you look at yourself in the mirror? Do you smile or snarl? 10. Residue 3.50 minutes created 1998 Photoshop, Illustrator, Adobe After Effects, Director, Media 100, Digital Video Snack on Art TV – screening on public/cable TV, New York City, USA 2002Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 Shorts in Orbit Film Festival Melbourne AUSTRALIA 1999 Independent Exposure World Tour 1999 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999 Paperviens Project screening at Gallery 128 - NYC USA 1998 Paperviens Project screening installation and performance at Galapogas NYC USA 1998 Residue is an expressionistic animation/video piece that glances into the confines of fractured identities. The pressure to be popular, the craving to be liked and approved of, and the fear of loneliness erodes the psyche leaving a residue of self doubts, self hatred and self bereavement - to finally realise that ultimately you are always alone. Is there comfort in that? Does anxiety and fear sit at the root of the human condition? Psychosomatically, how is fear rendered on the physical body ? The original sound explores a rich textural trance state suspended with digitally effected samples of voice and every day life. TAPE 2/2000/20001 produced, directed, edited and animated by Tina Gonsalves sound by Mark Eden (www.markeden.com) and Tina Gonsalves* 1. Wounded 3 minutes 1999 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 d.ART 02, dLux media arts at the 49th Sydney Film Festival, June 2002 Sound Award Digesis Film Festival AUSTRALIA 2001 WOW film festival and inter/national tour (women in film and television) 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA ST KILDA FILM FESTIVAL Melbourne AUSTRALIA 2000 NEXT WAVE FESTIVAL 'Blink' at the Australian Center for Contemporary Art 2000 EUROPEAN MEDIA ARTS FESTIVAL Osnabruk GERMANY 2000 [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 F1 Digital Film Festival Best animation Award Melb 1999 Wounded is a three minute animation exploring the effects of fear on the psyche. Scientific imaging machines currently assess the bodies physical health - what if they could assess the psychological and emotional health? How would a broken psyche read? Wounded explores the need to face your fears. If you face your fear head on is it still a fear? 2. Kissing Mark 1 minute 1998 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA [D]vision Media Arts festival (a retrospective of work by Tina Gonsalves and Mark Eden) Vienna AUSTRIA 2000 VideoLounge@The Knitting Factory NYC USA 1999 Eat Carpet - televised screening on SBS Australia 1999 -2002 Montevideo Festival Netherlands 1998 Independent Exposure World Tour 1999 Paperviens Project - screening at Gallery 128 - NYC USA1998 Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA1999 An experimental, fast edited bombardment of video pushed into its grain. It seeks to explore the space and feeling of a moment. It was inspired by the moments between sleep and awake, when rapid eye movement tends to inflict strong visual images on my consciousness. 3. Emerge 4.30 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Kasseler Dokumetarfilm-und videofest GERMANY 2001 Digesis Film Festival AUSTRALIA 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 St Kilda Film Festival Melbourne AUSTRALIA 2001 Emerge explores childhood memory of a near drowning experience. I don’t remember being afraid or struggling. My memory is only of shards of colour and light, being gently supported by the sea. I wonder if that’s why I am so drawn to the sea. 4. Hollow 3.50 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 d.ART 02, dLux media arts at the 49th Sydney Film Festival, June 2002 St Kilda Film Festival Melbourne AUSTRALIA 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 European Media Arts Festival Osnabruk GERMANY 2001 Hollow explores self-esteem and body image. The camera scans the flesh of the body, allowing the viewer to see marks of pain, emotional trauma and disease. It asks how he stores emotions and memory on a cellular level. This piece reflects the way the mind works, forever shifting, changing and drifting. 5. Deeper 3 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Rencontres audiovisuelles Lille FRANCE 2002 Kulturarena Festival GERMANY 2002 Back Up Media Arts festival GERMANY 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 Deeper attempts to explore the space of letting go. These images are dislocated in time and space. They are transient and unclear, finally decaying and melting into nothingness. 6. Dissect 3 minutes 2001 Digital Beidermeier ‘reproducing the private’ Dvision Festival Vienna AUSTRIA Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Fine Art Forum Inter/national media arts festival 2001/2002 e-phos 2002: 4th International Festival of Film & New Media Athens, Greece 2002 7th Malaysian Video Awards 2002 Kuala Lumpur, Malaysia Festival Internacional de Video/Arte/Electrónica Lima, Peru 2002 Muestra Internacional de Videoarte Cartagena/Barranquilla Colombia 2002 dlux's d'art festival 2002 Adelaide 2002 fineArt in Motion, Moving Images, the SubStation,Singapore 2002 incubation @ trAce, The Nottingham Trent University, UK 2002 4th National Art, Media and Design Educator's conference Bangkok Thailand 2002 4th Annual Art in General Video Marathon Art in General NYC USA 2002 Videotage Hong Kong 2002 Playtime: Platform of Video Art /Film /Installations Johannesburg South Africa 2002 Digital Media Festival Philippines 2001 Multimedia Art Asia Pacific Festival Australia 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 These creatures don’t stop, forever eating, breathing, mutating, breeding, and propagating continuously, they what would happen if they were still for one second? 