Uber memoria XIX Part VII

Research Background International developments in video art have reflected a questioning of the world through the language of memory and social device. While this research recognises the significance of such implications, Uber Memoria XIX Part VII moves into a research question that interrogates how memory can be poetically used beyond this framework to visually represent reverie as a device for social narratives in art. Research Contribution The contributions are attested to four factors. First, demonstrate how a long term creative practice investigation can develop a methodology which engaged innovation in the way it defined digital cinematic practices in video art by using design thinking to construct its context and premise; second, contribute a broader international discussion about memory and the sublime through current practice, especially since the narratives of the recent 2018 Adelaide Biennial 'Divided Worlds'; third, contribute to a new way of thinking about memory through video art practice, and fourth, test how this premise of memory impacts on an image through both practice to find a new reference point to understand the impact of reverie on the perception of the subject and challenges the barriers to visually experiencing the implications of memory in art to further our understanding of visual narratives. Research Significance Significance is attested to five factors: first, the work was peer reviewed by Sydney Contemporary and the exhibition curator; second, the work was curated by Kelly Gellatly, director the Ian Potter Museum of Art and significant Australian curator; third, the work was exhibited at Video Contemporary, a high profile showcase of video art at the Sydney Contemporary Art Fair in Carriageworks, Sydney, Australia's most high profile art fair with 60,000 visitors; fifth, the calibre of national and international galleries attending the event including Pace Gallery, NY, Flowers Gallery, London and Sundaram Tagoe Gallery (HK, NY, Sing).