Tina Gonsalves (download pdf version of videography)

AUSTRALIA

http://www.tinagonsalves.com

tina@tinagonsalves.com

Formal Education and Study:

1990-1994 Degree in Honours, Swinburne School of Design, Swinburne University, Melbourne, AUSTRALIA

2000-2005 Masters in Art and Interactive Media, “Externalising the Internal” Royal Melbourne Institute of Technology University, Melbourne, AUSTRALIA

2006-2010 PHD Candidate, Creativity and Cognition, University of Technology, Sydney, AUSTRALIA

Profession: ARTIST

Sponsorship/GrantS/Awards/Residencies

2010 New Work Grant, Australia Arts Council


2009 Creative Connections Award, Australia Arts Council


2009/10 Artist in Resident, Nokia Research Labs, Finland


2009 Arts Council England Grants for the Arts

2009 Lighthouse Commission, Brighton UK

2008 Australia Arts Council Inter Arts Residency

2008 Australia Arts Council Visual Arts Board New Work Grant

2008 Arts Council England Grant for the Arts

2008 Wellcome Trust Large Art Award, UK

2008 Artist in residence, Liminal Screen, Banff Centre fro the Arts, CANADA

2008 Visiting Artist, Affective Computing, MIT Media Lab, USA

2008 Honorary artist in resident, Wellcome Department of Neuroimaging, UCL, LONDON

2008 Australian Network for Art and Technology Synapse Residency Grant, AUSTRALIA

2006 Arts Council England Grant

2005/07 Honorary Artist in resident, Institute of Cognitive Neuroscience,The Wellcome Trust Centre for Neuroimaging, University College London, UK


2005 Senior Guest Artist, Sound and Vision, Banff New Media Institute, Banff, CANADA
005 Arts Queensland Major Grant

2005 UK Arts and Humanities Research Council and Arts Council England’s International Fellowship

2005 Australia Arts Council New Media Arts Board New Work Grant

2005 Australian Film Commission Travel Grant

2005 Australian Film Commission strand V (seed development) Funding

2004/05 Institute of Advanced Media Arts and Sciences, Artist in Residence, Ogaki, JAPAN

2004 Arts Queensland Major Grant

2004 Ian Potter Foundation Grant

2004 ArtSway (pro)duction Residency, ArtSway, Sway, United Kingdom

2004 The Australian Film Commission Travel Grant

2004 The Australia Arts Council New Media Arts Board New Work Grant

2004 Australian Network for Art and Technology Travel Grant

2004 Banff New Media Institute Co-production, Canada

2003 Arts Queensland Major Grant

2003 The Australia Arts Council New Media Arts Board New Work Grant

2003 Australian Film Commission Travel Grant

2003 Ian Potter Foundation Grant

2002 The Australian Film Commission Travel Grant

2002 Artist in Residence, Asialink Chulalongkorn University, Thailand

2002 Artist in Residence Thematic Residency Upfront and Personal – The Banff Center Banff, Canada (Australia Arts Council)

2002 Artist in Residence Prague, Czech Republic, Prague Center for Contemporary Art

2002 Australian Network for Art and Technology Travel Grant

2002 Australia Arts Council Run_way Grant

2001 Runner up Digesis Film Festival

2001 Animation Award Digesis Film Festival

2000/2002 Macintosh Computers technical/machine/software support

1999 F1 Digital Film Festival best animation prize $12 000 Software from Discreet

1999 Nescafe Short Film Award Finalist $1500 award

1999 Open Channel Multimedia Center Artist in Residence Access to equipment/in-kind support

1999 Multimedia Australia Asia Pacific Online Artist in Residence 6 month online Artist in Residency $10000 worth ofSoftware from Macromedia/Meta Creations

1999 Australian Film Commission Women in New Technologies Support Scheme CDrom Production, Web Design Training

1999 Australia Film Television and Radio School Access to equipment in-kind support

1999 Animation Award Digesis Film Festival

1999 FirstPrize Animation F1 Digital Film Festival

1998 Finalist Nescafe Short Film Award

1998 Banyule Printing inkind support

1998 Open Channel Multimedia Centre inkind support

1997 Preselected Moet Chandon Art Award

1997 On Demand Digital Printing inkind support

1997 Australian Film Commission Women in New Technologies Support Scheme Adobe After Effects, Media 100 training

Present Employment:

Tina Gonsalves

Jan 2008

Gonsalves’ (http://www.tinagonsalves.com) creative investigation integrates Art, Science and Technology to create embodied interactive audiovisual experiences, discovering new ways of experiencing the internal body and the external environments, using painting, animation and interactivity to explore complex emotional landscapes.
The theme; ‘externalising the internal - revealing what lay beneath the skin’, has threaded Gonsalves’ artistic investigations. From 1995 to 2001, Gonsalves worked with diagnostic imaging departments of hospitals within Australia, gaining access to diagnostic imaging machines and resulting imagery. Her work evolved over this period from interpretative representations of the body using diagnostic imaging to exploring complex emotional landscapes using moving imagery and sound.

In 2002, Gonsalves pursued research to explore how her artwork could probe the audiences’ emotional body. She investigated the use of bio-metric sensors as triggers for emotional video narratives, leading to both more immersive installations, as well as intimate ubiquitous works. Gonsalves’ work in mobile and wearable technology investigates ways of using these technologies to creating new, more empathic social interactions. Her projects often attempt to disrupt codes of social behaviours, with an agenda to create more intimate and ‘authentic’ communication between each other (“Medulla Intimata” 2004; collaborator Tom Donsaldson, “Tryst “2006/2007).In 2007
Gonsalves lead international workshops for Nokia Design, Helsinki at VIU University, Venice. The focus is on the development of more empathic, creative and intimate interaction scenarios for mobile media.


Searching for more empirical foundations to the emotional cues that drive her work, in 2005, she initiated a collaboration with affective neuroscientist, Dr. Hugo Critchley and was awarded an Arts and Humanities Research Council /Arts Council England Arts and Science fellowship. Currently, through her role as Artist in Resident at the Institute of Neurology, UCL London, she is investigating the mechanisms through which emotions are triggered and shaped. Critchley’s neuroscientific interests focus on the brain and emotion mechanisms by which human social and motivational behaviour is controlled. Over the last year, Critchley and Gonsalves have beendiscerning the physiological signatures of emotional states to create software and artwork that recognize and respond to internal emotions.

In 2007 she was awarded the Wellcome Large Art Award, Synapse Residency from the Network for Art and Technology and the Liminal Screen Coproduction at the Banff Center to produce CHAMELEON: Tina Gonsalves will work with the Affective Computing Group, MIT (USA), Wellcome Trust Centre for Neuroimaging (UK) and Brighton & Sussex Medical School (UK) on the project "Chameleon", which draws upon earlier work developed in partnership with Nueroscientist, Professor Chris Frith and Professor Hugo Critchley. Chameleon is curated by SCAN. The project synthesizes neuroscientific and affective computing research to explore and provoke emotional processes by producing emotionally responsive audiovisual narratives. The work highlights awareness of our inner selves, as well as our innate tendency to synchronise and connect with others.Over the project she will continue her role as honorary artist in resident at the The Wellcome Trust Centre for Neuroimaging, University College London, UK. She will begin her role as visiting artist at the MIT Affective Computing Lab, USA.

Her work has exhibited/screened at the PowerHouse Museum, AU; Banff Centre for the Arts; CYNETART 06; Whitechapel gallery, UK; Siggraph, USA; ISEA ; Artsway, UK; IAMAS, Japan; The Australian Centre For Photography, AU; Barbican, UK; Pompidou Centre, France; DEAF 2004; ICA, UK and was a featured artist representing the ACMI at the Melbourne Art Fair.


She has taken part in many Artist in Residence programs including The Banff New Media Institute in Canada, the Centre for Contemporary Art in Prague, Asialink artist in residence at the New Media faculty Chulalongkorn University, Thailand, (Pro) duction residency at Artsway, the Advanced Institute of Media Arts and Sciences residency in Japan, the AHRC/ACE Arts and Sciences Research Fellowship, UK. Her music videos for labels BMG, EMI, and Festival Mushroom Records have been frequently televised worldwide. 