7. Three studies for a Portrait No.1 Yesterday 2.40 minutes 2001 No.2 Today 2.40 minutes 2001 No.3 Tomorrow 2.40 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 European Media Arts Festival, Osnubruk GERMANY 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 The camera traces the trajectories of his body in motion, slowing down and magnifying the subtle forms of movement. The past is no more, and the future is not yet. But its by using those memories and future associations that I try to decode who you are. Is the future the same as the present and past? What is past? Present? Future? 8. Resonate 2.20 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 European Media Arts Festival, Osnabruk GERMANY 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 Resonate weaves a tapestry of mutated portraits of the internal/and external body, playing between hallucination and reality. It is a fluid piece that seeks to explore how people shift through our lives –. Who do I let into my life, who do I trust? When do I open up? Why is it that I can have so many people around me but feel so alone? Finally it moves into the isolation of the individual. It talks about loneliness and aloneness. 9. I don’t know you…. 2 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 Talks about relationships. when we meet you tell me these stories. But they say nothing about you. What part of your body hides the lie? 10. Convergence 2.30 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 WOW film festival and inter/national tour (women in film and televison) 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 An abstract piece that explores filters – using a jellyfish as a metaphor. As human beings we are filters through which information flows. These filters are selective, have biases, special interests. How does that information become who we are? 11. Boxing fragments 2 minutes 2001 Digital Beidermeier ‘reproducing the private’ Dvision Festival Vienna AUSTRIA Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Kasseler Dokumetarfilm-und Videofest GERMANY 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 This constant churning is killing me. These stories and images fill my head, playing themselves over and over, regurgitating themselves so they get messier and more frantic . They slowly decay into a sense of anxiousness, that permeates through every cell. After a while I have become so used to the feeling that I think it is who I am. 12. Erosion 1.50 minutes 2001 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 Erosion documents two hours of my day. On this day, for the first time – I felt old. And I felt so alone. As the piece travels throughout the body, it weaves together patterns of flesh. These wrinkles and scars are visible signifiers, showing my pain to the world. These images, shot over an hour, are for the most part fragmented, they cut up my body, my face, my scars, my pain and my sadness. The sound is fragments of conversation and thoughts overlayed. 13. Passing Through 3 minutes 2001 EXPERIMENTA Residue Screening State Library of Queensland Brisbane AUSTRALIA 2002 Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002 Experimenta Media Arts Festival AUSTRALIA 2001 Exemplary collection Australian Center of Moving Image AUSTRALIA Eat Carpet - televised screening on SBS Australia 2001 -2003 A piece about passing through time. Shot in the Australian desert, Passing Through weaves together imagery shot in the desert, with imagery drawn in my journal at the same time. TAPE 3 – LOSS SERIES 2002 This series of video work relates to the theme of loss. Each piece is a visual and sonic response to my own trauma – from anger, frustration, sadness, loneliness and fear, etc. These pieces are not meant to be seen consecutively. Each exists on its own. These video pieces are very much focused on process. Some are created in a couple of hours; some are created over a couple of months. All are created in direct response to an emotional situation. Each video is approached very intuitively, much like I would approach a painting, feeding into it, scraping it back, trashing it, and starting again. They are created with a sense of urgency and are quite raw. I guess in some ways I look at them like ‘stream of conscious’ video pieces, capturing moments in time. I look at this body of work I have produced as developmental work that documents a time. Although these pieces are linear, they generally have no beginning or end – they are deliberately incomplete and fragmentary. They explore emotional narratives, hoping to engage the viewer in n emotional response. The works wait for the viewer to distinguish a pattern, rather than a pattern of information being imposed upon the viewer. Every video on this reel was created on my laptop. Each was shot with digital video and each video was self funded and produced with out any support from any funding bodies. 