The Origin of Geometry

Background: The work draws on the example of kinetic and perceptually oriented installation art. Important precedents include the Zero Group and Art of Light and Space artists as well as contemporaries Olafur Eliasson and Carsten Holler. The work folds philosophical readings around perception and geometry through the mirrored rotating form of a Mathomat- a stencil of geometric forms once commonly used by school children, architects and designers. This folding references the example of artists Mark Wallinger and Mona Hatoum who enlarge everyday objects or popular culture references to induce philosophical insights. Contribution: The Origins of Geometry addresses the gap between two key approaches to installation art. Specifically the introspective encounter criticised by theorists of Relational Aesthetics as individualist (Bourriaud, 2002) and the social encounter which has been criticised for neglecting the affective and aesthetic (Birnbaum, 2007 and Bishop, 2008). The work uses the theme of geometry to emphasise the delimitation between human subjects and the world outside. The works contribution to the field is the notion that the artwork is a parergon, an ambiguous frame that is part of what it delimits. Significance: This work was selected to be shown at Deakin University Art Gallery by artist and curator James Lynch. The venue is a prestigious public gallery which has a rich history of exhibiting contemporary artists. The work was exhibited alongside artists of extremely high standing including conceptual artist Ian Burn from the group Art and Language, painter Dale Frank, and contemporary artists Nike Savvas, Chris Bond and Justine Khamara. The exhibition was opened by art critic Robert Nelson. The exhibition resulted in a further invitation to exhibit at contemporary art gallery Neon Parc in Hard Boiled. The work was subsequently acquired by nationally renowned artist and collector Deanna Georgetti.