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The works in STILLMOVING introduce the viewer to new ways of regarding 'new media' through the investigation of spatial relations and the perception of time.
The space of the gallery becomes a laboratory, an active experiment. By playing with scale, creating places within places, colliding time, augmenting or simply inventing reality, the artists create spaces which embrace the onlooker thus made visitor. The frame turns into a doorway.

STILL MOVING works in alignment with the still photography exhibition at the Corban Estate Gallery, Uncertain Spaces, in which the participating artists consider the emotional tension inherent in uncertainty. STILL MOVING engages with new directions in art as a cultural practice while at the same time critiquing the impact of technological development on art forms and the mediated experience of the machine image.

Angela Main, May 2006

‘There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.’

John Cage Experimental Music. 1957


SCRATCH SERIES Cassima Selchow-Martin

In her series of mixed media printworks, Scratch, Cassima Selchow-Martin makes use of paradoxical aspects of photography; technical precision and expressive possibility. She works with the surface of film negatives in an exploration of fixity, impermanence and erasure. By layering these marked surfaces both digitally and with paint, she develops a vocabulary of transcience, movement and vibration. These works then act as fossils, evidence of a past time and evolutionary processes.

This intervention on the surface of the negative along with the experimental use of imperfections and marks, creates a link between the still photographic exhibition and the direct film programme.

Untitled No. 21, 2005

LIVE FEED Harriet Stockman

Engineering Design : Kane Henderson
Software Patch: James Charlton
Thanks to: Rowan Swannack and DESIGNSTEEL

Harriet Stockman brings to our attention, that the televisual mediated images that are a constant part of our public and private lives are a manipulation of the reality they claim to represent. Through disparities of time, framing, compositing and sequencing they are manufactured to a code of acceptability. She claims that as receptors of this material we are complicit in a mass amnesia, becoming so familiar with the viewpoint of the camera mapping our own, that the difference is forgotten. The presentation of this manipulated sensory data so becomes our own benchmark of visual perception

Live Feed, Still, 2005

UNTITLED Sam Morrison

Sam Morrison explores the acoustic dynamics of a space by operating it as an instrument. He responds to new spaces as a catalyst for creating site-specific work, often exploring the functional, historical and cultural significance of the space and relationship to surrounding space. He delves into this matrix as a way of deepening its meaning and resonance with the audience, of paying homage to the space.

"With eyes we gauge our surroundings, materials, spatial relationship. To concentrate on sound then, opens up an alternate way of reading, mapping and understanding environments." (Sam Morrison, 2005)

In this exhibition he will be utilising the acoustics of the old disused wine vats, remnants of the Corbans Winery.>>more

Wine Vats, Corban Estate Arts Centre, 2006


Animalia, 2005 was first created in collaboration with artist Caroline McCaw as part of an artists fellowship with HitLabNZ. It has been accepted to the Zero One San Jose Global Festival of 'Art on the Edge' for 2006.

Programmers: Jeorg Hauber, Julian Looser and Eric Woods.
Sound: Marc Chesterman
Website: Daniel White

Animaliaremix is a multi platform, immersive and interactive work that offers participants a series of experiences in both virtual and physical social spaces; online and as performers. Participants engage in a masquerade in which their own head is replaced by that of an animal, so becoming part human and part digital chimera.
Animalia, Screen Shot, 2005

Two Vivid Animations, still, 2005

Artists: Eve Gordon & Sam Hamilton, Richard Lewer, Catherine Garet, Campbell Farquhar, Dick White (RW), Mark Harvey, Sandy Gibbs, Douglas Crane, Louise Curham, Kah Bee Chow, Lissa Mitchell, Julieanne Eason.
Compiled for a screening by The Physics Room in Christchurch, this programme of experimental film and video art created by New Zealand artists over the past three years, provides a timely snapshop of artistic activity in contemporary time based media. This programme is lively and eclectic, touching on a broad range of genres including animation, direct film (working directly with the surface of the celluloid), pseudo, documentary and music video. Some incorporate sound while others register a cadence through the rhythm of their images.

"Looking to aesthetics or politics for their content, and often using film and video as a material construct with which to 'tamper', the 'experiment' is often in the negotiation of form and ideas presented as a collaborative unit."
Zoe Roland 2006

This selection of works seeks to develop a new language uncompromised by mainstream cinema and orthodox narrative constructions. Often dreamlike and surreal, they draw the viewer into a substratum of conscious viewing which is at times uncomfortably familiar.

(This programme runs continuously throughout the exhibition)

Thanks to Zoe Roland, The Physics Room and The New Zealand Film Archive.