 

Collections

2002 235 Media GERMANY

2002 Goethe Institute Weimar backup_festival GERMANY

2002 Snack on Art TV, New York Cable TV USA

2001 Australian Center of Moving Image AUSTRALIA

2001-2004 Eat Carpet 2001 European Media Arts GERMANY

1999 Griffith University AUSTRALIA

1999 F1 Digital Film Festival

1999 Australian Film Television and Radio School AUSTRALIA

1999-2002 EAT CARPET SBS television AUSTRALIA

1999 DLUX Media Arts Collection AUSTRALIA

1999 The Kitchen USA

1998 Thundergulch USA

1999/98 ArtRage video collection series AUSTRALIA

 

Publications, Media, Radio:

Her work has been televised on ABC, SBS and Channel 9 and Channel 31 in Australia. It has been featured on the Sunday Program (interview), Eat Carpet, The Loud Short Film Festival Special and the Recovery Program. She has often been interviewed by Radio National Arts program,JJJ and 3CR Community Radio in Australia.

Her work has been showcased regularly through print applications including Panorama Magazine, Artlink, Mesh, Black and White, The Age, Herald, and Weekend Australian Newspapers. Most recently Tina has been been interviewed by Czech and German TV.

 

Video Installation Project/Responsive Video Projects:

FEEL SERIES

FEEL SERIES investigates ways of discerning the physiological signatures of emotional states to create software and artwork that recognize and respond to internal emotions. To gather the empirical foundations to the emotional cues that drive her work, Gonsalves initiated a collaboration with affective neuroscientist, Dr. Hugo Critchley, and was awarded an UK AHRC/ACE Arts and Science Fellowship. Critchley’s neuroscientific interests focus on the brain and emotion mechanisms by which human social and motivational behaviour is controlled. Each project was created over her role as Artist in Resident at the Institute of Cognitive Neuroscience, UCL London. Each project begins to test the mechanisms through which emotions are triggered and shaped, building a progression of interactive works that use elements of bio-feedback, emotional contagion and emotional entrainment. The projects have been supported by Australia Arts Council, Arts and Humanities Research Council, Arts Council England and Arts Queensland.

 

FEEL:INSULA : responsive biofeedback installation


Art & Direction : Tina Gonsalves
Neuroscience: Dr Hugo Critchley
Hypnosis: Dr. David Oakley
Computer Science: Tina Gonsalves, David Muth.

 

Feel Series, Tina Gonsalves, New Greenham Arts, UK 2007


Feel.Insula is an intimate and vulnerable responsive video installation driven by the stillness of the audience. In a darkened space, a video is projected on the wall. It is of the artist under hypnosis. Under hypnosis, the artist is asked to re-experience potent emotional memories of her life. As soon as the viewer enters the space, the artist wakes up from hypnosis. Only after the audience is completely still does the video fall back into weaving the stories re-lived under hypnosis.


FEEL_INSULA emerges from an established Art/Science research collaboration between neuroscientist Dr Hugo Critchley and artist Tina Gonsalves, and was created over her artist in residency at the Institute of Neurology at UCL, London.


‘Emotion expression databases’ such as ‘Karolinska’ and ‘Ekman’ databases are commonly used with in affective neuroscientific experiments. The artist started to question the validity of these ‘performed’ emotions as stimuli. In the search for more ‘authentic emotiona; expressions’, she began working with Dr. David Oakley, the Director of the Hypnosis Unit at UCL. She asked Oakley to hypnotise her in order to re-experience different potent emotional memories. Over 3 one-hour sessions, Oakley induced her into states of fearfulness, sadness, happiness and calmness. Each session was recorded using two 3 chip digital cameras focused on the artist’s face and also radio mic and ipod recorder. These video and audio recordings formed the basis to FEEL_INSULA.

FEEL:CHAMELEON : An emotional algorithm video installation


Art & Direction : Tina Gonsalves
Neuroscience: Dr Hugo Critchley, Dr Chris Frith
Computer Science: Tina Gonsalves, David Muth
Images: Karolinska emotion expression database


Our mental life is about interacting with others. In daily encounters, people automatically and continuously synchronize with the facial expressions, voices, postures, movements of others. Some happen in milli-seconds. Through unconscious mimicry, we forge a bond with each other through our gestures and movements - long before we utter a word. In essence, we are carriers, dancing with each other in harmonized body language, infecting each other with our emotions. Through these behavioural patterns, hierarchical and social power structures emerge. “Feel_Chameleon” highlights how, through contagion and empathy, our representation of the world become aligned with those with whom we are interacting. Using ‘emotional algorithms’ based on affective neuroscience studies, the piece demonstrates how we often have the uncanny ability to decode and predict the beliefs, goals and feelings of others. Each figure dispalys an emotion, which is met with the appropriate corresponding emotion. The figures move through a range of emotionals responses, often becoming immersed in sadness or anger. Over time, the figures learn to create an emtional homeostasis, resulting in calmness.


FEEL_CHAMELEON emerges from an established Art/Science research collaboration between neuroscientist Dr Hugo Critchley and artist Tina Gonsalves, and was created over her artist in residency at the Institute of Neurology at UCL, London.

FEEL<PERSIRE : (not released) responsive biofeedback installation using sweat


Art & Direction : Tina Gonsalves
neuroscience: Dr Hugo Critchley
Computer Science: Tina Gonsalves, David Muth.


Feel:Perspire is a psycho-physiologically responsive video installation, using sweat to trigger footage. The viewer flies into a never-ending horizon. But if they become nervous, all can start crashing down…



FEEL:INSIDE : Responsive bio-feedback self portrait (version 2)


Concept: Tina Gonsalves/ Dr Hugo Critchley
Authoring: Tina Gonsalves/David Muth


Betaspace, Power House Museum, Sydney, AUSTRALIA 2006


The audience enters a darkened room. The audience is presented with a large video pro-jection of the artist’s face. A camera sensros the movement of the audience. The emotional expression of the artist’s face is reflective of the audience’s emotional state, appraised in a general way by audience movement. If the audience is calm, her face becomes still and meditative. Alternatively, anxious movement of the audience is mimicked in the anxiousness of the artist’s face. Over time, continued anxiousness leads to the artist crying, and the ence is confronted with a private and intimate moment usually only privy to close friends family. The audience realizes they have caused the upset, but then are asked to work out how to cure it.


“FEEL: INSIDE” is a psycho-physiologically responsive video installation synthesizing art, neuroscience and technology. The project explores new, more embodied languages of active and emotional communication, investigating the inter-relationship of the internal body and the external world.


“FEEL: INSIDE” forms the initial investigations of artist Tina Gonsalves and affective neuro-scientist Dr. Hugo Critchley. The collaboration extends research in the naturalistic embodi-ment of emotion, looking at what ways art, science and technology can converge to become agents that allow us to have a more intimate relationship with our own bodies; more embod-ied interaction, tools that crossover between art and wellness; tools that interplay between the external and internal.

 

FEEL:TRACE: A responsive biofeedback installation using heart rate variability

 

Medulla Intimata : A responsive video jewellery project (collaboration with Tom Donaldson)

Wearable Futures,Wearable Futures: University of Wales, Newport UK 2005

Siggraph, Los Angeles, USA 2005

Dlux at the Sydney Opera House, Sydney, AUSTRALIA 2005

Next Media, CANADA 2005Institute of Contemporary Art, London, UK, 2004

Dutch Electronica Art Festival, Rotterdam, NETHERLANDS, 2004

ArtSway, Sway, UK, 2004

International Symposium of Electronic Art, Tallinn, ESTONIA, 2004

Banff New Media Institute, Banff, CANADA 2004

291 Gallery, London, UK, 2004

Medulla Initmata is a necklace that contains a video screen and biometric sensors. The sensors (using analysis of the emotional tone of the conversation) monitor the wearer’s emotions to guide real-time video-generation that evokes a sense of seeing beneath the surface of the skin, exposing the emotional and physical inner body. Video is displayed on the screen embedded in the jewellery. The imagery displayed is an emotional portrait, an exploration into the secret life of the emotional, physical, spiritual and psychic body of the wearer. The portrait responds to the tonal range of conversation. It is a hybrid new media work mixing subtle public intervention with jewellery, performance, biometrics, technology and moving image.