1. You and Me 2.07minutes 2002 Direction: Tina Gonsalves Sound: Tina Gonsalves Plasmatic MAAP 2002, Beijing China 2002 Diegisis Festival Swerve Melbourne 2002 You and I is a piece about my relationship right now. I am in the grip of circumstances beyond my control, fighting, arguing, screaming have become who I am. I wonder how we got to this space. Where I attack you and you attack me. This daily existence of loss. 2. Now 3.30minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Now explores timing. When is the right time to let something go? How do you know when to walk away? And where am I walking away to? I glimpse the future with out you in it. I know I will be fine. 3. Absence 1.20 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Absence is created in response to trauma. It explores how trauma shifts memories. The continuous display of images document intimate playful moments of us. These memories have now changed. The mouths that loved each other have now become the most violent part of the body, erupting verbal assaults that strips away what we were. These assaults are repeated endlessly, again and again with no sense of beginning or end. 4. Trust 4.24 minutes 2002 19th Dokumentarfilm- & Videofest Kassel GERMANY 2002 »backup2002_festival.new media in film Bauhaus University Germany 2002 VIDEO ZONE – The Rirst International Video Art Biennial Tel Aviv, ISREAL 2002 Direction: Tina Gonsalves Sound: Tina Gonsalves Trust uses fragments of rich sensual imagery and sound to weave a portrait of intimacy and emotion. We face each other, but we are not able to see each other clearly. The story of who we us has become more important than who we actually are. My own expectation shaped my image of you. I was so sure of what I wanted, that I didn’t really see you at all We just co-exist. Two people full of fear. Tomorrow I realise my life is about to change. 5. Discharge 4.16 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Discharge documents a time of grieving. The camera focuses on my eyes, reflecting my sadness. I looked at my eyes last night and they looked dead. The sound is grabbed from fragments of conversation. 6. Love. Loss 5.11 minutes 2002 Another Planet Recent Australian digital video curated by Keely Macarow Art Institute of Chicago USA 2003 Direction: Tina Gonsalves Sound: Tina Gonsalves Love.Loss is an intimate portrait of the fear of loneliness. For the first time in my life I am alone, and at this moment, I feel so afraid of it. How do I deal with those silent empty spaces. How do I invent a future with out you in it? The entire film is searching toward fulfilment. In the end I realise that I always was alone. I realise silence is the only thing I can rely upon. 7. Outcome 2.30 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Outcome explores responses to trauma. How has trauma shaped me? Has it become part of my everyday, part of the way I respond to things? Right now, I long to have no memory, no nostalgia, no sense of time. My mind is filled with these images, words, stories, burning themselves on to my retina. Becoming part of who I am. I look at my baby photo of the first time I opened my eyes. I want that peace again. 8. I don’t Feel OK 2.30 minutes 2002 VIDEO ZONE – The Rirst International Video Art Biennial Tel Aviv, ISREAL 2002 Direction: Tina Gonsalves Sound: Tina Gonsalves I don’t feel OK is a reflection on displacement, self-loathing and self-destruction. I can’t sit still. I can’t eat. I can’t talk. I am paralysed in this moment. I want you to feel the way that I do. 9. Humid 4.08 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Humid is a piece about not knowing. I feel shaky right now, my sense of security is being challenged, and I try to hold on to whatever I can. I am here. feeling scared and disorientated. I realise I have nothing to hold on to, no sense of direction, no idea of what lies ahead. All that I have known has been destroyed. I am tired of holding on. I fall into it. I drift into it, wallow in it and let myself swim and play and drown in it. Right now I never want to surface. I am used to feeling like this. I am too scared to feel any other way. 10.The only way out is in 6.47 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Voice: Natalie Waldbaum Sound Recording: Hanna Uotinen The only way out is in explores falling into silence. It is about becoming comfortable with the space between words and the gap between the outgoing and incoming breath. The primal sound is creating by voice artist, Natalie Waldbaum as she explores the inner acoustics of her body. 11.Falling In 3.15 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Falling in is a piece about letting go. It all broke for me tonight – the illusion that we would get back together. I sit here so much wishing to be somewhere else – but having no idea where that else is. 12.I am you 3.44 minutes 2002 never released Direction: Tina Gonsalves Sound: Tina Gonsalves Voice: Natalie Waldbaum Sound Recording: Hanna Uotinen I am you is a disorientating piece explores physical and emotional claustrophobia. You have physically left though you still inhabit my body. You are not beside me but you are still inside of me. You have become my flesh and I want you out. The sound track, made from human voice, creates uncomfortable anxiousness and urgency, reflecting a tension that is never resolved. This Contact appears in this database if Microcinema International has screened a film directed by the Contact, a film directed by the contact is featured in a DVD distributed by the Blackchair Collection Shop, or featured an organization or activity linked with the Contact. This database is used for commercial as well as informational, non-commercial purposes. It is a historical archive of Microcinema International's activities. Inclusion in this database and archive in no way implies a continuing formal relationship or affiliation with Microcinema International or the Blackchair Label nor an endorsement of its activities by the Contact. Contact details are not displayed in order to protect privacy. If you wish to contact this artist please see their website as listed above or write Microcinema International and we will be happy to forward your e-mail.
