Violet Gas

Violet Gas 2015. Acrylic on canvass, Violet aroma made by the artist, custom stand and delivery apparatus.

David Haines

David Haines has been a practicing artist since the late 1980’s. In that time he has exhibited extensively both  within Australia and internationally. He was born in London in 1966 and lives and works in the Blue Mountains, NSW. His work covers a wide range of approaches and techniques including video, sound, sculpture, photography and painting. Since 2004 he has been working with aroma and has been developing an extensive library of aroma molecules. Haines has been represented in the Adelaide Biennale of Australian Art, 2004 Sydney Biennale, 2002 Tarrawarra Biennale 2012 and The Kuandu Biennale 2014. He has exhibited his …

Slow Fast Mountains (earth aroma) 2014

    Installation View: Kuandu Museum of Fine Arts, Taipie, Taiwan. Materials – timber, perspex, coal samples, aroma chemistry, electronic aroma delivery system, stereo speakers and sound. Lumps of coal found on the edge of the Wollemi wilderness were taken from the middle of a dirt road that runs through the the Newnes State Forest. Custom tables made in our workshop housed the emission of these gaseous rocks into the gallery space of the Kuandu Museum of Fine Arts. Coal has little smell in and of itself, (possibly because carbon is not smelly) but these stones became a support for the  aroma of damp earth that …

The Wollemi Kirlians 2014

The following is a text written for the Kuandu Biennale extracted from a longer essay written by curator  Jasmin Stephens   David Haines is presenting an installation comprising a suite of images using the technique of Kirlian photography and a fragrance he composed in his Aroma Studio. In his sculptural assembly, Wollemi Kirlians (2014) and Slow Fast Mountains (earth aroma laboratory)(2014), Haines has configured the visual and olfactory elements to set up a recognition system intended to bring Biennale visitors into closer proximity to ‘unseen forces’ that lie within and around us. Haines’ installation exemplifies the tension between ‘the fictive …

A disassembled flower 2012

  A disassembled flower 2013. Sydney College of the Arts, Sydney University.   A synthetic Jasmine aroma is composed from a historical synthetic aroma formula found in the literature and then broken down into seven of its aromatic component accords. An accord in perfumery is a particular combination of a number of materials balanced in such a way that the combination of the materials no longer smells like any of its individual parts. This is analogous perhaps to what a chord is in music. The eighth sphere in the sequence puts all seven accords back together again so that the …

Noumenon Range

This pure pigment  image is the first in a number of works that form part of a series on imaginary cartography. “Loooking towards the Noumenon Ranges, 2013 ” was first exhibited in the Konica Minolta Redlands Prize.

Cosmic Vapor

  Cosmic Vapor  Breenspace 12 November – 23 December 2010 Photographs various dimensions, folded paper geodesic aroma spheres, aroma, stereo sound Radiant God Head (Particle System) is a triptych of imaginary clouds, algorithmically generated and presented as large-scale pure pigment prints. These works are conjured out of the virtual nothing of a mathematical sequence and belong to a category of object that is purely abstract, yet seemingly real. The Phantom Leaves comprises imagery derived from a home-made Kirlian ‘aura’ camera, originally invented in 1939 and popularised in the 1970s. The device pumps many thousands of volts into plants and flowers …

The Phantom Leaves 1-5

The Phantom Leaves 1-5 2010: Five aroma compositions with Kirlian Photographs. Aroma Compositions: Mint Glass, Wormwood of the Sea, Violets on Fire, Grass Valley, A Thousand Leaves. First exhibited in GREEN: Colin Langridge (TAS) David Haines (NSW) Richard Giblett (VIC) Lucy Bleach (TAS) Roman Signer (SWITZ) Bec Stevens (TAS) Richard Wastell (TAS) Semiconductor: Ruth Jarman & Joe Gerhardt (UK). Curated by Geoff Parr, Lucy Bleach and Bec Stevens.      

Red Wave Television System

Haines 2009 -2010 Red Wave Television System was first exhibited in Projections After Dark, Cambelltown Arts Centre NSW. Curated by Drew Bickford. 2 Screen projection (outdoors) Standard Definition DVD. Colour (Silent)Note – All Production stills are Composite Images: Ian Hobbs and David Haines 2010.

The Door

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 …

Ultra Violet Particle Shield

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

Ghost Flower Guidance System

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

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. A vast panorama of sheer sandstone cliffs glow in the last light of the afternoon sun; below, beckoning broodily, is Homer’s “wine-dark sea”. Against this mythical setting, plastered, enigmatically, two thirds up the cliff-face is the dot of a figure, which, upon close inspection, is revealed to be a human form with its arms and legs spread-eagled, as to achieve a better grip. The scale alone …

The Irrational

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

Born to be Wild:Silver Hill

Premiered in the Adelaide Biennale of Australian Art 2004. Curated by Julie Robinson , Art Gallery of South Australia. Single Channel Video Installation. In which a forest falls down of its own volition – collapsing in on itself in an act of unexplainable violence. Catalogue Essay: Anne Finegan There’s an implicit absence of human fate in this mysterious falling down of the trees. Catastrophe doesn’t always strike at midnight, and is all the more spooky for taking place in the clear skies of a noonday glare. The forest is majestic, rising from the cloud bank with an Ansell Adams black-and-white …

The Seventeenth Century

    Exhibited in The World (May Be) Fantastic, The Thirteenth Biennale of Sydney, 2002 curated by Richard Greyson.Included in Lets Talk About Six at The Dunedin Public Art Gallery, New Zealand 2004 curated by Justin Paton. 2 channel Video Projection. 5.1 Sound. The Seventeenth Century of Occultation & Surface, Thriteenth Biennale of Sydney catalogue essay by Anne Finegan. What if the seventeenth century were to erupt into the present, in a place which had never experienced the seventeenth century as such? A place which may have lived,a time which existed unchanged for centuries, possibly millennia, and which was untouched …

The Fifteenth Century

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 …

Otira Cemetery

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.