Medulla Intimata was funded by the Australia Arts Council and Arts Queensland, ArtSway in the UK and co-produced with the Banff New Media Institute, CANADA

Somewhere in Between: Studies in Translocation: Video Installation

Arc Biennal, Brisbane, AUSTRALIA 2005

Helen Gory Gallery, Melbourne AUSTRALIA 2005

KICKARTS, Cairns, AUSTRALIA 2005

Devos Gallery, Michigan, USA 2005

Solo Exhibition, Kickarts, Cairns, AUSTRALIA 2005

Solo Exhibition, ArtSway, Sway, UK 2004

Somewhere in Between: Studies in Translocation is a four channel video exploration that explores shifts of reality. Using the real world as a point of departure, we are presented with visions of horizon taken during a six week trans-atlantic sail from the Canary Islands to the Caribbean. These visions are then broken down and whittled away, reconfigured to suggest another reality. They are manipulated such that the details become indistinct, leaving them barely discernable as seascapes. These revisions reflect our own tenuous hold on memory and the impact our emotional state can have on the past and the present. The installation explore shifting realities, the nature of intimacy, and an engagement with time and distances.

The footage is used as metaphors for emotional spaces, investigating the parameters of time and space and their physical and emotional effect on people. This creates an atmosphere that is an intensified, illusory version of reality.The four channels are projected over two black walls in a dark room.

Endure : Video Installation

Tina Gonsalves: Endure, IAMAS, Softopia, Ogaki, JAPAN 2005

Harries National Digital Art prize, Queensland University of Technology Gallery, Brisbane, AUSTRALIA 2005

Today Art Museum, Beijing, CHINA 2005

The Western idea of progress and competition has encouraged a state of anxiousness and restlessness within humanity. The entertainment industry, particularily the television medium repeatedly sells us, in an ever strident and invasive voice, promises of more love, more wealth and more happiness. We ‘fill up time’ with relentless activity and noise, accomplishing goals that further drive us on the path to be better, greater, richer, happier, more beautiful, more wealthy, more engaged. This pursuit of the ‘perceived’ ideal has allowed little time for stillness, silence or contemplation. Endure is a two channel 28 minute single channel installation exploiting a stunted and irritating drama which captures the emotional drain of this obsessive activity on the human psyche. Each channel is continuous footage, unedited though manipulated.


On one channel, Tina Gonsalves has captured herself running on a treadmill at a very fast pace until she becomes caught in extreme and increasingly desperate exhaustion. The camera catches her sense of anguish and fatigue. The footage keeps rolling untill she can not bear to run any more and she is completely and utterly shattered. Using a technique of layering the video, the body begins to co-agulate and merge; expressions and distortions of the face melt and mutate through each other. The video scratches and blotches its way through the surface of the skin. This use of breaking down is a metaphor for the lack of containment of the skin as a barrier, and the vulnerability of the space of utter exhaustion. Near the end, the figures are almost mutilated by the intensity of the smearing video. The channel is taken to a point that corresponds with the violence and angst of a Francis Bacon painting.

The second channel captures shifting emotions in response to the more active channel. The footage is taken from single unedited shot of Tina Gonsalve’s face. She start off laughing and ends up crying. The process of subtle shifts of expression such as self consciousness, sadness, happiness and silence are captured. The sounds of her breath and heartbeat are included suggesting vulnerability and fragility. Projected intimately small against a wall in a darkened room with soft sound, the audience is privy to a private and intimate moment that would not normally be shared except with very close friends or family.

As the image in channel one becomes more anxious, the image in channel two becomes progressively sad.

Endure has been supported by the Australia Arts Council, Arts Queensland, the Banff Centre for the Arts and Artsway in the United Kingdom. Tina Gonsalves would like to thank Tom Donaldson.

Stillness : a responsive video installation (collaboration with Tom Donaldson)

Ogilvy and Mather, London, UK 2003

Stillness is a responsive video installation that explores how our perceptions are effected by different emotional states. At times the audience appear centre-stage in the video, while at others they fade into invisibility. As they become physically still, the installation discards their surroundings and shows them a world that becomes richer and more dreamlike. But this dreamworld remains fragile, and any movement destroys the moment.

Stillness reacts to the audience’s involuntary gestures. Stillness requires that all members of the audience be completely still. While they continue to move, they see mostly a strong reflection of themselves placed into a cold background. The more they move, the faster and more frantic the video plays. As they become still, and the longer they remain still for, the more the reflection of their own presence fades away. Initially the cold background is replaced with simple but rich scenes that remind the audience of moments of peace. As they retain their stillness, these simple scenes give way to more abstract vistas, with more absorbing colours, textures and narrative. If the audience retains their stillness even longer, the vistas fade away into a dreamlike narrative and they journey through a myriad of images, stories and experiences. But at any moment, any movement by any audience member can shatter the illusion and bring reality and self-reflection rushing back into focus.The installation takes place in a private gallery room. A camera monitors the audience and a projector displays the generated video on one wall of the gallery.

II Suspend my Breathe: a video installation

False Emotions Exhibition, Munich, Germany November 2002

The interior of the body has been colonized by medical imaging technologies. With In medical diagnostic imaging, the body becomes pieces of digital information, examined and described in terms of “cuts” and “slices”. Our private anatomy becomes a public presentation, evoking issues of physicality, vulnerability, and mortality.

With in I Suspend My Breathe, this fragmentation is amplified, picking up on the issues of vulnerability and mortality that we are confronted with. One channel of video is projected over one black in a private gallery room. Four large format prints accompany the installation.

Web Art:

"Release" A Virtual Memorial and Le Musee di-visioniste 2002

"Release" MAID IN CYBERSPACE FESTIVAL/WWW Montreal CANADA 2001

"Release" MAAP Festival 1999/WWW Brisbane AUSTRALIA 1999

VIDEOGRAPHY:

All pieces produced, written, directed, edited and animated by Tina Gonsalves

All sound composed by Tina Gonsalves, except where indicated

 

DVD ONE 1994-1998

1. Process of Becoming 4 minutes created 1997

 

 

Photoshop, illustrator, Director, Media 100

 

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

VideoLounge@The Knitting Factory NYC USA 1999

Melbourne International Film Festival AUST1999

Independent Exposure World tour 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA1999

The Sync.com screening - WWW 1999

Paperviens Project screening installation at Gallery 128 - NYC USA1998

WWW Conference Auckland New Zealand 1998

Moet Chandon Art Award 1998 Shortlisted

MAAP Brisbane AUS 1998

Art Rage Australian National Television/ABC/ Recovery AUS1998

Digital Art in Australia A documentary on Australian Digital Art AUS 1998

Interact 'Altered States' Video installation Melbourne Exhibition Centre AUS 1997

Pan Pacifica Festival, Amsterdam NETHERLANDS 1997

Loud Short Film Festival Australian National Television/Eat Carpet/SBS AUS 1997

Freud asserts that the origin of the ego is dependent on the construction of a physical map of the body’s libidinal intensities.. The “Process of Becoming”, humorously, visualizes the psychical and libidinal constructs of the physical schema of the libidinal body image. It assembles symbols of swollen orifices and organs of the body, as metaphors for the conduction of information from inside to outside of the body. The “Process of Becoming” utilizes the bizarre formation of teratomas sourced from hospital archives as its foundation, metaphorically and as source material.

 

2. The Graves of Craving 4 minutes created 1994/97

 

Photoshop, illustrator, Director, Media 100

 

Australian Center of Moving Image AUSTRALIA

Dallas Film Festival Dallas USA 2000

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

VideoLounge@The Knitting Factory NYC USA 1999

Independent Exposure World Tour 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA1999

Paperviens Project screening installation at Gallery 128 - USA NYC 1998

Montevideo festival NETHERLANDS 1998

LOUD Short Film Festival Australian national television/ABC television AUS 1998

 

The Graves of Craving is a four minute animation inspired by collaged visual journals of 1994. This piece probes into realm of memories past and future aspirations. With so much time spent on past associations and future hopes, how much time is given to the present moment?

 

3. Perception 4 minutes created 1997

 

Photoshop, illustrator, Director, Media 100

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

Independent Exposure World Tour 1999

Digital Film Festival World Tour 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Digital Art in Australia - A documentary on Australian Digital Art AUS 1998

Paperviens Project screening installation at Gallery 128 - NYC USA 1998

 

A computer generated animation exploring a range of constantly changing fluid symbols. Perception seeks to become a visual language that can only be subjectively decoded by what may be triggered by the viewer. It hopes to entice the viewer into the trance-like state - similar to my own experience while creating the piece over an intense seven day period.

