Critical Point Studies

diagram_critical

Ageing is the slow transition of multiple stable systems coming to critical points until an eventual fatal shift in form. — death is not a known point — skin flaking — prosthetic insertions — artificial hearts — metal knees. Where is the line between body and not body? Think about the edge of this page — the windows of building and the pores of our skin.


Installation View

A one day exhibition as part of CTRL-Z: Writing in the Age of New Media at the Fremantle Arts Centre in late 2011. This body of work is a continuation and development of Benjamin Forster’s solo exhibition )(.

The catalogue essay by Robert Briggs and Niall Lucy (Curtin University) is available here.

Read an extended essay in issue two of the CTRL-Z Journal here.

Work in Progress (cia studios 2011)

A selection of documentation from Benjamin and Rhiannon’s three week residency at CIA studios in October 2011. Utilising their own disciplinary frameworks and expertise as initial starting points, they began to construct simple experiments in order deconstruct the boundaries between architecture, drawing and movement, and at once learn about each other’s practice. The aim was to simultaneously develop multiple possible direction’s that can be selected from for future development. Everything is very much still in the stages of becoming, nothing is static.

Below are a selection of the experiments that occurred during this first stage of development.

Inscribed (Ko Aye Aung), 2010

This work was created as part of the Amnesty International’s ARTillery Festival as part of the MasterPEACE exhibition. Artist’s involved were asked to make work in response to the story of an unfairly imprisoned individual at risk, people whose right to freedom is currently being campaigned for by Amnesty International.

Inscribed (Ko Aye Aung) is an explicit analogy of the process of degradation and loss that has been occurred by Ko Aye Aung. I do not know Ko Aye Aung. If it was not for Amnesty I would not even know his story. All knowledge of him was provided to me as a simple digital profile. Dot pointed and only nine hundred and eighty two words accompanied by a small portrait. His is a story that is singularly unique, however at the same time multiple and all too common. His is a story we never truly know, we never hear about, we are all distant from.

This video is made through a simple process.
Insert Ko Aye Aung’s digital profile, one letter at a time, into and over the code that makes up his JPEG portrait. Each frame of this video is a record of the degradation and loss incurred as each letter is added until at last all his profile is written into the image and his face is lost.

relevant [ 10 Codeworks ]

House Drawings, 2010

Selection of ink drawings from a series concerned with architecture, stability and certainty. These drawings were exhibited as part of BLAZE 2010 at Canberra Contemporary Art Space.

relevant [ 10 Drawings ]

overview

Resulting from a residency at Canberra Contemporary Arts Space in 2009, Rational was Benjamin Forster’s first solo exhibition in the ACT. The exhibition ran from 25 March to 04 April 2010.

relevant [ Rational ]

A Written Perspective, 2012

This video is in part an illustration of the philosophical proposition, “the world is written”, and in part a critical experiment into the ever increasing rationalisation of imagery though ubiquitous mediation. Using a custom text detection algorithm, footage from around the Joondalup Shopping City has been processed. Everything that is not determined a word, is erased. This custom algorithm does not look for known letters, but rather in an attempt to avoid anglocentrism checks for properties common to the written word across all cultures.

Winner of the ‘Award for Excellence’ and ‘Celebrating Joondalup Award’ at the 2012 Joondalup Invitation Art Award.

relevant [ 12 Codeworks ]

Expanding set of points, 2011

An expanding collection of ephemeral drawings. Exhibited as part of )( at Fremantle Arts Centre in 2011.

relevant [ )( 11 Drawings ]

Installation View


Yonder
8 September – 21 October 2012
Perth Institute of Contemporary Art

Artists: Andy Best, Erin Coates, Heman Chong, Simon Faithfull, Benjamin Forster, Tony Garifalakis and Richard Lewer, Charles Lim Yi Yong, Clare Peake, Perdita Phillips, Helen Smith, Kai Syng Tan, Warren Vance and Jurek Wybraniec
Curator: Jasmin Stephens

Yonder offered a contemporary perspective on the desire that artists have always had to know ‘what’s over there’. With the notion of ‘mobility’ as the exhibition’s central idea, Yonder considered some of the poetic and pragmatic connotations associated with this strategy for investigating, taking action and day dreaming about one’s place in the world.

The artists in the exhibition referenced material, virtual and enquiry-based itineraries that reflect a diversity of approaches to propulsion and apprehension of the world. Whether working with traditional media such as paper and pigment or recent media such as digitised text, their approaches produced the effect of a route, a path or way being taken.

relevant [ Yonder ]

Pencil Examination

// a short historical lesson

ZENO: In order to walk out of this room you must get halfway towards the door. However in order to get halfway there, you must get a quarter of the way there. Before traveling a quarter, you must travel one-eighth; before an eighth, one-sixteenth; and so on. In order to move anywhere you must complete an infinite number of tasks. This is impossible. In fact this trip cannot even begin. As you need to perform an infinite number of small trips in order to make any trip, travel over any distance cannot be completed or even begun. All motion is an illusion.

// Diogenes walks away.

Benjamin Forster and Rhiannon Newton, Pencil, 2011