Works

Patricia Craciun

Jade Sim

Tabor Collective

batwings (2024) is a mixed media collage consisting of two assemblages of drawings, one on film and the other on paper. They are glimpses into an intimate mythology; a psycho-anatomical collection of dream echoes, which reverberate from the preliminary hallucinations, manifested by a two-year-old with high fever.

Patricia Craciun is a multimedia artist seeking to reconfigure the filmic space as an oneiric dimension. Blending handcraft with digital technology, her work leans towards the diaristic, exploring the language of inner landscapes. She feels equally uncomfortable in the nether regions of the psyche and the shopping mall. Patricia thinks that by playing with the physical properties of film we can rethink our relationship to the material world and cross into a different mode of reality.

Walking through Yun’s collection of objects: antiquities and objects from nature, the ‘uncollectable’ objects, sceneries ...

Focusing and defocusing, to have the object, to get hold of them, to catch, to gather, to remember and to lose… The blur, the absence, the empty spaces...

The time past and the time present, moving towards the time in the future, unclear, unknown. Traveling in time with no beginning and end. A moment, a place or an eternity, an infinity. The object, the stillness, the frozen, the scenes, the moving, the time...

A portrait, a book, a piece of composed music…

A tree is a memory-keeper. It is afflicted with everlasting memory; one that is carved into its skin and does not last for years or decades, but centuries. Motivated by resentment and loss, the work ponders how, on the contrary, human memory is altered in an authoritarian world.  

Is what you remember an accurate representation of reality, or is it an idealised past?
We Were Once Here invites you into a personal audio-visual experience, where longing becomes a form of resistance. 

12 attempts to collapse my infinity immerses viewers within a self-portrait studio shoot of the artist. Depicted across a series of twelve black&white photographic prints and a self-tape playing on a hybrid digital box camera, the work engages viewers in various acts of looking to question where exactly visibility resides, particularly in photographic representations of queer and trans bodies.  

Set me freeee  said the camera or whatever   was inside  it pointed as it was  at the shutter or backdrop or   blank. 

 *click* 

twelve times it was this   rotated round its axis each time  the invisible universe sucked   out by a crushed rubber ball breathing  

open the sky like a birthday gorl. 

“I encountered Rinsaga randomly while travelling in Japan. When we met, he’d just got out of jail after being inside for two years. He told me why he ended up in jail, he also told me his Dad illegally smuggled monkeys, and he grew up surrounded by monkeys.” 

Last weekend, I saw some people gathering and singing outside- Money gonna come, money gonna come.  

I was taking a video with my camera and talked to someone next to me, and I said, "I don't think they live here; they come from outside."  

I am trying to remember whether the person responded to me or not. Does the person come from outside?  

ANIMAL BLUES joins a short film and a sculpture. The work sits somewhere between an imagined utopian vision and a re-coding of our present relationship with our environment. For the purpose of watching the film, you may, if you wish, choose to believe in the reality of the world it presents. 

'Network Topology,’ a means of mapping the structure of computer networks, is transposed into a film grammar through the appropriation, digitisation, and recombination of montage techniques drawn from early cinema, structuralist film, and analogue video art. The film is a superimposition of superimpositions (just as the internet is a network of networks), and a story of two transgender women attempting to find connection. 

DV / Pure Data (Pd) / Graphics Environment for Multimedia (GEM) / FFmpeg. 

HelioTrope is a multichannel moving image and sound installation that uses digital breakage to create an image that is consumed by itself. It is full of inversions - a sun (sign) that absorbs as well as emits, a mythologized but recognizable world full of unsettling and dreamlike solar imagery and a strobing city at night illuminated by dark light. HelioTrope is a metabolic sci-fi/horror that works on the senses. Inspired by recurring themes of haunted media in popular film and television, the work is self-reflexive of its own tropic nature and is grounded in histories of telecommunications technology and paranormal phenomena.  

Your optimism is admirable. At times you need to bring yourself down to earth
All the way down
Stretch yourself out
Look up at the birds ghosting in the blue
Let yourself be
Here and now
Things don’t happen unless something makes them happen

Will to Power
Diatomaceous earth (fossilized microalgae skeletons), starch, poetry

The Pomegranate is a short experimental film that follows the journey of a protagonist who discovers a rotten pomegranate. Through visceral imagery and introspective narration, the film explores themes of impermanence, loss, and redemption as the protagonist grapples with the significance of decay and ultimately conducts a funeral for the discarded fruit.

A multi-channel video installation merges visual and auditory elements with water and mirrors, waving the sensory experience that taps into the subconscious. The water serves as a metaphor for the depths of the mind, mirroring emotions, tenses, and fears. In this context, the theme of war is tied to water, creating a relationship between conflict and fluid. The immersive experience is heightened by the resonant sounds of both warfare and water, engaging viewers in a thought-provoking exploration of the profound connections between human strife and the ever-shifting, relentless nature of water.