 

4. Memoirs of my reproduction 1.5 minutes created 1997

 

Photoshop, illustrator, Director, Media 100

 

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

VideoLounge@The Knitting Factory NYC USA 1999 Eat Carpet - televised screening on SBS Australia 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Independent Exposure World Tour 1999

Melbourne Film Festival AUS 1998

Sydney Film Festival / Dlux screening "Mousetrap" Sydney AUS 1998

Paperviens Project screening installation at Gallery 128 - NYC USA 1998

 

A playful look at the concept of reproduction. Monstrous figures, made of collaged human body parts, parade the ‘stage of life’ to perform ritual mating acts. Is this where I come from?

 

5. Purge 1.5 minutes created 1998

Photoshop, illustrator, Adobe After Effects, Media 100, digital video camera

 

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Dallas Film Festival Dallas USA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

VideoLounge@The Knitting Factory NYC USA 1999

Eat Carpet - televised screening on SBS Australia AUS 1999

ArtRage 1998/1999 - A compilation video of Australian Digital Art AUS

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Digital Art in Australia - A documentary on Australian Digital Art AUS 1998

Independent Exposure World Tour 1999

Paperviens Project screening installation at Gallery 128 - NYC USA 1998

 

Purge is a two minute video/animation exploration into the suspension of time. In the space of an highly emotional and fear based state, the concept of time and environment appears to lose form and existence, and all that is left is the heavy purging of anger, sadness and hopes - bereavement of the self.

 

6. Swelling 4 minutes created 1998

Photoshop, illustrator, Adobe After Effects, director, Media 100, digital video camera

 

 

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

4i'me Manifestation interantionale Video et Art Montreal CANADA 1999

Dart Dlux Media Art Event Sydney Film Festival and Inter/national Tour AUSTRALIA 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Independent Exposure World Tour 1999

Paperviens Project- screening installation at Gallery 128 - NYC USA 1998

BlackChair Productions - screening - Seattle USA 1999

The Sync.com screening - WWW 1999

 

Swelling was inspired by twelve disk based animation I created in 1997. It journeys through a pathological dissection of diseases, tumours and corporeal abnormalities mutating into autonomous entities, giving an abstract impression of the internal body. All the sourced imagery is hospital diagnostic imaging, leaving the viewer questioning - could it be my internal self portrait? The sound is a mixture of bodily noises, digitally effected and mixed into a rhythmic repetition of the breath and the heartbeat. After four minutes of this rhythmic mutation, it is hoped the viewer is left a little on the 'giddy' side.

 

7. Nothingness 1.14 minutes created 1998

Adobe After Effects, Media 100, Hi 8

 

 

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

Eat Carpet - televised screening on SBS Australia 1999 - 2002

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Independent Exposure World Tour 1999

Paperviens Project- screening installation at Gallery 128 - NYC USA 1998

 

Nothingness is a short video piece that abstractly seeks to question the pursuit for happiness through the attainment of goals. With the constant pressure to move forward, being still is being left behind. What is left when there is no space for silence?

 

8. Touch 3.3 minutes created 1998

Photoshop, Illustrator, Adobe After Effects, Director, Media 100,

 

 

Digital Video Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

Nescafe short Film Award 1999

Nescafe Short Film Award Nescafe Short Film Award Screenings Sydney Australia 1999

Women on Women Film Festival and National Tour AUSTRALIA 1999

4I’me Manifestation interantionale VideØo et Art Montreal CANADA 1999

European Media Arts Festival and European Tour Osnabruk Germany 1999

Digital Film Festival World Tour 1999

Independent Exposure World Tour 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Paperviens Project - screening at Gallery 128 - NYC USA 1998

 

A highly layered (up to a thousand layers) video/animation which seeks to explore the dichotomy of spirituality and the ego. In a society where instant gratification is omnipresent and omnipotent and spirituality is its antithesis, where do they meet?

 

9. Immerse 2.30 minutes created 1998

Photoshop, Illustrator, Adobe After Effects, Director, Media 100, Digital Video

 

 

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Global Multimedia Interface Projected on four storey tall screen in Leicester Square FACT UK 1999/2000

Independent Exposure World Tour 1999

Paperviens Project - screening at Gallery 128 - NYC USA 1998

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

 

Immerse is a short journey into the realm of self acceptance. I sourced friends of all ages, nationalities, and walks of life. The huge cult of physical perfection creates so much anxiety through constant judgements and comparisons. The media has immersed us into a world where a very limited and narrow portrayal of beauty and success exist - how does this reflect when you look at yourself in the mirror? Do you smile or snarl?

 

10. Residue 3.50 minutes created 1998

Photoshop, Illustrator, Adobe After Effects, Director, Media 100, Digital Video

 

Snack on Art TV – screening on public/cable TV, New York City, USA 2002

Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

Shorts in Orbit Film Festival Melbourne AUSTRALIA 1999

Independent Exposure World Tour 1999

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

Paperviens Project screening at Gallery 128 - NYC USA 1998

Paperviens Project screening installation and performance at Galapogas NYC USA 1998

 

Residue is an expressionistic animation/video piece that glances into the confines of fractured identities. The pressure to be popular, the craving to be liked and approved of, and the fear of loneliness erodes the psyche leaving a residue of self doubts, self hatred and self bereavement - to finally realise that ultimately you are always alone. Is there comfort in that? Does anxiety and fear sit at the root of the human condition? Psychosomatically, how is fear rendered on the physical body ?

The original sound explores a rich textural trance state suspended with digitally effected samples of voice and every day life.

 

DVD 2/2000/20001

 

1. Wounded 3 minutes 1999

 

 

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

d.ART 02, dLux media arts at the 49th Sydney Film Festival, June 2002

WOW film festival and inter/national tour (women in film and television) 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

ST KILDA FILM FESTIVAL Melbourne AUSTRALIA 2000

NEXT WAVE FESTIVAL 'Blink' at the Australian Center for Contemporary Art 2000

EUROPEAN MEDIA ARTS FESTIVAL Osnabruk GERMANY 2000

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

F1 Digital Film Festival Best animation Award Melb 1999

 

Wounded is a three minute animation exploring the effects of fear on the psyche. Scientific imaging machines currently assess the bodies physical health - what if they could assess the psychological and emotional health? How would a broken psyche read? Wounded explores the need to face your fears. If you face your fear head on is it still a fear?

2. Kissing Mark 1 minute 1998

 

 

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

[D]vision Media Arts festival (a retrospective of work by Tina Gonsalves) Vienna AUSTRIA 2000

VideoLounge@The Knitting Factory NYC USA 1999

Eat Carpet - televised screening on SBS Australia 1999 -2002

Montevideo Festival Netherlands 1998

Independent Exposure World Tour 1999 Paperviens Project - screening at Gallery 128 - NYC USA1998

Tubor and Roots - a Lunch Box Recording Event - The Living Room NYC USA 1999

 

An experimental, fast edited bombardment of video pushed into its grain. It seeks to explore the space and feeling of a moment. It was inspired by the moments between sleep and awake, when rapid eye movement tends to inflict strong visual images on my consciousness.

 

3. Emerge 4.30 minutes 2001

Directed by Tina Gonsalves

 

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Kasseler Dokumetarfilm-und videofest GERMANY 2001

Digesis Film Festival AUSTRALIA 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

St Kilda Film Festival Melbourne AUSTRALIA 2001

 

Emerge explores childhood memory of a near drowning experience. I don’t remember being afraid or struggling. My memory is only of shards of colour and light, being gently supported by the sea. I wonder if that’s why I am so drawn to the sea.

 

4. Hollow 3.50 minutes 2001

Transfigure, Australian Centre for Moving Image, Melbourne, Australia 2004

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

d.ART 02, dLux media arts at the 49th Sydney Film Festival, June 2002

St Kilda Film Festival Melbourne AUSTRALIA 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

European Media Arts Festival Osnabruk GERMANY 2001

The skin houses the medium of touch. Human skin, and touch, gives people a means to physically and emotionally connect. Touch enables us to ‘feel’ our environment, but skin also allows one to feel oneself, it is the embodiment of that sensation. “Hollow” explores this merging and breaking of barriers, of skin/surface/emotions, using video. “Hollow” treats the video camera as if it were a ‘diagnostic tool’ focused on the textures inscribed on the flesh, indicating of vulnerability of the body. The camera ‘scans’ the subjects’ flesh, allowing the viewer to see marks of pain, emotional trauma and disease.

Over four minutes, “Hollow” explores self-esteem, vulnerability and body image. The piece’s narrative reflects the way, I sense, a vulnerable mind might work; forever shifting, changing and drifting.

