http://www.laurawoodward.com.au/pulse-2007 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442987227338-XMC7JWM5K4803QUUR4B6/LWoodward03+%282%29.jpg PULSE 2007 - PULSE 2007 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four identical spindly units hang along a bush path, partially obscured and seemingly growing from the trees. They are still until someone approaches, at which point they respond by slowly pulsing in and out. Their motion is hypnotic and vaguely sinister. PULSE was exhibited at McClelland Gallery and Sculpture Park as part of the McClelland Sculpture Survey 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442987227338-XMC7JWM5K4803QUUR4B6/LWoodward03+%282%29.jpg PULSE 2007 - PULSE 2007 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four identical spindly units hang along a bush path, partially obscured and seemingly growing from the trees. They are still until someone approaches, at which point they respond by slowly pulsing in and out. Their motion is hypnotic and vaguely sinister. PULSE was exhibited at McClelland Gallery and Sculpture Park as part of the McClelland Sculpture Survey 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442986768262-LH5BINEPE2ZZ1WHNASR4/image-asset.jpeg PULSE 2007 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444109212486-PPQ2J79HOHM309WW95U9/_IGP8515.JPG PULSE 2007 http://www.laurawoodward.com.au/centre-flip-select-skin-2005 daily 0.75 2015-12-02 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106802009-0B6TJGR485YNWUDXJSVN/01.jpg CENTRE FLIP SELECT SKIN 2005 - Centre Flip Select Skin 2005 Steel, tvs, dvd players, digital video, spy cameras, steel cable, shed snake skin, power leads, acrylic, wiring Installation size variable Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106802009-0B6TJGR485YNWUDXJSVN/01.jpg CENTRE FLIP SELECT SKIN 2005 - Centre Flip Select Skin 2005 Steel, tvs, dvd players, digital video, spy cameras, steel cable, shed snake skin, power leads, acrylic, wiring Installation size variable Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106970456-L8FN4AO5BAKEE544FAQS/02.jpg CENTRE FLIP SELECT SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106843016-HOU3C1SK4WRL1V95C6Y5/03.jpg CENTRE FLIP SELECT SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106865132-HOEI7LPOYSQADJN3KRBP/04.jpg CENTRE FLIP SELECT SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106895358-D108CNW948ZBD7DPMOXQ/05+%284%29.jpg CENTRE FLIP SELECT SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106919123-LXDFVUWNVXIX4TVFQJ0J/centre01.jpg CENTRE FLIP SELECT SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106948685-H51CF35FJ8ZMFTPG5NHE/full_01.jpg CENTRE FLIP SELECT SKIN 2005 http://www.laurawoodward.com.au/pulse-reiteration-2008 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442217670059-490VZ1AUSYJ77HPNUXBI/image-asset.jpeg PULSE (REITERATION) 2008 - PULSE (REITERATION) 2008 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four units lie alongside each other, their arms and cabling bound together in a tangled mess. The space is completely dark, except for a small light emitted from each of the units. When a viewer steps into the space, the units attempt to move, but their movement is severely limited by their binding, and they struggle and creak. The small lights cast large shadows of this struggling onto the walls and ceiling in a dull, bluish-white light. Images by Jem Selig Freeman https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123404875-GPGOKO6XD1NCM1YVXJH0/WoodwardL5v.jpg PULSE (REITERATION) 2008 - Pulse (Reiteration) 2008 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four units lie alongside each other, their arms and cabling bound together in a tangled mess. The space is completely dark, except for a small light emitted from each of the units. When a viewer steps into the space, the units attempt to move, but their movement is severely limited by their binding, and they struggle and creak. The small lights cast large shadows of this struggling onto the walls and ceiling in a dull, bluish-white light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123404875-GPGOKO6XD1NCM1YVXJH0/WoodwardL5v.jpg PULSE (REITERATION) 2008 - Pulse (Reiteration) 2008 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four units lie alongside each other, their arms and cabling bound together in a tangled mess. The space is completely dark, except for a small light emitted from each of the units. When a viewer steps into the space, the units attempt to move, but their movement is severely limited by their binding, and they struggle and creak. The small lights cast large shadows of this struggling onto the walls and ceiling in a dull, bluish-white light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123542611-49RA1AIQPQ4MR8ZHJW8G/image-asset.jpeg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123249002-IE1OFCWMWMCLWA0BJWSA/08IMGP2455.jpg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123237095-WNHSWUWD1ZA3PO69MTJL/09IMGP2452.jpg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123282973-NVNWEYNZTKD2ZLMA0VNJ/10IMGP2479.jpg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123342174-UCEEW8T3GTNXVUDFEFXV/11IMGP2464.jpg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123370391-9A606F6PGLOAMSGZBVAX/12IMGP2462.jpg PULSE (REITERATION) 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123368918-9JS9YBKOFSEKVFVOBGLG/13IMGP2470.jpg PULSE (REITERATION) 2008 http://www.laurawoodward.com.au/untitled-2009 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442215542620-RD5MJO5DZ4F1DTX4WU1Y/P0NY6779.jpg UNTITLED 2009 - UNTITLED 2009 Steel, electric motors, power leads Installation size variable Image by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449127547061-KR4B8X3X94SBCSCZDY5B/P0NY6779.jpg UNTITLED 2009 - Untitled 2009 Steel, electric motors, power leads Installation size variable Image by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449127547061-KR4B8X3X94SBCSCZDY5B/P0NY6779.jpg UNTITLED 2009 - Untitled 2009 Steel, electric motors, power leads Installation size variable Image by Jem Selig Freeman. http://www.laurawoodward.com.au/triplets-2007 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442986112884-RNKO1EH2WIJS7QF18309/008.jpg TRIPLETS 2007 - TRIPLETS 2007 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four identical spindly units hang along a bush path, partially obscured and seemingly growing from the trees. They are still until someone approaches, at which point they respond by slowly pulsing in and out. Their motion is hypnotic and vaguely sinister. PULSE was exhibited at McClelland Gallery and Sculpture Park as part of the McClelland Sculpture Survey 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442986112884-RNKO1EH2WIJS7QF18309/008.jpg TRIPLETS 2007 - TRIPLETS 2007 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four identical spindly units hang along a bush path, partially obscured and seemingly growing from the trees. They are still until someone approaches, at which point they respond by slowly pulsing in and out. Their motion is hypnotic and vaguely sinister. PULSE was exhibited at McClelland Gallery and Sculpture Park as part of the McClelland Sculpture Survey 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442985791950-I8AIY297NHPOC781HLZ1/image-asset.jpeg TRIPLETS 2007 http://www.laurawoodward.com.au/tangle-2009 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442215832146-CADQ6THU0SWYJDHW5K88/image-asset.jpeg TANGLE 2009 - TANGLE 2009 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable Three motors hang side by side from their leads, eventually tangling together until they all cease to work. Images courtesy the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449127267914-QXQA5TOG3XUPX85F59NY/_AC03317.jpg TANGLE 2009 - Tangle 2009 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable Three motors hang side by side from their leads, eventually tangling together until they all cease to work. Images courtesy the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449127267914-QXQA5TOG3XUPX85F59NY/_AC03317.jpg TANGLE 2009 - Tangle 2009 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable Three motors hang side by side from their leads, eventually tangling together until they all cease to work. Images courtesy the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449127265605-7A1Y0T7C98TZ0E7DXZMB/_AC03316.jpg TANGLE 2009 http://www.laurawoodward.com.au/tick-2008 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123772902-V2QRI1HJ551IUS6VHTK1/IMG_1842.jpg TICK 2008 - Tick 2008 Steel, electric motor, motion sensor 50cm x 50cm x 15cm TICK was installed at Untitled Spaces, a small gallery space in a residential window facing out onto the street. When a passer-by walked along the street, TICK would begin to move, its sound audible from the footpath. As the motor rotated, the 'claw' would push TICK away from the window. As the 'claw' continued its rotation, TICK would bounce back and hit the window. Over the course of the exhibition, a large, curved scratch developed on the window pane. Photographed by Sam Stewart at Untitled Spaces, North Carlton, 2008. