Test project using woven conductive thread, binaural recordings and touch technology. Developed and installed for the inaugural exhibition SWAMP at Join the Dots Workshop, Marrickville.
Sounds of Marrickville include: State of Origin, Frogs, Local pool, Protest march.
Images by Peter Morgan
‘Plastic Histories: the Departure Drawings’ was devised and installed directly into the window at SLOT Space, Redfern. This durational work took 15 days and several late nights to resolve and commenced the opening night of Sydney Contemporary 2015.
The drawings, comprised solely from ‘creative crap’ found plastic and recycled materials existing within my studio cachet included straws, plastic cutlery, babies dummy’s, disposable lighters, brain wave readers, bottle caps, nails, plastic coated wire and video tape found in my studio.
For the ‘Departure drawings’ project I posed the question ‘what are the challenges of developing an installation over an set timeline;using only waste materials; in full view of the audience – Redfern Community?’ The project required an open studio approach as I fit work in around employed work; problem solving live to site and exposing the drawing process and creative indecision to the audience, seen through the SLOT Window. The works rely purely on my own drawn judgements, eye, hand tools and assemblage of the random found objects, plastic discard and recycled waste.
Thank you to Tony Twigg, founder of SLOT Space, it was a privilege to contribute another work and to Peter Morgan for the responsive documentary photography.
Audio Landscape, a test work developed by Warren Armstrong & Susannah Williams.
Using woven conductive thread, touch technology and sound, the installation presents the listener with an opportunity to touch, see and hear snippets of iconic Sydney sounds including: a suburban pool; an Olympic site frog chorus; an Invasion Day protest march; and a State of Origin national anthem with low flying plane.
A contributory work for the launch of SWAMP gallery at Join The Dots Workshop, Marrickville.
Great working with Ya.
This short film ‘Family Ties’ by Victoria Silk Productions, records the conclusion of Susannah Williams artist in residency with Arterie program at the Chris O’Brien Lifehouse. The video documents the development process and project installation outside the Oncology treatment ward as it evolved during March.
Family Ties configures a scaled world map, drawn from origami, recycled Readers Digest atlas, string and pins. The coloured pins map the collected family histories and shared travel memories of the Lifehouse community and visitors, gathered over the three week residency, in February.
Thank you to all who contributed.
Susannah Williams Artist in Residence with Arterie at Chris O’Brien Lifehouse, Sydney from Susannah Williams on Vimeo.
Artist in Residence with Artery Programme at the Chris O’Brien Lifehouse, RPA Hospital Newtown
“Family Ties” is a project that looks at our collective personal histories. Where we are from; where we’d like to go; and other places of interest. Using world maps, string, pins, paper collage and origami we’ll draw a heritage map of the Chris O’Brien Life House community.
We look forward to contributing to the Arterie Programme and working with the Chris O’Brien Life House patients, visitors and team.
From February 2-18, I mapped the collective travel histories of the visitors, staff and patients, placing a pin and memory tag on the world map for each shared story and conversation.
The Listening Procession by Susannah Williams & Warren Armstrong was selected for Directors Cut, Blake Prize for Religious Art. Tested at Join The Dots during MOST festival 2015.
Comprised from audio recordings of spiritual spaces in and around Sydney area.
Participants are invited to access the sound work by walking across the mapped copper drawings. A mapped configuration of imagined stone circles.
The Listening Procession is an audio installation that explores two ideas that are at the centre of many religious and spiritual practices – space and ritual.
The work consists of a wooden stage on which a drawing, in copper tape, is mapped out. This drawing is based on aerial maps of English Druidic stone circles.
The drawn elements of the map are attached to hidden circuitry that triggers sounds – which can be heard on wireless headphones – when the copper is touched and physically explored.
But rather than seeking the touch of a hand, the work invites us to take off our shoes and trigger these sounds by walking slowly and carefully; ritually following a roughly circular path set out by the drawing.
As we do so, we will hear and move through binaural recordings of the places of worship of various faiths in and around Sydney, recordings that will give us a “felt” sense of being in that space.
The recordings in this work include the sounds of stillness at the Aboriginal sacred site, Baiame Cave; the interior of the Chapel of Departed Friends at the Sze Yup Kwan Ti Temple; a morning service at St Mary’s Cathedral; people milling around post wedding in the Glenwood Sikh Centre; an evening mantra at Sri Venkataswara Temple, Helensburgh; shacharit at The Great Synagogue; Ratnadambhava (Buddha of Earth & Art) Puja at The Sydney Buddhist Centre; and others.