 

5. Deeper 3 minutes 2001

 

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Rencontres audiovisuelles Lille FRANCE 2002

Kulturarena Festival GERMANY 2002

Back UpNew Media festival Weimar GERMANY 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

While three-dimensional ultrasounds were still in research and development stages in 2001, the images they produce were starting to make the News. TV News juxtaposed the images with happy parents greeted with first ‘portraits’ of their child. Expectant parents could purchase high-resolution video sequences of the foetus, as ‘foetal keepsake videos’. The diagnostic image was transposed to a recreational image. Viewing the high quality 3D ultrasound images, mothers report is an ‘incentive’ to endure pregnancy-related difficulties, reduced anxiety, and improved bonding between the mother and the foetus’. Beyond the purpose of ascertaining foetal well-being and promoting parental bonding, the technique changes the private, shared physical experience of the mother and feotus into a public exhibit. The advances in fetal imaging due to ultrasound impacted on society with its potential to underwrite anti-abortion arguments.

“Deeper”, created in 2001, a two and a half minute single channel video inspired by foetal imaging, conferred with the calmness I felt on first observing such images, the work sustains the intensity of the technique’s social repercussions. The postproduction techniques of “Deeper” emulated the aesthetic of an imaged foetus collected from the archives of the Royal Women’s Hospital

 

6. Dissect 3 minutes 2001

Digital Beidermeier ‘reproducing the private’ Dvision Festival Vienna AUSTRIA 2002

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Fine Art Forum Inter/national media arts festival 2001/2002

e-phos 2002: 4th International Festival of Film & New Media Athens, Greece 2002

7th Malaysian Video Awards 2002 Kuala Lumpur, Malaysia 2002

Festival Internacional de Video/Arte/Electrónica Lima, Peru 2002

Muestra Internacional de Videoarte Cartagena/Barranquilla Colombia 2002

dlux's d'art festival 2002 Adelaide 2002

fineArt in Motion, Moving Images, the SubStation,Singapore 2002

incubation @ trAce, The Nottingham Trent University, UK 2002

4th National Art, Media and Design Educator's conference Bangkok Thailand 2002

4th Annual Art in General Video Marathon Art in General NYC USA 2002

Videotage Hong Kong 2002

Playtime: Platform of Video Art /Film /Installations Johannesburg South Africa 2002

Digital Media Festival Philippines 2001

Multimedia Art Asia Pacific Festival Australia 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

Recent technologies have penetrated the body. Theorist Donna Haraway talks of a cyborg as a cybernetic organism made of flesh and technology. The cyborg reveals a set of leaky boundaries: human and animal, organic and mechanic, physical and immaterial. This cyborg condition reveals many complexities and confusions about the modern human condition, asking us to re-examine body politics, gender, technology and society.

“Dissect” evolves from an idea of the cyborg as a being whose technological enhancements are meant to make them better, stronger, faster and more beautiful. I imagined what this cyborg’s ‘opposite’ might be: a monsterous cyborg teratoma growing from juxtaposed flesh, bone and teeth, from diagnostic imaging data. The ‘monster cyborg’, although mediated digitally, is rooted in fleshiness and liveliness: more corpulent, more ‘human’ (as I saw it), messier, fatter and wrinklier, more emotive and having more bodily fluids.

Its skin is dissected, revealing the monster cyborgs’ corpulent organs. This monster cyborg could be ‘enhanced’ with, overwhelmingly, emotional organs displaced from their usual neighbourhood of offal and visceral tissue. This mutant belongs to a group of such entities that would all happily consume themselves. This monster cyborg embodies the materiality of the physical body while attempting to provoke a visceral reaction from the viewer.

 

7. Three studies for a Portrait

 

No.1 Yesterday 2.40 minutes 2001

No.2 Today 2.40 minutes 2001

No.3 Tomorrow 2.40 minutes 2001

 

Women Short Films 3, Oktagon Gallery, Jakarta, Indonesia 2003

Minikino Special, Danes Art Verandah, Denpasar, Indonesia 2003

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA

2002 European Media Arts Festival, Osnubruk GERMANY 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

voice: Benjamin Lyllof

“Three Studies For A Portrait”, a trilogy of 3 x 3 minute single channel videos, examines the effect of social conformity on our day-to-day modes of movement and the subtle anxiety this can cause.

“Three Studies for a Portrait” reveals the underlying chaos of society and conformity through focusing on the physicality of performance to engage the viewer, while capturing the contradictions between authenticity and assimilation. Each peice explores in what ways the tension between these notions might be intensified by capturing gesture in the documentation of performance. Isolating subtle actions through postproduction, an uncomfortable and irritating drama is created.

8. Resonate 2.20 minutes 2001

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

European Media Arts Festival, Osnabruk GERMANY 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

Resonate weaves a tapestry of mutated portraits of the internal/and external body, playing between hallucination and reality. It is a fluid piece that seeks to explore how people shift through our lives –. Who do I let into my life, who do I trust? When do I open up? Why is it that I can have so many people around me but feel so alone? Finally it moves into the isolation of the individual. It talks about loneliness and aloneness.

 

9. I don't know you". 2 minutes 2001

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

Talks about relationships. when we meet you tell me these stories. But they say nothing about you. What part of your body hides the lie?

 

10. Convergence 2.30 minutes 2001

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

WOW film festival and inter/national tour (women in film and televison) 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

The internal body is a filter for external world stimuli. The filters for the physical and psychological are selective, have biases, special interests, shaping who we’ll become, affecting our perceptions.

The single channel video piece, “Convergence”, explores the notion of filters, exploring how this sifting process might be visualized. “Convergence” emulates the symmetrical visual balance of the famous “Rorschach Inkblot Test”: a psychological personality test, in which a subject’s interpretations of ten abstract designs are analyzed and used to measure emotional and intellectual function.The source material for “Convergence” consists of a video of a jellyfish, standing as a metaphor for a filter.

At times the translucent look of the jellyfish flesh is reminiscent of the textures present in MRI scans of the body. Through postproduction, these translucent veils create a mesmerizing, yet ambiguous space where the viewer might make multiple interpretations: seeing brain or intestinal tissue, the caverns of the body interior or cosmic nebulae in outer space. The balanced aesthetic of the piece, while referencing the ink blots of the ‘The Rorschach Test’, also responded to Leonardo DaVinci’s “Vitruvian Man” and the dramatic VHP ‘fly through’ animations of the human body, recovering an ‘innate’ external and internal structure within nature exemplified by the human body.

 

11. Boxing fragments 2 minutes 2001

Digital Beidermeier ‘reproducing the private’ Dvision Festival Vienna AUSTRIA 2002

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Kasseler Dokumetarfilm-und Videofest GERMANY 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

This constant churning is killing me. These stories and images fill my head, playing themselves over and over, regurgitating themselves so they get messier and more frantic . They slowly decay into a sense of anxiousness, that permeates through every cell.

After a while I have become so used to the feeling that I think it is who I am.

 

12. Erosion 1.50 minutes 2001

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

Erosion documents two hours of my day. On this day, for the first time – I felt old. And I felt so alone. As the piece travels throughout the body, it weaves together patterns of flesh. These wrinkles and scars are visible signifiers, showing my pain to the world. These images, shot over an hour, are for the most part fragmented, they cut up my body, my face, my scars, my pain and my sadness.

The sound is fragments of conversation and thoughts overlayed.

 

13. Passing Through 3 minutes 2001

EXPERIMENTA Residue Screening State Library of Queensland Brisbane AUSTRALIA 2002

Circe De Medicine Paperveins Museum Of Art Biennal NYC USA 2002

Experimenta Media Arts Festival AUSTRALIA 2001

Exemplary collection Australian Center of Moving Image AUSTRALIA

Eat Carpet - televised screening on SBS Australia 2001 -2003

 

A piece about passing through time. Shot in the Australian desert, Passing Through weaves together imagery shot in the desert, with imagery drawn in my journal at the same time.

C

DVD 3 - LOSS SERIES 2002

This series of video work relates to the theme of loss. During the year of creating the “Loss Series”, I was myself occupying a highly charged emotional space. In “Loss Series”, the camera is turned on me, using my emotional body as a catalyst for the narrative of the work. The ”Loss Series” experiments with varying techniques for translating emotions and vulnerabilities to video, my own, establishing a connection to the ‘present moment’ in my work.