Microcinema Interview/Article:
Interviewed by Joel S. Bachar, April 5, 2003 1. Why did you select this style of filmmaking when you set out to make your art? What were the initial emphases? The images or the story? Moving into moving based work really just happened. I started off doing a lot of collage, ripping up magazines, and playing around. This then lead me to the computer program photoshop, and then i started to make huge series of digital collages. This lead me to animation and sound, and then digital video. Essentially i am still doing the same thing - collaging , building up images, scraping things back. The tools have just changed. I tend to approach 'filmmaking' very intuitively. I have no idea really what i am going to do. I have never used a story board, or written a script. I just start playing with my footage, and it takes me in a direction. I guess you could say that my work has an emotional narrative. 2. Try to help us understand why or how you feel your work is unique from other moving image artists? Thats a hard question. I guess my work has a distinctive style to it. Its theme usually concentrates on the body, and how emotions are rendered on the physical and emotional body. I create a lot of work, so maybe it could be my approach. I really value process. The finished product isn't so important. but in some sense, my work has got very personal too me, and has sort of become my journal, building up my own language. I don't take it too seriously. and i will never apporach something thinking that this is going to be a master peice. I just relax and play. I enjoy it, and that is why I do it. I never watch the work that i have created, and sometimes i just create too much. Some I really like, some are mediocre but i don't think thats so important. For me, it is just about feeling free to create truthfully when i work. thats my main concern. A bit self indulgent, I know. but right now, thats what i like. 3. Computer software has always been one of your main "collaborators" -can you explain this "relationship" you have with technology. The computer is a fantastic creative tool. I love computers, but have no want to learn how they work. I know i use technical programs, but essentially i am not a technical person. it doesn't interest me. i just like what it does for me. So the computer does not feature so much in my work, It is just a tool. I think maybe i am a frustrated painter, but i haven't got the patience to wait for paint to dry, so i play with pixels. I just find it fascinating that i can sit at my computer and i can do film, then get on the web, then to sound, interactivity. I liken it to being in a huge studio where you have everything you need at your finger tips. Also the portablility is amazing. I have created films on beaches in new guinea, and sailing accross the atlantic ocean. It allows you to be really responsive to your environment. 4. What drives your art? Sound/music or images? Is there a chicken or an egg? images. 5. How is Australia as environment for the experimental film artist? Australian has some fantastic new media artists. There are a few great organisations that support new media work. Australia is very supportive, and even the general public seem to be a bit savy about it all. It seems to have really filtered through. 6. How important is telling a story in your works? How do you appoach telling a story in such an abstract medium? I guess it is not the story, finalsing a story that is important - i guess i more like to explore moments and feelings. As i mentioned, i have always approached narrative in a more non/linear sense. Maybe this has resulted from using the computer - it is totally non-linear. i can chuck and change, move as i feel. There is no beginning or end. It reminds me of the thoughts that move through my head. flittering all over the place. Also, i guess i have never been trained in film making. 7. Who would you want to see your films at a special screening if you had the choice of all living and dead? Why? god, who knows. i never think that anyone sees my films. self indulgent, i know, but i guess i don't create them for that purpose. i'm too hungover to start thinking about it - but the question is good. i'll get back to you on it. on the other hand i would like to see how picasso would have approached the computer. And rothko. huge meditations on colour? |
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