This pure pigment image is the first in a number of works that form part of a series on imaginary cartography. “Looking towards the Noumenon Ranges, 2013 ” was first exhibited in the Konica Minolta Redlands Prize. The landscape depicted is often mistaken for a real place. The landscape is algorithmically generated using fractal-based 3d rendering software. 

The Door premiered in New Zealand at Te Tui Center for the Arts in the exhibition, “Who’s Afraid of the Big Bad Wolf” Curated by Emma Bugden and Pita Turei. Artists: Cao Fei, Gabríela Fridriksdóttir, Peter Gossage, Star Gossage,Veli Granö, David Haines, Shigeyuki Kihara, Polixeni Papapetrou ,Teresa Peters and John Walsh. Sound Mix, location and Studio Assistance. Claire Herbert. from the gallery website An artist can sometimes restore severed paths to our unconscious. Veli GranöPeople have always told tall tales. From early folklore to classic children’s fairytales such as the Grimm’s brothers, fantastical stories provide explanation for the strangeness of …

Exhibited: Tokyo Floating Worlds, Plimsol Gallery, Hobart.2006 Curated by Jonathon Holmes. Part of an ongoing series of 3d rendered virtual objects realised as large-scale photographic prints.  

Exhibited: Tokyo Floating Worlds ( group exhibition) Plimsol Gallery Hobart 2006 curated by Jonathon Holmes Part of an ongoing series of virtual objects rendered as large scale photographic images.

Day & Night  2-channel video projection. Stereo Sound. Performance re-recorded in High Definition 2015  Camera: Joyce Hinterding, 2004, 2015. Safety belay, Michael Myers. 2004. Premiered at Contemporary Art Center of South Australia CASCA 2005. Resonaces Magnetique 2016 Panacee, Montpellier, France. 

Solo Exhibition at Scott Donovan Gallery – Sydney Digital Prints, 2 hand made boxed editions with pigment prints, 3 cd-r audio works.    

The Fifteenth Century is a 2 Channel video projection DVD with Stereo sound. 16 X 9 aspect ratio. On the right hand screen we see a digitally generated fractal landscape that derives its geometry from the Artists date of birth that is used as the generator for the algorithm. On the left screen we see the ocean in the night sky over LA USA like a scene from a seventies horror movie. The Artist got the idea for this scene from his dream diary. In the soundtrack we hear the crackle of various electro magnetic emissions and the sound from …

Extract from an Essay by Ann Finegan For ArtLink 2009   As artificial pulse rates have accelerated, timekeeping mechanisms have continued to shrink. Today, the gigahertz, crystal oscillator hearts of tiny computer chips are embedded everywhere. Electronic vibrations subdivide seconds into billions of parts… measure and commodify both human and machine work, and precisely construct the accelerating tempos and rhythms of the digital era – coordinated, where necessary, by a central atomic clock. (William J. Mitchell. Me++ The Cyborg Self and the Networked City, 11)   To our everyday senses we might still inhabit what Deleuze and Guattari called a …

Made on site at Otira, Aurthur’s  Pass, New Zealand for Obscura Arts Festival 1999,  curated by Juliane Sephenson in association with the Physics Room, Christchurch.