In order to capture the present moment, my objective was to explore the immediacy of digital video to seize ‘emotional moments’ as I was experiencing them. The digital medium with its portability and real-time capabilities allows the artist/film-maker to become truly responsive to an environment, to a moment. During the development of the “Loss Series”, I kept my computer and camera with me at all times, to document my emotional state, almost as a stream of conscious video diary. With this rigorous concentration on the evolving process of documenting, I hoped to gain a deeper understanding of my own creative process, and aimed to create work from intensely emotional moments. I hoped being comfortable in my creative process would enable a more immediate creative translation of embodied sensations and experiences into images. Each piece is a visual and sonic response to my own trauma; from anger, frustration, sadness, loneliness and fear. These pieces are not meant to be seen consecutively. Each exists on its own.These video pieces are very much focused on process. Some are created in a couple of hours; some are created over a couple of months. All are created in direct response to an emotional situation. Each video is approached very intuitively, much like I would approach a painting, feeding into it, scraping it back, trashing it, and starting again. They are created with a sense of urgency and are quite raw. In some ways I look at them like ‘stream of conscious’ video pieces, capturing moments in time. I look at this body of work I have produced as developmental work that documents a time. Although these pieces are linear, they generally have no beginning or end – they are deliberately incomplete and fragmentary. They explore emotional narratives, hoping to engage the viewer in emotional response. The works wait for the viewer to distinguish a pattern, rather than a pattern of information being imposed upon the viewer.Every video on this reel was created on my laptop. Each was shot with digital video and each video was self funded/

1. You and Me 2.07minutes 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves

INVIDEO Milan ITALY 2003

Ivive Le Femmei Girls on Film 1st Anniversary Screenings San Francisco USA 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

PERISCOPE, Adelaide International Film Festival AUSTRALIA 2003

1st Changmai New Media Arts Festival THAILAND 2003

Digital Cinema Program, The Australian Center for Moving Image AUSTRALIA 2002

PLASMATIC MAAP 2002, Beijing CHINA 2002

Diegesis Festival, SWERVE Melbourne AUSTRALIA 2002

False Emotions Installation exhibition Munich GERMANY 2002

 

You and I is a piece about my relationship right now. I am in the grip of circumstances beyond my control, fighting, arguing, screaming have become who I am.

I wonder how we got to this space. Where I attack you and you attack me. This daily existence of loss.

 

2. Now 3.30minutes 2002


INVIDEO Milan ITALY 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

1st Changmai New Media Arts Festival THAILAND 2003

“Video Mundi’ e-motional discharg curated by Jan Schujiren, Chicago Cultural Center USA 2003

False Emotions Installation exhibition Munich GERMANY 2002

Now explores timing. When is the right time to let something go? How do you know when to walk away? And where am I walking away to?

I glimpse the future with out you in it. I know I will be fine.

 

3. Absence 1.20 minutes 2002

8th international New Film Festival, Split, CROATIA 2003

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

Single Channel Mezzanine Gallery San Francisco USA 2003

1st Changmai New Media Arts Festival THAILAND 2003

False Emotions Installation exhibition Munich GERMANY 2002

 

“Absence” is a video response to an actual breakdown of communication I was experiencing. “Absence” attempts to reveal the weakness in human communication and understanding. Using repetitive postproduction techniques, it documents a relentless, destructive breakdown of understanding. “Absence” investigates how editing and pace effect the viewer’s reading of a moving image sequence.“Absence” was created in a matter of hours (including titles and sound). It was a frantic piece, created in a frantic time, in response to a frantic moment. It makes me laugh when I think back to the creating this piece, as it was created in a furious emotional state. For me, it did capture the confusion and mania I felt at the time.

 

4. Trust 4.24 minutes 2002

 

10th London Australian Film Festival,The Barbican Centre, London UK 2004

Goethe Institute, Toronto, CANADA 2004

Best of EMAF, International Video-Tour including:

Eissner Museum, Milwaukee, USA 2004

UCLA, Milwaukee, USA 2004

Columbia College Chicago, USA 2004

Goethe-Institut, Chicago, USA 2004

Kino im Sprengel, Hannover, GERMANY 2004

Filmwerkstatt, Düsseldorf GERMANY 2004

Medienhaus, Hannover, GERMANY 2004

KoKi Freiburg, GERMANY 2004

Kino 46 / Kommunalkino Bremen, GERMANY 2004

Deutsches Filmuseum, Frankfurt, GERMANY 2004

Goethe-Institut Guadalajara, MEXICO 2004

Eschborn K, Eschborn, GERMANY 2004

Goethe Institut Toronto, CANADA 2004

Goethe Institut Warszawa, POLAND2004

Goethe-Institut London, UK, 2004

Annexia, Toulouse, FRANCE 2004

Goethe InstitutE, Bogota COLOMBIA 2004

The 1st Transmanchurian Video Festival, (touring) China 2003

INVIDEO Milan ITALY 2003

Seoul Net & Film Festival KOREA 2003

OZONE Australian experimental digital media art Centre Pompidou, Paris FRANCE 2003

Ok Video, Jakarta International Video Festival, Jakarta National Gallery Indonesia 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum

of the University of Houston, USA 2003

Single Channel Mezzanine Gallery San Francisco USA 2003

European Media Arts Festival Osnabruk, GERMANY 2003

European Media Arts Festival international tour 2003

WRO Globalica POLAND 2003

1st Changmai New Media Arts Festival THAILAND 2003

19th Dokumentarfilm- & Videofest Kassel GERMANY 2002

»backup2002_festival.new media in film Bauhaus University GERMANY 2002

V IDEO ZONE – The First International Video Art Biennial Tel Aviv, ISREAL 2002

False Emotions Installation exhibition Munich GERMANY 2002

Trust uses fragments of rich and painterly sensual imagery to weave a portrait of intimacy and emotion. The figures become small monsters as they slowly attempt to interact with each other. Their interaction is based around longing and confusion. Visualised thoughts float through the air, creating a densely textured aesthetic.

5. Discharge 4.16 minutes 2002

Cartodigital Interactiva 01, Contemporary Art Museum, Ateneo of Yucatán, MEXICO 2003

Single Channel: Perspectives, Electrofringe, Newcastle, AUSTRALIA 2003

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003

Cartodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

False Emotions Installation exhibition Munich GERMANY 2002

Discharge uses the eye as a starting point to entry into the body. As the eye blinks, you are taken into an imaginery and poetic internal world.

6. Love. Loss 5.11 minutes 2002

INVIDEO Milan ITALY 2003

Ok Video, Jakarta International Video Festival, Jakarta National Gallery Indonesia 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

S ingle Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003

Single Channel Mezzanine Gallery San Francisco USA 2003

European Media Arts Festival Osnabruk, Germany 2003

Another Planet Recent Australian digital video curated by Keely Macarow Art Institute of Chicago USA 2003

Changmai New Media Arts Festival THAILAND 2003

False Emotions Installation Exhibition GERMANY 2002

Robert Beck Memorial Cinema at The Collective Unconscious, New York City “USA 2003

Love.Loss is an intimate portrait of the fear of loneliness. For the first time in my life I am alone, and at this moment, I feel so afraid of it. How do I deal with those silent empty spaces. How do I invent a future with out you in it?

The entire film is searching toward fulfilment. In the end I realise that I always was alone. I realise silence is the only thing I can rely upon.

 

7. Outcome 2.30 minutes 2002

European Media Arts Festival Osnabruk, Germany 2003

"Single Channel - Perspectives" Electrofringe, Newcastle, AUSTRALIA 2003

Cartodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003

Single Channel Mezzanine Gallery San Francisco USA 2003

1st Changmai New Media Arts Festival THAILAND 2003

“Video Mundi’ e-motional discharg curated by Jan Schujiren, Chicago Cultural Cente USA 2003

False Emotions Installation exhibition Munich GERMANY 2002

 

Outcome explores responses to trauma. How has trauma shaped me? Has it become part of my everyday, part of the way I respond to things? Right now, I long to have no memory, no nostalgia, no sense of time.

My mind is filled with these images, words, stories, burning themselves on to my retina. Becoming part of who I am. I look at my baby photo of the first time I opened my eyes. I want that peace again.

