INFLECTED FORMS by Shaun Gladwell – Art Review

SHAUN GLADWELL – INFLECTED FORMS

By Kerry Males

Shaun Gladwell is an Australian born artist and skateboarder. Gladwell primarily works in digital art and describes his video works as performance landscapes , Gladwell also works in  painting , photography  and sculpture. His works are usually influenced by a site and the ways that inhabitants form relationships with environments. Gladwell is well-known for his video work Storm Sequence, that sold for $84,000. Inflected Forms is a series of interactive public art sculptures that are based in Christchurch. The works are a series of large grey metal objects that are similar looking to skateboarding ramps, the sculptures are functional and are site based. The metal objects are a platform for a skateboarders urban innovation or adaptions. All the sculptures have been divided with a large split through the centre of them, which is a reference to the surrounding site that has been damaged by the Christchurch earthquake.

Gladwell states he is interested in the ways the public will react to the sculptures and how they will be treated. Inflected Forms was strongly influenced by a short five minute skateboarding film called Quaked, a film that was made by local skateboarders in Christchurch soon after the earthquake hit.  Gladwell says he was intrigued by the way that the  local skateboarders adapted to a new environment so quickly and how they reacted to the new broken forms.I found Gladwell’s work interesting because Gladwell thinks of public art forms as forms to be skated , and I feel that is more of a skateboarders frame of mind rather than an artist critiquing other artists art. However I do feel that Gladwell’s thinking towards public art does complement Inflected forms  in a sense that a skateboarding community will interact to urban environments whether they are meant to be skated or not.

The Stadium Broadcast by Field Theory – Art Review

By Callum Devlin

Radio has the power to broaden your perception, making you instantly present and aware of the city around you. In high school, if I ever felt particularly repressed by the insurmountable months of work I had to complete before finishing seventh form, I would tune in to the local Universities student radio station. There, inexplicably existing, was a world outside of my high school. I came across Stadium Broadcast as it was happening, a live-feed to a city taking some time to mull over it’s past, and I was thrilled to be able to eavesdrop.

Five Australian performance artists are parked in a camper van on the field of a condemned sports stadium in Christchurch. They refer to each other by DJ codenames, and broadcast their conversations to the internet for 72 hours, non-stop. They play music between droll talk-back banter, songs written by musicians that had at one time had also performed on that sports field. They tell stories that are not their own, donated by the people of Christchurch, who have been invited to join them, opening Jade Stadium to the public for the first time in almost four years. The collective is appropriately called Field Theory, and they hope to broadcast every single story of the stadium that Christchurch is willing to offer.

The-Stadium-Broadcast-promo-1024x682

Field Theory is: Jason Maling, Martyn Coutts, Sarah Rodigari, Willoh S. Weiland, Jess Olivieri, Lara Thoms, Jackson Castiglione and Rebecca Burdon.

Although none of the broadcasters were native to the city, the distance they had to the source material gave an honesty in their joy of discovery. They didn’t have to be sentimental, they could just be curious. Their approach to historical documentation was simply to collect “every story they could find about anything that happened to anyone,” with no aim to curate or edit any of the stories, it seemed. The stories that are collected lie between the sentimental and the banal. Some are of historical importance, others intimate memories. Filling up 72 hours worth of air time is a daunting task, however, questioning what was important to the history of the place and what wasn’t seemed adverse to the underlying sense of inclusivity present in every element of this project.

I think a lot about this project, and will continue to. Despite being an artwork ostensibly about the past, Stadium Broadcast was most assuredly live, contained to a weekend in November 2014.

http://thestadiumbroadcast.com/
http://fieldtheory.com.au/
@_FieldTheory