 

8. I don’t Feel OK 2.30 minutes 2002

Transfigure, Australian Centre for Moving Image, Melbourne, AUSTRALIA 2004

St Kilda Film Festival AUSTRALIA 2004


d>art04 Sydney Film Festival Australia 2004


Imperial Beach International Film Festival USA 2004


Digital Projections, The Australian Centre for Moving Image, AUSTRALIA

2003


International programme of »backup.award« Wiemer, Germany 2003


"Single Channel - Perspectives" Electrofringe, Newcastle, AUSTRALIA 2003


BrainMap, public screening, Federation Square Melbourne AUSTRALIA 2003


[Head Space], National Neurosccience Facility, St Vincents Hospital, Melbourne AUSTRALIA 2003

Ivive Le Femmei Girls on Film 1st Anniversary Screenings San Francisco USA 2003

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003

Single Channel Mezzanine Gallery San Francisco USA 2003

“Video Mundi’ e-motional discharge curated by Jan Schujiren, Chicago Cultural Centre USA European

1st Changmai New Media Arts Festival THAILAND 2003


Media Arts Festival Osnabruk, Germany 2003


VIDEO ZONE – The First International Video Art Biennial Tel Aviv, ISREAL 2002


False Emotions Installation exhibition Munich GERMANY 2002

In reading the diagnostic image, the doctor fragments the body, the patient becomes a specific illness, the dysfunction they suffer. “I Don’t Feel OK” explores fragmentation, attempting to experiment with ‘emotional contagion’.

The video’s purpose was to create a state of flux in the viewer, to create potentially uncomfortable and disturbing responses. The video utilizes my own frustration as the source material of the video, intentionally shooting my body in angst, utilizing my body as a site for the work. While making these edits, my objective was to create fragments, fractures, discarded remnants, debris and disorganization, as if the body and mind were breaking down.

Through the editing process, I experimented with ways to intensify the emotional disturbance of the piece, in order to achieve some sense of emotional contagion in the viewer.

9. Humid 4.08 minutes 2002

“Video Mundi’ e-motional discharge curated by Jan Schujiren, Chicago Cultural Centre USA 2003
Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003
1st Changmai New Media Arts Festival THAILAND 2003
False Emotions Installation exhibition Munich GERMANY 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves

Humid is a piece about not knowing. I feel shaky right now, my sense of security is being challenged, and I try to hold on to whatever I can. I am here. feeling scared and disorientated. I realise I have nothing to hold on to, no sense of direction, no idea of what lies ahead. All that I have known has been destroyed.

I am tired of holding on. I fall into it. I drift into it, wallow in it and let myself swim and play and drown in it. Right now I never want to surface. I am used to feeling like this. I am too scared to feel any other way.

 

10. The only way out is in 6.47 minutes 2002

Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003
1st Changmai New Media Arts Festival THAILAND 2003
False Emotions Installation exhibition Munich GERMANY 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves Voice: Natalie Waldbaum Sound Recording: Hanna Uotinen

The only way out is in explores falling into silence. It is about becoming comfortable with the space between words and the gap between the outgoing and incoming breath. The primal sound is creating by voice artist, Natalie Waldbaum as she explores the inner acoustics of her body.

 

11.Falling In 3.15 minutes 2002

Single Channel: Collaborating with the Moving Image, Blaffer gallery, the Art Museum of the University of Houston, USA 2003
Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003
Independent Exposure, North Carolina USA 2003
Commerce Street Artist Warehouse, Houston USA 2003
111 Minna Gallery San francisco USA 2003
The New Space Portland Oregon 2003
1st Changmai New Media Arts Festival THAILAND 2003
False Emotions Installation exhibition Munich GERMANY 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves

Falling in is a piece about letting go. It all broke for me tonight – the illusion that we would get back together. I sit here so much wishing to be somewhere else – but having no idea where that else is.

 

12.I am you 3.44 minutes 2002

20th Dokumentarfilm- & Videofest Kassel GERMANY 2003

St Kilda Film Festival AUSTRALIA 2003
Catodigital Interactiva 01 Contemporary Art Museum Ateneo of Yucatán MEXICO 2003
1st Changmai New Media Arts Festival THAILAND 2003
False Emotions Installation exhibition Munich GERMANY 2002

Direction: Tina Gonsalves Sound: Tina Gonsalves Voice: Natalie Waldbaum Sound Recording: Hanna Uotinen

I am you is a disorientating piece explores physical and emotional claustrophobia.

The Human Visible Project recorded a human body through cyrosection (shaves of very fine slices, between .33 and 1 millimeter thick from the frozen cadaver). The extreme care involved with the processes of obtaining the slices and producing the images of the cadaver do not correlate with care for the previous life of the corpse. The first cadaver selected for the HVP was a convicted murderer who donated his body to science before his execution by lethal injection. In life, this man had been rejected by society, and in death, he was highly valued as a great asset of universal information, ‘reborn’ as the visual model for all our imagined, internal bodies.

“I Am You”, another video tin the “Loss Series”, highlights the discrepancy between the body image presented to us by the medical community and the body image we imagine. It does this by isolating an awkward gesture, highlighting both anticipation and personal anxiousness.

The sound track, made from human voice, creates uncomfortable anxiousness and urgency, reflecting a tension that is never resolved.

DVD 4 -FALLING IN SERIES AND BAYPAY MI

1. BAYPAY-MI 7 minutes 2002

Baypaymi (18 meg)

Direction: Tina Gonsalves

Written by: Dhuwarrwarr Marika and Gulumbu Yunipingu

Produced by: Yothu Yindi Foundation (http://www.yothuyindi.com)

Featured Artist for the Australian Centre for Moving Image, Melbourne Art Fair, Melbourne, AUSTRALIA 2004

Gu-ring-gai Festival, Sydney, AUSTRALIA 2005


The Yolngu People are the traditional land-holders of North East Arnhem Land, Australia. BayPay-mi talks about the Yonglu elder women’s connection to the land and all that is provides. The women talk about the importance of passing on cultural knowledge to the next generation.


It is an experimental piece, created in collaboration with the Yonglu Elder women.Bay-Pay-mi was created over a week, out in the bush in North East Arnhem land, Australia, It was created o on a laptop connected to a generator.

 

Falling In Series - experimental documentaries of New York. Morocco. fisherman of Tangiers, and Prague

2 minutes 2002

Direction: Tina Gonsalves

Featured Artist for the Australian Centre for Moving Image, Melbourne Art Fair, Melbourne, AUSTRALIA 2004

"Falling In' are a series of short experiemtnal documentaries, capturing small moment of time, exploring how we see the world and ourselves and others, focusing on the atmosphere of the streets, to feel the emotion of the landscape. These pieces focused on the immediacy of the digital image, and were created on laptops with in the environment.


DVD 5 – Studies in Translocation 2004


Studies in Translocation 2004 explores an engagement with the transient & evanescent nature of travel. The work is informed by the extensive journeys undertaken by the artist over the last few years and captured on video. This series explores shifting realities, the nature of intimacy and an engagement with time and distances. It looks at gritty and magnificent landscapes shot over a period of several years in India, Laos, Canada, Morocco, Papua New Guinea, Australia, Canary Islands, Thailand and Europe as well as eerie and seductive seascapes of the Atlantic, Pacific and Indian Oceans as well as the Mediterranean and the Caribbean.

It uses the footage as metaphors for emotional spaces, each piece investigates the parameters of time and space and their physical and emotional effect on people, creating an atmosphere that is an intensified, illusory version of reality. Each of the works are about the attempt to grasp and retain a precise moment of time. Within this series the use of layered video, enlargement, repetition, and different rhythms aims to create a sense of instability for the viewer, reflecting upon our individualised memory of experience. Often parts of the series are constantly reworked, capturing the creative process.

Studies in Translocation was produced during a co-production with the Banff Centre of the Arts in Canada, and a Pro[duction] residency at ArtSway in the United Kingdom, IAMAS residency in Japan. It has been supported by the Australian Arts Council New Media Arts Board, Arts Queensland, as well as the Australian Network for Art and Technology.


Somewhere in Between 5.15 minutes 2004

Port Shorts, AUSTRALIA 2008


BBC Bigger Picture, Manchester, UK 2006


Hull Short Film Festival, Hull, UK 2006


White Chapel Gallery, Wormhole Salon, London, UK 2006


Gigantic Art Space, NYC, USA 2006


European Media Arts Festival, Osnabruk, GERMANY 2006


Museum of the World Ocean, KALINGRAD, 2006


Arc Biennal, Brisbane, AUSTRALIA 2005


Helen Gory Gallery, Melbourne AUSTRALIA 2005


KICKARTS, Cairns, AUSTRALIA 2005


Devos Gallery, Michigan, USA 2005


VideoLisboa 05, Lisboa, PORTUGAL 2005


Dlux Media Art Event, Chauvel Cinemas, Sydney, AUSTRALIA 2005


Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005


IAMAS, Ogaki, JAPAN 2005


ABC2, National Television, AUSTRALIA 2005


Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004


Arc Biennal, Brisbane, AUSTRALIA 2005

Helen Gory Gallery, Melbourne AUSTRALIA 2005

KICKARTS, Cairns, AUSTRALIA 2005

Devos Gallery, Michigan, USA 2005

VideoLisboa 05, Lisboa, PORTUGAL 2005

Dlux Media Art Event, Chauvel Cinemas, Sydney, AUSTRALIA 2005

Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005

IAMAS, Ogaki, JAPAN 2005

ABC2, National Television, AUSTRALIA 2005

Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004

Sound: Tina Gonsalves/Andrea Young/Takeko Akamutsu

Somewhere in Between : VERSION 1/ 5.15 minutes VERSION 2/ 2 .40 minutes

This video explores shifts of realities. Using the real world as the point of departure, Somewhere In Between takes visions of horizons taken around the world at twilight. Mixing misty lakes in Scotland with the polluted waters of Bombay; tropical waters of the Caribbean and the muddy waters of Northern Australia. These visions are then broken down and whittled away, reconfigure to make another reality. They are manipulated such that their details become indistinct, leaving them barely discernable as seascapes. These revisions reflect our tenuous hold on memory, the impact our emotional state can have upon the past and present.

UK Guardian - September 2004


"This enchanting video piece captured a six-week transatlantic sail from Cape Verde to the Caribbean by the Australian artist Tina Gonsalves. Training her camera on the horizon, she documented the misty impressions glimpsed between sunrise and sunset on her journey, the orange sun beaming across the ocean like some undiscovered planet. Her slow and steady expedition across the water alludes both to the wonder of 19th-century exploration, the excitement of uncharted territories somewhere between reality and imagination, and the futuristic idealism of space travel in the night sky overhead. The result is a mesmerising record of travel across vast expanses of the earth rarely experienced in modern life".


Jessica Lack
Artsway, to Oct 1

Somewhere in Between: Version 3: 7.40 minutes 2005

Somewhere in Between: Studies in Translocation” explores the nature of travel. The work is formed by extensive journeys undertaken by the artist, captured in audio, video and photography.


Using the real world as a point of departure, we are presented with visions of horizons taken over the world, from sailing across the Atlantic, to the polluted waters of Bombay, to lakes in Scotland. These visions are mixed with footage shot over many years from Fourmile Beach in Port Douglas. They are then broken down, reconfigured to suggest another reality, leaving them barely discernable as seascapes. These revisions reflect our own tenuous hold on memory and the impact our emotional state can have on the past and the present. This creates an atmosphere that is an intensified, illusory version of reality.


The sound features recent voice recordings captured while traveling. The artist has also used recordings of her mother and father with her own voice from archival travelogue. The artists family departed from Port Douglas in 1981 to sail around the world using sound recordings to document their journey. In addition the mix includes recently found, old tapes of the artists’ deceased grandfather where he shared his more imaginary travels recorded obsessively from his suburban Sydney home.


The sound track is created in collaboration with Japanese Sound Artist, Takeko Akamatsu.

Somewhere in Between: Version 4 : 3 minutes 2005

BBC Bigger Picture, Manchester, UK 2006
Hull Short Film Festival, Hull, UK 2006
White Chapel Gallery, Wormhole Salon, London, UK 2006
Gigantic Art Space, NYC, USA 2006
European Media Arts Festival, Osnabruk, GERMANY 2006
Museum of the World Ocean, KALINGRAD, 2006
Arc Biennal, Brisbane, AUSTRALIA 2005
Helen Gory Gallery, Melbourne AUSTRALIA 2005
KICKARTS, Cairns, AUSTRALIA 2005
Devos Gallery, Michigan, USA 2005

Somewhere in Between - version 4 explores how memory and emotions can effect our sense of  time and reality. The piece uses the voice of the artist's deceased grandfather, recorded near to his death, as he discusses his fears of life and fears of death.

The piece documents my grandfathers death and my nephews beginning of life. 

The image focuses on a never ending seascape horizon. These visions are slowly decayed over time to suggest another reality, leaving them barely discernable as seascapes. These revisions reflect our own tenuous hold on memory and the impact our emotional state can have on the past and the present. 

Grasp 4.20 minutes 2004

White Chapel Gallery, Wormhole Salon, London, UK 2006
SEX adultshop.com erotic art award exhibition, Australia 2005
European Media Arts Festival, Osnabruk, Germany 2004
Senef, Seoul Net & Film Festival, Seoul, Korea 2004

Grasp is a manic piece about desire. Where is the line between desire, fear and violence? The agitated pace and uncomfortable sound destructs, erupts and corrupts the image.


Slippage 3.17 minutes 2004

never released


This work acts in opposition to the previous studies in its violent interpretation of extreme emotions. Overlaid video montage through manipulation and repetition breaks down the image; the face distorts, the skin collapses and the flesh around the mouth destructs. Closer to the paintings of Francis Bacon than traditional video portraiture this work is an unsettling experience for the viewer.

 

Dissolving 4.52 minutes 2004


Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004

Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005

Dissolving is a short contemplation about the beauty hidden in the everyday. Extreme slow motion is used to magnify the beauty of a small action that symbolizes an unfulfilled yearning for wholeness.


The crossing 2.31 minutes 2004


Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004

Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005



This work captures seventeen days on a small boat while crossing the Atlantic Ocean. It aims to address issues of isolation, insignificance, and the vulnerability felt as the power of the ocean was anticipated.


Ceasing 7.11 minutes 2004


never released

An old piece of Zen wisdom advises when it is time to eat--eat, when it is time to work--work, and when it is time to die--die. Buddhists' advise that to truly live, you must truly accept death.
Ceasing explores the cyclical nature of life and death


Surfacing 2.23 minutes 2004


Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004

Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005



This study attempts to capture the feeling of emerging from intense emotional experiences. The vision is blurry and indistinct. It asks how do memory and emotions impregnate the atmosphere? Are they part of the air which we breath?


Leaving 2.19 minutes 2004


Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004

Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005


Leaving attempts to explore the sense of urgency of wanting to leave. Those moments before we leave when expectation and excitement are at their peak. This dramatic manipulated video work also explores personal space and notions of intimacy and fear. Intimacy involves trust and confidence, which offers greater potential for rejection and pain.


Waiting VERSION 1 and VERSION 2 3.34 minutes 2004/2.40 minutes 2005

Girls on Film, Manchester 2006
Tina Gonsalves: Somewhere in Between, Studies in Translocation, Kickarts, Cairns, AUSTRALIA 2005
IAMAS, Ogaki, JAPAN 2005
Tina Gonsalves: Somewhere in Between, Gallery Installation, ArtSway, Sway, UK 2004


Waiting explores the relationship between presence and absence, between expectation and reality. Can we resolve the image of where we are going with the actual? Do we invest the real with our own hopes and fears? Can the real recover?

 

DVD 6 - FEEL SERIES 2006


1. Ferment 3.26 minutes 2006
THE MONITOR: Ferment - Tina Gonsalves, 24 hr Art, NT Centre for Contemporary Art, Darwin, AUSTRALIA, 2007
700IS Festival, Egilsstair, ICELAND, 2007
BBC Bigger Picture, Manchester, UK 2006
Hull Short Film Festival, Hull, UK 2006
Media Art Festival Friesland 2006
White Chapel Gallery, Wormhole Salon, London, UK 2006


Direction: Tina Gonsalves
Neuroscientific input: Dr.Hugo Critchley
Principal Voice: Dr David Oakley


How do we know how we are feeling? We have little control when strong feelings sweep us away, overwhelming us and causing havoc in reasoning. The lack of awareness of emotional feeling can also be damaging as awareness of our emotions. The ability to read emotions in both others and ourselves is central to empathy and social understanding.


On the other hand, powerful emotions can simmer beneath the threshold of awareness, impacting on how we perceive and act, even though we have no idea they are at work. “FEEL:FERMENT” highlights the emotions fermenting under the surface, emphasizing how often we don’t know how we are feeling.