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123772902-V2QRI1HJ551IUS6VHTK1/IMG_1842.jpg TICK 2008 - Tick 2008 Steel, electric motor, motion sensor 50cm x 50cm x 15cm TICK was installed at Untitled Spaces, a small gallery space in a residential window facing out onto the street. When a passer-by walked along the street, TICK would begin to move, its sound audible from the footpath. As the motor rotated, the 'claw' would push TICK away from the window. As the 'claw' continued its rotation, TICK would bounce back and hit the window. Over the course of the exhibition, a large, curved scratch developed on the window pane. Photographed by Sam Stewart at Untitled Spaces, North Carlton, 2008. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123839645-DQV043LQMS7HIC9Z913Q/IMG_1803.JPG TICK 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123685333-XD6RQ8UEY9J7N7ZY8V0F/034+%282%29.jpg TICK 2008 http://www.laurawoodward.com.au/untitled-2004 daily 0.75 2015-12-02 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107809979-0B54UPTJIGYH6ZIOXZNF/07_Laura_Woodward+%283%29.jpg UNTITLED 2004 - Untitled 2004 Copper wire, cotton Figure 50cm x 190cm x 80cm - Installation size variable Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107809979-0B54UPTJIGYH6ZIOXZNF/07_Laura_Woodward+%283%29.jpg UNTITLED 2004 - Untitled 2004 Copper wire, cotton Figure 50cm x 190cm x 80cm - Installation size variable Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107840393-U30I0NC1XBCPGUJL1VH7/08+%282%29.jpg UNTITLED 2004 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107857501-C9K5DN2WAN8QM77JG16Z/015.jpg UNTITLED 2004 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107900349-WW7ZMH8ASCKV122IHW6V/fromside02.jpg UNTITLED 2004 http://www.laurawoodward.com.au/about-1 daily 0.75 2024-07-31 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/4d2cfd2e-786e-41b4-b8ee-b045c8b16aa0/_DSF9563.jpg About - How do we hold these things together? 2021 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/d1bb8f0e-b093-4cbf-af3a-75e036cdae55/LWoodward_And%2Bthe%2BSun%2Bwas%2Bfilled%2Bwith%2BSalt%2B2019_04.jpg About And the Sun was filled with Salt, 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/72c7b772-7bdf-4c30-9b73-7921ca2de599/_DSF9563.jpg About https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/fd59ed03-8c30-489a-8a23-f182c003d23a/Laura+Woodward+-+Remnant+Act+2065.jpg About https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/7cc06b60-ce85-497a-af84-0670a9dbb90c/Laura+Woodward+-+Remnant+Act+2101.jpg About This Fearsome Drop 2024 http://www.laurawoodward.com.au/plunge-2011 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106199363-G2Q2CR4HEJ63IR3OJ6ZI/image-asset.jpeg PLUNGE 2011 - Plunge 2011 Marine grade stainless steel, acetyl, fasteners 8m x 7m x 8m PLUNGE relies on the power inherent to Lorne's tidal variations to move. At high tide, the nose is plunged into the ocean; at low tide, it swings up to sit above viewers' heads on the pier. During the tidal cycle, the waves and swells keep the work constantly in motion, creating an aural element as the acetal bearings move across the shafts and the nose splashes into the water. The artist would like to thank: Andy Batson, Simon Boucher, Jem Selig Freeman, Sarah Jane Haywood, Trevor Parry, Chris Pitt, Emil Toonen and David Woodward, as well as Tim MacLeod and Gemma Craig at MacLeod Consulting (engineering), for their significant contributions to this project. Photographed in November 2011 at Lorne Sculpture 2011. Images and footage by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106199363-G2Q2CR4HEJ63IR3OJ6ZI/image-asset.jpeg PLUNGE 2011 - Plunge 2011 Marine grade stainless steel, acetyl, fasteners 8m x 7m x 8m PLUNGE relies on the power inherent to Lorne's tidal variations to move. At high tide, the nose is plunged into the ocean; at low tide, it swings up to sit above viewers' heads on the pier. During the tidal cycle, the waves and swells keep the work constantly in motion, creating an aural element as the acetal bearings move across the shafts and the nose splashes into the water. The artist would like to thank: Andy Batson, Simon Boucher, Jem Selig Freeman, Sarah Jane Haywood, Trevor Parry, Chris Pitt, Emil Toonen and David Woodward, as well as Tim MacLeod and Gemma Craig at MacLeod Consulting (engineering), for their significant contributions to this project. Photographed in November 2011 at Lorne Sculpture 2011. Images and footage by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105163897-JFNFQR7NEQWEI5LY6MYN/IMG_3350.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105156196-Q1CSDK3Z44YNU1PTCPT7/IMG_3389.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105207094-L7IV28PTJALROLY9ORI3/IMG_3395.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105230452-R3ZCXK1IZ1UPVPQO4F4M/IMG_3412.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105275208-TFFEFDYGUBTLXQNS82LG/IMG_3448.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105447593-VBF945B39NMD91ZP9K9B/IMG_3463.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105387094-T2OAGLLIDWTC3547PB5D/P0NY4120.jpg PLUNGE 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449105512167-8X8OU3OQF14DUXF5SPKH/image-asset.jpeg PLUNGE 2011 - PLUNGE 2011 - Time Lapse http://www.laurawoodward.com.au/vessel-2013 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449101958168-U8QXNVZKX8VA8RQS3K9T/image-asset.jpeg VESSEL 2013 - VESSEL 2013 Stainless steel, silicone, water, pulleys, fasteners, stainless steel wire rope, santoprene hose, nylon hose, motors Dimensions variable VESSEL takes a leap from its predecessor, WEB. In WEB, the control system relies on electronic components; VESSEL's system, on the other hand, is entirely mechanical. VESSEL comprises nine pairs of silicone vessels. Water pumps from one vessel in a pair to the other, and as the equilibrium shifts, the vessels pull a lever across with them. Contained within this lever is a component which changes the direction of the water pumping into the subsequent pair. This process of cause and effect continues indefinitely, creating an ongoing, autopoietic loop. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449101958168-U8QXNVZKX8VA8RQS3K9T/image-asset.jpeg VESSEL 2013 - VESSEL 2013 Stainless steel, silicone, water, pulleys, fasteners, stainless steel wire rope, santoprene hose, nylon hose, motors Dimensions variable VESSEL takes a leap from its predecessor, WEB. In WEB, the control system relies on electronic components; VESSEL's system, on the other hand, is entirely mechanical. VESSEL comprises nine pairs of silicone vessels. Water pumps from one vessel in a pair to the other, and as the equilibrium shifts, the vessels pull a lever across with them. Contained within this lever is a component which changes the direction of the water pumping into the subsequent pair. This process of cause and effect continues indefinitely, creating an ongoing, autopoietic loop. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102033851-QGVWAVJ7CPEKOAZ9JQYQ/IMG_5390.jpg VESSEL 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449101799401-DTQ7PWU1B3DATG43XRKD/IMG_4669.jpg VESSEL 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102156421-1H7DQ67GM9TAZ9NEDRU8/IMG_5457.jpg VESSEL 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449101965559-QZ2DE7GF3T8WEDEIYX69/IMG_4850.jpg VESSEL 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449101856013-2414O0NWSBNQV7TI5AEA/IMG_4846.jpg VESSEL 2013 http://www.laurawoodward.com.au/underwing-2013 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102656397-B4KW3K0EMNMIA1N6ESB7/IMG_5631.jpg UNDERWING 2013 - Underwing 2010-2013 Stainless steel, polycarbonate, fasteners, santoprene hose, nylon hose, electronic components, motors dimensions variable UNDERWING was originally created for the Linden Centre for Contemporary Arts, St Kilda, with assistance from the Australian Government through the Australia Council, its arts funding and advisory body. See the original version here. This version photographed at the Margaret Lawrence Gallery, VCA, Southbank, Melbourne. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102656397-B4KW3K0EMNMIA1N6ESB7/IMG_5631.jpg UNDERWING 2013 - Underwing 2010-2013 Stainless steel, polycarbonate, fasteners, santoprene hose, nylon hose, electronic components, motors dimensions variable UNDERWING was originally created for the Linden Centre for Contemporary Arts, St Kilda, with assistance from the Australian Government through the Australia Council, its arts funding and advisory body. See the original version here. This version photographed at the Margaret Lawrence Gallery, VCA, Southbank, Melbourne. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102680128-UAQF7GIC6K5VD8JYPR4Z/IMG_5655.jpg UNDERWING 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102729599-3NW0EX0L9XXUQ9YOATUM/IMG_5679.jpg UNDERWING 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102836544-7WFFV1OTFTLY31QSSTT4/IMG_5707.jpg UNDERWING 2013 http://www.laurawoodward.com.au/siphon-2010 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449108396270-PBE9V1RC26NUAXE066W6/image-asset.jpeg SIPHON 2010 - Siphon, 2010 Stainless steel, water, air, acrylic, pvc, bolts, electric motor, acrylic 120cm x 80cm x 40cm SIPHON comprises six tubes filled with water. Several lengths of smaller tube connect these six tubes, siphoning water between them. Every four minutes, the motor turns and shifts the position of each tube. The siphon then gradually allows the water to find its level across the six tubes. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449108396270-PBE9V1RC26NUAXE066W6/image-asset.jpeg SIPHON 2010 - Siphon, 2010 Stainless steel, water, air, acrylic, pvc, bolts, electric motor, acrylic 120cm x 80cm x 40cm SIPHON comprises six tubes filled with water. Several lengths of smaller tube connect these six tubes, siphoning water between them. Every four minutes, the motor turns and shifts the position of each tube. The siphon then gradually allows the water to find its level across the six tubes. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449108323774-L0D707XJG7CDKCUJTBS0/siphon+detail01.jpg SIPHON 2010 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449108324219-A5EW5TI2QBHPTC80FYRZ/siphon02.jpg SIPHON 2010 http://www.laurawoodward.com.au/the-return-2014 daily 0.75 2017-09-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037391255-UKB2XQCCR2PGOHNW1BS8/IMG_3405.jpg THE RETURN 2014 - The Return 2014 Stainless steel, water, silicone, fasteners, mercury switches, relays, micro-switches, acetal, motors, electronics 17m x 2m x 3.5m THE RETURN emerged through three lines of enquiry: the first, that the system use the minimum amount of water necessary to generate active movement; the second, to develop a system that combined an autopoietic, circular nature with a fold-back, a reversal within the system itself; and the third, to engage with the Hawthorn Town Hall Gallery's architecture, particularly in regards to heritage limitations. Thus, the entire action of THE RETURN is powered by the movement of around 250ml of water. The system is circular in nature, though through the fold-back, it uses the same components for both halves of its circular-causality. In other words, THE RETURN does just that: when the small amount of water reaches the end, the system folds back and the water is transported in the other direction. Many thanks to Hawthorn Town Hall Gallery. Images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037391255-UKB2XQCCR2PGOHNW1BS8/IMG_3405.jpg THE RETURN 2014 - The Return 2014 Stainless steel, water, silicone, fasteners, mercury switches, relays, micro-switches, acetal, motors, electronics 17m x 2m x 3.5m THE RETURN emerged through three lines of enquiry: the first, that the system use the minimum amount of water necessary to generate active movement; the second, to develop a system that combined an autopoietic, circular nature with a fold-back, a reversal within the system itself; and the third, to engage with the Hawthorn Town Hall Gallery's architecture, particularly in regards to heritage limitations. Thus, the entire action of THE RETURN is powered by the movement of around 250ml of water. The system is circular in nature, though through the fold-back, it uses the same components for both halves of its circular-causality. In other words, THE RETURN does just that: when the small amount of water reaches the end, the system folds back and the water is transported in the other direction. Many thanks to Hawthorn Town Hall Gallery. Images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505533878148-QQIJX9L1RKQIBOI34ZPZ/image-asset.jpeg THE RETURN 2014 - The Return, 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037456610-4A3QC8E7ZGI2E43BR6DL/IMG_3471.jpg THE RETURN 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037416836-M7QOLVM7VUHCMXT1NI81/IMG_3450.jpg THE RETURN 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037388523-20DWKQK5C72OBOENB57U/IMG_3379.jpg THE RETURN 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037451974-3XMTYLVU83OB7IH51KZU/IMG_3457.jpg THE RETURN 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449037496766-R827SY908EIDN0XQSRXU/IMG_3479.jpg THE RETURN 2014 http://www.laurawoodward.com.au/thumper-2008 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122705321-XW529H5E1YQSL7X5XWYV/002.jpg THUMPER 2008 - Thumper 2008 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable A motor hangs in a dark space from its own electrical lead. Its single claw-type arm spins continuously, causing the motor to twist, flip and crash against the wall and floor. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122705321-XW529H5E1YQSL7X5XWYV/002.jpg THUMPER 2008 - Thumper 2008 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable A motor hangs in a dark space from its own electrical lead. Its single claw-type arm spins continuously, causing the motor to twist, flip and crash against the wall and floor. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122743093-PDG0WUTCWPYBL2ABHCSO/003.jpg THUMPER 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122697215-7OGDHKMSH3MNUBVVT2JI/001.jpg THUMPER 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122725573-FXWJ80NPO6Z311AAV0MJ/004.jpg THUMPER 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122795795-YML509XAK5SEAMGP86QN/005.jpg THUMPER 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449122785743-UMFDEKSE1Y5UC7PPANIK/006.jpg THUMPER 2008 http://www.laurawoodward.com.au/web-2012 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1441942135961-3AUPAOI3OZYNRCXD2U7S/image-asset.jpeg WEB 2012 - WEB 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable WEB was created specifically for the Incinerator Gallery's Atrium. Comprising an inter-connected web of pumps, water vessels, pulleys, electronics and stainless steel, WEB is an experiment in systems: each individual component is imperative to the system's function, both reliant on, and impacting upon, each of the other components. Images by Jem Selig Freeman and the artist. Photographed at Incinerator Gallery, Moonee Ponds, Melbourne, in September 2012. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1441942504392-LTP1AYU6UG5IVMWK5QBY/image-asset.jpeg WEB 2012 - WEB 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable WEB was created specifically for the Incinerator Gallery's Atrium. Comprising an inter-connected web of pumps, water vessels, pulleys, electronics and stainless steel, WEB is an experiment in systems: each individual component is imperative to the system's function, both reliant on, and impacting upon, each of the other components. Images by Jem Selig Freeman and the artist. Photographed at Incinerator Gallery, Moonee Ponds, Melbourne, in September 2012. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104603688-OBQLK7ZQJBUKE7ZBEM7B/IMG_0531.jpg WEB 2012 - WEB 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable WEB was created specifically for the Incinerator Gallery's Atrium. Comprising an inter-connected web of pumps, water vessels, pulleys, electronics and stainless steel, WEB is an experiment in systems: each individual component is imperative to the system's function, both reliant on, and impacting upon, each of the other components. Images by Jem Selig Freeman and the artist. Photographed at Incinerator Gallery, Moonee Ponds, Melbourne, in September 2012. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104603688-OBQLK7ZQJBUKE7ZBEM7B/IMG_0531.jpg WEB 2012 - WEB 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable WEB was created specifically for the Incinerator Gallery's Atrium. Comprising an inter-connected web of pumps, water vessels, pulleys, electronics and stainless steel, WEB is an experiment in systems: each individual component is imperative to the system's function, both reliant on, and impacting upon, each of the other components. Images by Jem Selig Freeman and the artist. Photographed at Incinerator Gallery, Moonee Ponds, Melbourne, in September 2012. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104571039-O420CBA4UZU6FUZ5P6RK/IMG_0540.jpg WEB 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104614129-BXQRB7NS2TNXGWU8DAOY/IMG_0560.jpg WEB 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104670146-T0Y1946Y02X88W5LYYTT/IMG_0570.jpg WEB 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104664879-FO6LCAJVOPMPTN9GR1DT/IMG_0611+-+Copy.jpg WEB 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104764051-1BQQ14OS9JJ5UEM1T5FJ/IMG_0621.jpg WEB 2012 http://www.laurawoodward.com.au/twister-2009 daily 0.75 2015-12-17 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450322283790-CNUTNTDVIHQXOCOUJ0N4/P0NY6831+edit.jpg TWISTER 2009 - UNTITLED (TWISTER) 2009 Mild steel, bolts, electric motors, acrylic, electronic components 200cm x 150cm x 200cm Three units are controlled by a gear box which individually triggers each unit to twist, causing the steel rods to twist in and out, creating vortices in seemingly random patterns. UNTITLED (TWISTER) won the 2009 Agendo Prize for Emerging Artists. Image by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450322283790-CNUTNTDVIHQXOCOUJ0N4/P0NY6831+edit.jpg TWISTER 2009 - UNTITLED (TWISTER) 2009 Mild steel, bolts, electric motors, acrylic, electronic components 200cm x 150cm x 200cm Three units are controlled by a gear box which individually triggers each unit to twist, causing the steel rods to twist in and out, creating vortices in seemingly random patterns. UNTITLED (TWISTER) won the 2009 Agendo Prize for Emerging Artists. Image by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442215217666-VF240VXA3QYR38WY0NOT/image-asset.jpeg TWISTER 2009 http://www.laurawoodward.com.au/home daily 1.0 2024-10-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498609703800-8ZHEHNJN68V8F7E8SFBT/The+Tolling+01+-+2000pix+wide.jpg Home - THE TOLLING 2016 The Ian Potter Museum, Melbourne. The exhibition "Calling Percy" was presented by Cultural Collisions and the Melbourne Festival. Water, aluminium, acetal, acrylic, fasteners, motors Dimensions variable, approximately 450cm wide x 350cm high x 350cm deep THE TOLLING is a kinetic, sonic and sculptural installation comprising seven tubular bells. Through its inherent systematic logic, THE TOLLING generates its own composition within the gallery, the deep tones of the bells resonating throughout the space. Each of the bells is accompanied by a water-driven hammer which is connected to a vessel. The vessel gradually fills until it tips, causing the hammer to strike its bell. The duration between strikes, the force with which each bell is struck, and the overall sequence, is generated by the work itself and its inherent variabilities. A second tipping vessel contributes an additional sonic layer, submersing each bell-end which slightly shifts its pitch. These variable qualities converge to generate and compose the ever-emerging melody generated by the work. Early experiments were sparked by explorations into Percy Grainger's free music machines. THE TOLLING draws upon correlations between my own practice – in which I create looped systems often driven by the weight and movement of water – and the non-deterministic action of “gliding” across and between notes that was crucial to Grainger’s free music machines. THE TOLLING explores the ways in which gliding as both action and concept can function and contribute to a cyclical system that is embodied within a kinetic sculptural installation. THE TOLLING teases out the sonic and spatial potentials that arise in the space between kinetic sculptural systems and water. In particular, THE TOLLING mobilises water’s inherent capacity for “gliding”; water in motion is incremental, analogue, non-binary, gliding. When coupled with a tubular bell, this shifting capacity of water has compelling potential; the submersion of a ringing tubular bell shifts its tone, the pitch gliding, exposing the full possibilities of the bell’s tonal range. Images by Christian Capurro. Footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1729036390245-11423YGJ92A26QTA0FCH/_DSF9598_2400x1600px.jpg Home - FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 Water, stainless steel, nylon hose, pumps, sound equipment, wire rope, fasteners, grass, aluminium truss Dimensions variable In early 2023 I was invited to reinvisage my work HOW DO WE HOLD THESE THINGS TOGETHER? for Floating Land: Us and Them, held from the 24th of June to the 30th of July 2023. Held biannually, Floating Land is Australia’s premier art in the environment event, taking in sites across Noosa. In 2023, Floating Land: Us and Them, sought “to scrutinise aberration and affinity. To look at other perspectives and share who each of us are. Our stories and experiences. Our joys, darknesses and dreams. It will set out to challenge assumptions, check prejudice and revel in discomfort. Unpick antagonism, interrogate mutual exclusivity, and jumble competing concerns. It might even find some common ground.” In light of this theme, my work HOW DO WE HOLD THESE THINGS TOGETHER? - which I developed in reponse to emerging death technologies - was installed in a small country cemetery outside the township of Pomona. The work sat alongside both old and new graves, its sombre tones resonating throughout the cemetery. The full description of this work can be found here. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449633821292-VNCFTNK9XGR602A1S3CR/IMG_7282+%281%29+2000px+wide.jpg Home - WRITHE 2015 Ararat Regional Art Gallery Inspired by Ararat’s surrounding landscape, WRITHE comprises nine identical mechanical units which respond to and affect each other to contribute to the installation’s larger ongoing kinetic system. Water pulses throughout the space, flowing, at times changing direction, and in doing so continuing the system’s operation. Drawing upon the gallery’s contemporary textile art focus, Writhe references woven patterns and undulating terrain in its forms and movements. Images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449633982691-Q1ZH0O8EXF4EKQTZX6B3/LWoodward_Five_06+edit+2000px+wide.jpg Home - FIVE 2014 Multi-media 200cm x 200cm x 90cm FIVE grew from experiments with the interaction of silicon sacs and breath. Images by Jem Selig Freeman and the artist.   https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449634121045-6EP8PLLWRI3HBZNPTJ1I/IMG_5631+2000px+wide.jpg Home - UNDERWING 2010-2013 Stainless steel, polycarbonate, fasteners, santoprene hose, nylon hose, electronic components, motors Dimensions variable UNDERWING was originally created for the Linden Centre for Contemporary Arts, St Kilda, with assistance from the Australian Government through the Australia Council, its arts funding and advisory body. See the original version here. This version photographed at the Margaret Lawrence Gallery, VCA, Southbank, Melbourne. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449634292928-45FEXSSFXHFZQY9D5HBI/WoodwardL5v+2000px+wide.jpg Home - PULSE (REITERATION) 2008 Stainless steel, electric motors, bolts, cables, motion sensors Installation size variable Four units lie alongside each other, their arms and cabling bound together in a tangled mess. The space is completely dark, except for a small light emitted from each of the units. When a viewer steps into the space, the units attempt to move, but their movement is severely limited by their binding, and they struggle and creak. The small lights cast large shadows of this struggling onto the walls and ceiling in a dull, bluish-white light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449634497886-GJ9RYCUWQGPEB1VWBPPV/IMG_1314+2000px+wide.jpg Home - SHALLOWS 2010 Stainless steel, acrylic, water, air, glass, pvc, motor Dimensions variable A sealed tube hangs suspended in a tank of water, jointed stainless steel arms reaching out to the tank's sides. A motor-driven pump gently pushes water in and out of this tube, altering the ratio of air and water within. These variations constantly vary the tube's buoyancy, causing it to rise and fall in the water. Images and footage by the artist. http://www.laurawoodward.com.au/click-2006 daily 0.75 2015-12-17 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450322718382-XJ9A4VZZNV41UB0V7M6K/counters_wide+copy.jpg CLICK 2006 - Click 2006 Electronic components, perspex 25cm x 12cm - Installation size variable As the viewer passes CLICK they are counted - however they are also able to trick the machine and render its function effectively useless as they cause it to count incorrectly. Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450322718382-XJ9A4VZZNV41UB0V7M6K/counters_wide+copy.jpg CLICK 2006 - Click 2006 Electronic components, perspex 25cm x 12cm - Installation size variable As the viewer passes CLICK they are counted - however they are also able to trick the machine and render its function effectively useless as they cause it to count incorrectly. Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450322735319-5YJ8IM97UDC9GKRGD07U/dispace+opening+019.jpg CLICK 2006 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106733920-EAUJ067U7QUOVW3L05RE/03_Laura_Woodward+copy.jpg CLICK 2006 http://www.laurawoodward.com.au/machine-for-joy-2006 daily 0.75 2015-12-02 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106612030-QUG22Y5DD460IPCL6WCQ/joy_wide02.jpg MACHINE FOR JOY 2006 - Machine For Joy: Prototype #1 2006 Steel, bolts, dynex rope, clips, water pump 150cm x 250cm x 250cm As the bucket fills with water it slowly drops, lifting each of the 'arms' of the sculpture gradually until it reaches tipping point - at which point the water empties, the bucket flies back up and the 'arms' of the sculpture crash back to their starting position. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106612030-QUG22Y5DD460IPCL6WCQ/joy_wide02.jpg MACHINE FOR JOY 2006 - Machine For Joy: Prototype #1 2006 Steel, bolts, dynex rope, clips, water pump 150cm x 250cm x 250cm As the bucket fills with water it slowly drops, lifting each of the 'arms' of the sculpture gradually until it reaches tipping point - at which point the water empties, the bucket flies back up and the 'arms' of the sculpture crash back to their starting position. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444106571156-0UJHGRKJDB0X322PYKDM/joy_close+copy.jpg MACHINE FOR JOY 2006 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444785851731-CRDNTO76C1RNSLSACS4I/joy_wide03+copy.jpg MACHINE FOR JOY 2006 http://www.laurawoodward.com.au/skin-2005 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449638564508-G90LN33MUB3D5QDOEMBG/025.jpg SKIN 2005 - Skin 2005 Steel, steel cable, shed snake skin 100cm x 100cm x 200cm Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449638564508-G90LN33MUB3D5QDOEMBG/025.jpg SKIN 2005 - Skin 2005 Steel, steel cable, shed snake skin 100cm x 100cm x 200cm Images by Laura Woodward. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107747137-UOJR5S2SO5F2GRZ6O7GM/06.jpg SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107653520-XRURCQL1KWNTXMUBE2OB/edskin+033.jpg SKIN 2005 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444107687684-QS5BQ5MU1STFWMQKHS2Q/edskin+038.jpg SKIN 2005 http://www.laurawoodward.com.au/underwing-2010 daily 0.75 2015-12-08 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106526060-QAF3PQ44MR7PNFIT7YPR/P0NY4713.jpg UNDERWING 2010 - Underwing 2010 Stainless steel, polycarbonate, fasteners, santoprene hose, nylon hose, electronic components, motors Dimensions variable UNDERWING comprises seven units suspended from an arched frame. Each unit has a ribbed fin-like form with a vessel at each end. A peristaltic pump pushes water from one vessel to the other, causing each unit to pivot from side to side. As a unit reaches its half-way point, it triggers the next, creating an endless loop of motion. This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Photographed at Linden Centre for Contemporary Arts, St Kilda, November 2010. Images and footage by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106526060-QAF3PQ44MR7PNFIT7YPR/P0NY4713.jpg UNDERWING 2010 - Underwing 2010 Stainless steel, polycarbonate, fasteners, santoprene hose, nylon hose, electronic components, motors Dimensions variable UNDERWING comprises seven units suspended from an arched frame. Each unit has a ribbed fin-like form with a vessel at each end. A peristaltic pump pushes water from one vessel to the other, causing each unit to pivot from side to side. As a unit reaches its half-way point, it triggers the next, creating an endless loop of motion. This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Photographed at Linden Centre for Contemporary Arts, St Kilda, November 2010. Images and footage by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106543824-REF2Q17VMD0OREQ3E8TI/image-asset.jpeg UNDERWING 2010 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106656590-YO6G1VXB13QUV5OF9B3X/image-asset.jpeg UNDERWING 2010 - Underwing 2010 - How the system works http://www.laurawoodward.com.au/breathe-2007 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449128738061-ZQPYOLMUXKXJQE16YKTX/023.jpg BREATHE 2007 - BREATHE 2007 Steel, air tool, bellows, springs, rubber 80cm x 60cm x 200cm As the viewer steps onto the base he or she can adjust the machine to suit his or her height. Once comfortable the viewer leans his or her head into the cradle. This intimate action elicits an equally intimate response from the machine, as a 'breath' of air is released against the viewer's neck. Photographed at COFAspace, Sydney, 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449128738061-ZQPYOLMUXKXJQE16YKTX/023.jpg BREATHE 2007 - BREATHE 2007 Steel, air tool, bellows, springs, rubber 80cm x 60cm x 200cm As the viewer steps onto the base he or she can adjust the machine to suit his or her height. Once comfortable the viewer leans his or her head into the cradle. This intimate action elicits an equally intimate response from the machine, as a 'breath' of air is released against the viewer's neck. Photographed at COFAspace, Sydney, 2007. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449128539276-DQX32Q2RJT23G6W1UQOT/022+copy.jpg BREATHE 2007 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449128804443-H7IX33ATEE39E7F9ZY9Y/021.jpg BREATHE 2007 http://www.laurawoodward.com.au/voices-2014 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444113695438-TINDE9RPQ97JGH08J9MG/02-LWoodward-and-JFreeman.jpg VOICES 2014 - VOICES 2014 Laura Woodward and Jem Selig Freeman with Like Butter Commissioned by Lend Lease for Hume City Council Location: Main St, Craigieburn Stainless steel, bell components, electronics 3m x 3m x 5m VOICES is an interactive and responsive public artwork comprising seven giant tubular bells. The work was developed from stories gathered in the Craigieburn community. The words circling each bell were spoken or written by locals as they talked of living and working in Craigieburn. The sounds of the tubular bells emerged from these discussions. Motion sensors in each bell respond to the viewers’ movements, creating the sequences in which the bells play. In connecting with Craigieburn through conversation, VOICES embodies and speaks of place as it is experienced and enjoyed by the local community. VOICES draws people together through community-generated music, playing the music of Craigieburn. Community engagement: Laura Woodward and Jem Freeman. Musical composition: Gemma Turvey. Bell control system and consultation: Anton Hassell. Electrical engineering (sensor system): Tekt Industries. Lighting system: Relume Consulting. Artwork electrician: Simon Boucher Electrical Contracting. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444113695438-TINDE9RPQ97JGH08J9MG/02-LWoodward-and-JFreeman.jpg VOICES 2014 - VOICES 2014 Laura Woodward and Jem Selig Freeman with Like Butter Commissioned by Lend Lease for Hume City Council Location: Main St, Craigieburn Stainless steel, bell components, electronics 3m x 3m x 5m VOICES is an interactive and responsive public artwork comprising seven giant tubular bells. The work was developed from stories gathered in the Craigieburn community. The words circling each bell were spoken or written by locals as they talked of living and working in Craigieburn. The sounds of the tubular bells emerged from these discussions. Motion sensors in each bell respond to the viewers’ movements, creating the sequences in which the bells play. In connecting with Craigieburn through conversation, VOICES embodies and speaks of place as it is experienced and enjoyed by the local community. VOICES draws people together through community-generated music, playing the music of Craigieburn. Community engagement: Laura Woodward and Jem Freeman. Musical composition: Gemma Turvey. Bell control system and consultation: Anton Hassell. Electrical engineering (sensor system): Tekt Industries. Lighting system: Relume Consulting. Artwork electrician: Simon Boucher Electrical Contracting. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444113702830-TUGOCQ112572ATLNKV2B/01-LWoodward-and-JFreeman.jpg VOICES 2014 http://www.laurawoodward.com.au/web-encore-2013 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102442097-EV94355CKNJMTLFUBNT3/image-asset.jpeg WEB (ENCORE) 2013 - Web (Encore) 2013 Stainless steel, silicone, water, pulleys, fasteners, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable As the fourth iteration of WEB, WEB (ENCORE) built once again on WEB (exhibited at the Incinerator Gallery, Moonee Ponds in August 2012) and the two versions of WEB (RETRIAL), which was curated into the "Entertaining the Environment" series shown at LaTrobe Visual Arts Centre Bendigo, and Bus Projects, Melbourne. WEB (ENCORE) moved beyond the experimental aesthetic of the previous iterations, resolving into a highly detailed and contemplative work. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102442097-EV94355CKNJMTLFUBNT3/image-asset.jpeg WEB (ENCORE) 2013 - Web (Encore) 2013 Stainless steel, silicone, water, pulleys, fasteners, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable As the fourth iteration of WEB, WEB (ENCORE) built once again on WEB (exhibited at the Incinerator Gallery, Moonee Ponds in August 2012) and the two versions of WEB (RETRIAL), which was curated into the "Entertaining the Environment" series shown at LaTrobe Visual Arts Centre Bendigo, and Bus Projects, Melbourne. WEB (ENCORE) moved beyond the experimental aesthetic of the previous iterations, resolving into a highly detailed and contemplative work. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102368147-ZLVZ086RHN5FHZW0V0LD/IMG_5537.jpg WEB (ENCORE) 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102371163-I2F1NXDFXYP0SRMB2GXO/IMG_5511.jpg WEB (ENCORE) 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102410978-3CWZHR7MME0T43YJXFKK/IMG_5547.jpg WEB (ENCORE) 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102419981-3V6XQTIACCHGCMPBIFTN/IMG_5562.jpg WEB (ENCORE) 2013 http://www.laurawoodward.com.au/shallows-2013 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102974428-6KCQMAG0JL7QRAFPV777/IMG_5336.jpg SHALLOWS 2013 - Shallows 2010-2013 Stainless steel, acrylic, water, air, glass, pvc, motor Dimensions variable These images show SHALLOWS in a new iteration in the exhibition INTROVERTED at the Margaret Lawrence Gallery, VCA, Southbank, Melbourne. See the original version at Place Gallery here. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102974428-6KCQMAG0JL7QRAFPV777/IMG_5336.jpg SHALLOWS 2013 - Shallows 2010-2013 Stainless steel, acrylic, water, air, glass, pvc, motor Dimensions variable These images show SHALLOWS in a new iteration in the exhibition INTROVERTED at the Margaret Lawrence Gallery, VCA, Southbank, Melbourne. See the original version at Place Gallery here. Images by the artist and Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102968042-7SKRLMTDLKV22QRKGFKB/IMG_5323.jpg SHALLOWS 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102985918-V2WN7SLR9QD4WO4ASJ3M/IMG_5354.jpg SHALLOWS 2013 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449102994279-MWI7C2V3AF673CKYH3TW/IMG_5384.jpg SHALLOWS 2013 http://www.laurawoodward.com.au/wring-2010 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449016389760-WQ2WI3HKBZJ419MMKVHE/image-asset.jpeg WRING 2010 - WRING 2010 Stainless steel, polycarbonate, fasteners, electronic components, motors, sensors Dimensions variable Five identical units cling to steel poles throughout an area of bushland. Each unit comprises eight rods hanging in a cylindrical form. A small cam controls the motion of each, causing the steel rods to twist, creating vortices in seemingly random patterns. Each unit also responds to viewers by speeding up as they approach. WRING was exhibited as part of the McClelland Sculpture Survey 2010, and remains on exhibition at McClelland Gallery and Sculpture Park. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449016389760-WQ2WI3HKBZJ419MMKVHE/image-asset.jpeg WRING 2010 - WRING 2010 Stainless steel, polycarbonate, fasteners, electronic components, motors, sensors Dimensions variable Five identical units cling to steel poles throughout an area of bushland. Each unit comprises eight rods hanging in a cylindrical form. A small cam controls the motion of each, causing the steel rods to twist, creating vortices in seemingly random patterns. Each unit also responds to viewers by speeding up as they approach. WRING was exhibited as part of the McClelland Sculpture Survey 2010, and remains on exhibition at McClelland Gallery and Sculpture Park. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106765278-B3KTSCXMD58THMVA7QV7/IMG_2681b.jpg WRING 2010 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106781050-N3G7GQTP1IVJZM3DW3DT/LWoodward_04.jpg WRING 2010 http://www.laurawoodward.com.au/five-2014 daily 0.75 2017-09-19 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039142601-Q8NI9E6VX34RJ7UTAHY5/LWoodward_Five_06+edit.jpg FIVE 2014 - FIVE 2014 Multi-media 200cm x 200cm x 90cm FIVE grew from experiments with the interaction of silicon sacs and breath, as well as through the bringing together of video and sculpture. FIVE is intentionally ambiguous in its manifestation; it is difficult to tell exactly what one is seeing when peering into each of the five pipes. The breathing action is regulated by the artist's own breath – resulting in marked “behaviours” in each of the five vessels' actions. Images and footage by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039142601-Q8NI9E6VX34RJ7UTAHY5/LWoodward_Five_06+edit.jpg FIVE 2014 - FIVE 2014 Multi-media 200cm x 200cm x 90cm FIVE grew from experiments with the interaction of silicon sacs and breath, as well as through the bringing together of video and sculpture. FIVE is intentionally ambiguous in its manifestation; it is difficult to tell exactly what one is seeing when peering into each of the five pipes. The breathing action is regulated by the artist's own breath – resulting in marked “behaviours” in each of the five vessels' actions. Images and footage by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039072756-7GAV6YQDMKVGBCYPD3VX/LWoodward_Five_02.jpg FIVE 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505816403764-PGIJY7CQJEVA9HV6R5XD/image-asset.jpeg FIVE 2014 An excerpt (detail) showing one of the videos. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039115628-U93QCN5EOOOF08VERZCI/LWoodward_Five_03.jpg FIVE 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039187304-T61E6AX72EC6SVLFI911/LWoodward_Five_07.jpg FIVE 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039159359-MNQQXE4QBRGMKLTH205V/LWoodward_Five_05.jpg FIVE 2014 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449039116391-2YEBPPKC4Y1W49HKPT1W/LWoodward_Five_04.jpg FIVE 2014 http://www.laurawoodward.com.au/concentric-2012 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103753190-EOS3OFVWLJJ12LALVL4H/Concentric+05.jpg CONCENTRIC 2012 - CONCENTRIC 2012 Laura Woodward with Like Butter Commissioned by Horsham Rural City Council Location: Dimboola Rd, corner of Hazel St, Horsham Stainless steel 4m x 4m x 4m CONCENTRIC was commissioned by the Horsham Rural City Council as a welcoming sculpture located on the highway from Melbourne. CONCENTRIC references the surrounding landscapes of the Grampians and Mount Arapiles, whilst also echoing a town's skyline emerging from the land. In 2019, Horsham Rural City Council developed a newly landscaped site for CONCENTRIC close to the centre of town. Landscape design at new site: Laimiga Design Studio. Sunset image by Lynton Brown. Other images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103753190-EOS3OFVWLJJ12LALVL4H/Concentric+05.jpg CONCENTRIC 2012 - CONCENTRIC 2012 Laura Woodward with Like Butter Commissioned by Horsham Rural City Council Location: Dimboola Rd, corner of Hazel St, Horsham Stainless steel 4m x 4m x 4m CONCENTRIC was commissioned by the Horsham Rural City Council as a welcoming sculpture located on the highway from Melbourne. CONCENTRIC references the surrounding landscapes of the Grampians and Mount Arapiles, whilst also echoing a town's skyline emerging from the land. In 2019, Horsham Rural City Council developed a newly landscaped site for CONCENTRIC close to the centre of town. Landscape design at new site: Laimiga Design Studio. Sunset image by Lynton Brown. Other images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498638834685-YF2LW7UH1ADXEIRJ93BQ/IMG_0724-2.jpg CONCENTRIC 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103716298-UGNWS4NVC1U0LEC6S6F9/Concentric+04.jpg CONCENTRIC 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103741052-A20JF1SMWU3NPS02IEU4/Concentric+01.jpg CONCENTRIC 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103777888-GIS2OR4NRSEZ5I7NFBTP/Concetric+02.jpg CONCENTRIC 2012 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449103806154-29SD1LAHDI9XKNCMZQHF/Concetric+03.jpg CONCENTRIC 2012 http://www.laurawoodward.com.au/web-retrial-2012 daily 0.75 2015-12-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104173578-ZOCU9YXTIU1Q33FUHCZF/IMG_0798.jpg WEB (RETRIAL) 2012 - WEB (RETRIAL) 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable Building on the previous work WEB, WEB (RETRIAL) condensed the components and system of WEB to fit within a compact group exhibition, "Entertaining the Environment". Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104173578-ZOCU9YXTIU1Q33FUHCZF/IMG_0798.jpg WEB (RETRIAL) 2012 - WEB (RETRIAL) 2012 Stainless steel, water, pulleys, fasteners, polyethylene, stainless steel wire rope, tilt switches, santoprene hose, nylon hose, electronic components, motors Dimensions variable Building on the previous work WEB, WEB (RETRIAL) condensed the components and system of WEB to fit within a compact group exhibition, "Entertaining the Environment". Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449104169030-6IG5LOGW9GZWBOI5AHGO/IMG_0811.jpg WEB (RETRIAL) 2012 http://www.laurawoodward.com.au/ripples-2011 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449635538104-XKQQTE4VK8T29UYBKUFZ/P0NY4983+straightened.jpg RIPPLES 2011 - RIPPLES 2011 Stainless steel, mild steel, magnet, motor, fasteners, glass, mineral oil 30cm x 30cm x 30cm A magnet sits in the bottom of a tank of clear mineral oil. Rotated by a motor, the magnet moves in a jerking motion, generating endless ripple patterns across the oil's surface. Images and footage by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449635538104-XKQQTE4VK8T29UYBKUFZ/P0NY4983+straightened.jpg RIPPLES 2011 - RIPPLES 2011 Stainless steel, mild steel, magnet, motor, fasteners, glass, mineral oil 30cm x 30cm x 30cm A magnet sits in the bottom of a tank of clear mineral oil. Rotated by a motor, the magnet moves in a jerking motion, generating endless ripple patterns across the oil's surface. Images and footage by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106431433-WH4S8T895JE5B93UNH75/image-asset.jpeg RIPPLES 2011 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449106432721-91A5AMA9QBHH79OYGYVI/P0NY4992.jpg RIPPLES 2011 http://www.laurawoodward.com.au/crank-2008 daily 0.75 2015-12-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1442217062482-J7VDM44Z1C1QR0A14DS3/image-asset.jpeg CRANK 2008 - CRANK 2008 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable A large crank is suspended from the wall, its motor sporadically turned on and off by mechanical timers mounted alongside it. When a viewer approaches the crank, the LEDs brighten, then slowly fade back to a dull light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123111032-Y4Y6H6IZ9C7WY6BR5GZ9/WoodwardL3.jpg CRANK 2008 - Crank 2008 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable A large crank is suspended from the wall, its motor sporadically turned on and off by mechanical timers mounted alongside it. When a viewer approaches the crank, the LEDs brighten, then slowly fade back to a dull light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123111032-Y4Y6H6IZ9C7WY6BR5GZ9/WoodwardL3.jpg CRANK 2008 - Crank 2008 Steel, electric motors, power leads, LEDs, sensor, acrylic, electronic components Installation size variable A large crank is suspended from the wall, its motor sporadically turned on and off by mechanical timers mounted alongside it. When a viewer approaches the crank, the LEDs brighten, then slowly fade back to a dull light. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123093773-USSGNHQV84H4WT06ZWQU/image-asset.jpeg CRANK 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123053072-CIAG5ELQYZPBMAYI1993/IMGP2483.jpg CRANK 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123043590-UXDY1STMIMS090HMHIFV/17IMGP2492.jpg CRANK 2008 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449123236028-BM2HQ4HFU5K6P5LEC3P6/LWoodward3.jpg CRANK 2008 http://www.laurawoodward.com.au/blog-1 daily 0.75 2016-10-09 http://www.laurawoodward.com.au/blog-1/2016/10/9/melbourne-artist-wins-docklands-public-art-commission monthly 0.5 2016-10-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1475993318392-39KIWWM3PSSQPGP56ZLT/160423+Murmur+Image+Small.jpg Blog - LAURA WOODWARD WINS DOCKLANDS PUBLIC ART COMMISSION http://www.laurawoodward.com.au/blog-1/2016/1/2/welcome-to-my-new-website monthly 0.5 2016-01-07 http://www.laurawoodward.com.au/blog-1/2015/10/21/catalogue-essay-writhe monthly 0.5 2015-10-21 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445468371578-8TN0NIA5DHIL6OR4OAHH/IMG_7303+%281%29+small.jpg Blog - Catalogue Essay: Writhe http://www.laurawoodward.com.au/blog-1/2015/10/21/writhe monthly 0.5 2015-10-21 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445466309604-XTYGE498CVG919XX9RF2/IMG_7336+%281%29+small.jpg Blog - NEWSLETTER: WRITHE https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445410940725-Q3M53FI8TBLNXYL6VGID/writhe-logos Blog - NEWSLETTER: WRITHE https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445466263244-I6BT1G2J6N5YGOD3Z9R5/IMG_7282+%281%29+small.jpg Blog - NEWSLETTER: WRITHE http://www.laurawoodward.com.au/blog-1/2015/10/21/interview-with-spook-magazine monthly 0.5 2015-10-21 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445466952897-IHIF7VHBLCX2CVV1UXIY/IMG_7182-642x428.jpg Blog - Interview with Spook Magazine http://www.laurawoodward.com.au/blog-1/2015/10/21/composing-common-worlds monthly 0.5 2015-10-21 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445466017040-Y2K9EPJNMX9KZHKCCLQT/LWoodward_Five_06+small.jpg Blog - NEWSLETTER: COMPOSING COMMON WORLDS http://www.laurawoodward.com.au/blog-1/2015/10/21/catalogue-essay-introverted monthly 0.5 2015-10-21 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445471676203-6RS6UZK5NBD3DA94UNMM/IMG_5336+small.jpg Blog - Catalogue Essay: Introverted http://www.laurawoodward.com.au/blog-1/2012/09/a-self-perpetuating-self-generating.html monthly 0.5 2012-09-15 http://www.laurawoodward.com.au/blog-1/2011/12/faith-and-artist.html monthly 0.5 2011-12-12 http://www.laurawoodward.com.au/blog-1/2011/12/re-ignition.html monthly 0.5 2011-12-12 http://www.laurawoodward.com.au/blog-1/2011/10/learning-curve.html monthly 0.5 2011-10-21 http://www.laurawoodward.com.au/blog-1/2011/10/beast.html monthly 0.5 2015-10-21 http://www.laurawoodward.com.au/blog-1/2011/09/man-who-wants-to-lead-orchestra-must.html monthly 0.5 2011-09-08 http://www.laurawoodward.com.au/blog-1/2011/09/studio-experiments.html monthly 0.5 2011-09-03 http://www.laurawoodward.com.au/blog-1/2011/08/delicious-words.html monthly 0.5 2011-08-26 http://www.laurawoodward.com.au/blog-1/2011/08/just-images.html monthly 0.5 2011-08-21 http://www.laurawoodward.com.au/blog-1/2011/08/ultimate.html monthly 0.5 2011-08-19 http://www.laurawoodward.com.au/blog-1/2011/08/oh-my.html monthly 0.5 2011-08-19 http://www.laurawoodward.com.au/blog-1/2011/08/these-are-few-of-my-favourite-things.html monthly 0.5 2011-08-18 http://www.laurawoodward.com.au/blog-1/2011/08/planet.html monthly 0.5 2011-08-12 http://www.laurawoodward.com.au/blog-1/2011/08/coffee-and-muse.html monthly 0.5 2011-08-11 http://www.laurawoodward.com.au/blog-1/2011/08/how-to-make-monster-and-other-bed-time.html monthly 0.5 2011-08-10 http://www.laurawoodward.com.au/blog-1/2011/08/self-portraiture-self-portrait-of.html monthly 0.5 2011-08-11 http://www.laurawoodward.com.au/blog-1/2011/08/specialising-preceded-by-foreword.html monthly 0.5 2011-08-09 http://www.laurawoodward.com.au/blog-1/2010/02/so.html monthly 0.5 2010-02-14 http://www.laurawoodward.com.au/blog-1/tag/spook+magazine monthly 0.5 http://www.laurawoodward.com.au/blog-1/tag/specialisation monthly 0.5 http://www.laurawoodward.com.au/blog-1/tag/laura+woodward monthly 0.5 http://www.laurawoodward.com.au/blog-1/tag/drawing monthly 0.5 http://www.laurawoodward.com.au/blog-1/tag/kinetic+art monthly 0.5 http://www.laurawoodward.com.au/shallows-2010 daily 0.75 2015-12-17 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449107655865-GQLLQ609HYW07LHYSF3F/IMG_1314.jpg SHALLOWS 2010 - SHALLOWS 2010 Stainless steel, acrylic, water, air, glass, pvc, motor Dimensions variable A sealed tube hangs suspended in a tank of water, jointed stainless steel arms reaching out to the tank's sides. A motor-driven pump gently pushes water in and out of this tube, altering the ratio of air and water within. These variations constantly vary the tube's buoyancy, causing it to rise and fall in the water. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449107655865-GQLLQ609HYW07LHYSF3F/IMG_1314.jpg SHALLOWS 2010 - SHALLOWS 2010 Stainless steel, acrylic, water, air, glass, pvc, motor Dimensions variable A sealed tube hangs suspended in a tank of water, jointed stainless steel arms reaching out to the tank's sides. A motor-driven pump gently pushes water in and out of this tube, altering the ratio of air and water within. These variations constantly vary the tube's buoyancy, causing it to rise and fall in the water. Images and footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450323077784-JXCH8HO434DCNR6CF8R9/IMG_1234.jpg SHALLOWS 2010 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449107649611-S3J7XZYOCKHGS3ZZGX4Y/IMG_1308b.jpg SHALLOWS 2010 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1450323030679-XHLZA7K7G8MQSKQ8F3C0/image-asset.jpeg SHALLOWS 2010 http://www.laurawoodward.com.au/writhe-2015 daily 0.75 2017-06-28 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035736978-JKO9PHE43B8HPTT4GDW3/IMG_7282+%281%29.jpg WRITHE 2015 - WRITHE 2015 Ararat Regional Art Gallery Inspired by Ararat’s surrounding landscape, WRITHE comprises nine identical mechanical units which respond to and affect each other to contribute to the installation’s larger ongoing kinetic system. Water pulses throughout the space, flowing, at times changing direction, and in doing so continuing the system’s operation. Drawing upon the gallery’s contemporary textile art focus, Writhe references woven patterns and undulating terrain in its forms and movements. Images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035736978-JKO9PHE43B8HPTT4GDW3/IMG_7282+%281%29.jpg WRITHE 2015 - WRITHE 2015 Ararat Regional Art Gallery Inspired by Ararat’s surrounding landscape, WRITHE comprises nine identical mechanical units which respond to and affect each other to contribute to the installation’s larger ongoing kinetic system. Water pulses throughout the space, flowing, at times changing direction, and in doing so continuing the system’s operation. Drawing upon the gallery’s contemporary textile art focus, Writhe references woven patterns and undulating terrain in its forms and movements. Images by Jem Selig Freeman and the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035820781-DZXXIEGW8C2WTRZSMMYP/IMG_7296.jpg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035815556-FLO4WC3L7INYHDNF409Y/IMG_7303+%281%29.jpg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035881860-YWJ96S1BZ63L97UPOX9Y/IMG_7336+%281%29.jpg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035915670-CO06LPYGCEU44UZEUV7A/IMG_7356+%281%29.jpg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1449035908881-F2SW55AWR49HGLZL8JRH/IMG_7360+%281%29.jpg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498637229190-QY9F5P7XGP52O6MLRDMZ/image-asset.jpeg WRITHE 2015 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1444292675163-PE9UAW57PVDLW1N96DHB/image-asset.jpeg WRITHE 2015 http://www.laurawoodward.com.au/the-tolling-2016-1 daily 0.75 2017-06-28 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606660247-ZYV9HHRRIKT86QL8DNEW/The+Tolling+01.jpg THE TOLLING 2016 - THE TOLLING 2016 The Ian Potter Museum, Melbourne. The exhibition "Calling Percy" was presented by Cultural Collisions and the Melbourne Festival. Water, aluminium, acetal, acrylic, fasteners, motors Dimensions variable, approximately 450cm wide x 350cm high x 350cm deep THE TOLLING is a kinetic, sonic and sculptural installation comprising seven tubular bells. Through its inherent systematic logic, THE TOLLING generates its own composition within the gallery, the deep tones of the bells resonating throughout the space. Each of the bells is accompanied by a water-driven hammer which is connected to a vessel. The vessel gradually fills until it tips, causing the hammer to strike its bell. The duration between strikes, the force with which each bell is struck, and the overall sequence, is generated by the work itself and its inherent variabilities. A second tipping vessel contributes an additional sonic layer, submersing each bell-end which slightly shifts its pitch. These variable qualities converge to generate and compose the ever-emerging melody generated by the work. Early experiments were sparked by explorations into Percy Grainger's free music machines. THE TOLLING draws upon correlations between my own practice – in which I create looped systems often driven by the weight and movement of water – and the non-deterministic action of “gliding” across and between notes that was crucial to Grainger’s free music machines. THE TOLLING explores the ways in which gliding as both action and concept can function and contribute to a cyclical system that is embodied within a kinetic sculptural installation. THE TOLLING teases out the sonic and spatial potentials that arise in the space between kinetic sculptural systems and water. In particular, THE TOLLING mobilises water’s inherent capacity for “gliding”; water in motion is incremental, analogue, non-binary, gliding. When coupled with a tubular bell, this shifting capacity of water has compelling potential; the submersion of a ringing tubular bell shifts its tone, the pitch gliding, exposing the full possibilities of the bell’s tonal range. Images by Christian Capurro. Footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606660247-ZYV9HHRRIKT86QL8DNEW/The+Tolling+01.jpg THE TOLLING 2016 - THE TOLLING 2016 The Ian Potter Museum, Melbourne. The exhibition "Calling Percy" was presented by Cultural Collisions and the Melbourne Festival. Water, aluminium, acetal, acrylic, fasteners, motors Dimensions variable, approximately 450cm wide x 350cm high x 350cm deep THE TOLLING is a kinetic, sonic and sculptural installation comprising seven tubular bells. Through its inherent systematic logic, THE TOLLING generates its own composition within the gallery, the deep tones of the bells resonating throughout the space. Each of the bells is accompanied by a water-driven hammer which is connected to a vessel. The vessel gradually fills until it tips, causing the hammer to strike its bell. The duration between strikes, the force with which each bell is struck, and the overall sequence, is generated by the work itself and its inherent variabilities. A second tipping vessel contributes an additional sonic layer, submersing each bell-end which slightly shifts its pitch. These variable qualities converge to generate and compose the ever-emerging melody generated by the work. Early experiments were sparked by explorations into Percy Grainger's free music machines. THE TOLLING draws upon correlations between my own practice – in which I create looped systems often driven by the weight and movement of water – and the non-deterministic action of “gliding” across and between notes that was crucial to Grainger’s free music machines. THE TOLLING explores the ways in which gliding as both action and concept can function and contribute to a cyclical system that is embodied within a kinetic sculptural installation. THE TOLLING teases out the sonic and spatial potentials that arise in the space between kinetic sculptural systems and water. In particular, THE TOLLING mobilises water’s inherent capacity for “gliding”; water in motion is incremental, analogue, non-binary, gliding. When coupled with a tubular bell, this shifting capacity of water has compelling potential; the submersion of a ringing tubular bell shifts its tone, the pitch gliding, exposing the full possibilities of the bell’s tonal range. Images by Christian Capurro. Footage by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606661314-JU4HI265BUBBOIH71BR9/The+Tolling+02.jpg THE TOLLING 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606702859-I3ZB20FKK1O5N5NP5MI0/The+Tolling+03.jpg THE TOLLING 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606719283-MKR97OMRI3TSIK4PM24N/The+Tolling+04.jpg THE TOLLING 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606735286-M8EBG3IT7JD263BH2HXV/The+Tolling+05.jpg THE TOLLING 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1498606843920-2B6DN42MYTKCIT9ATRJS/image-asset.jpeg THE TOLLING 2016 http://www.laurawoodward.com.au/resonate-2016 daily 0.75 2017-09-19 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815160166-VW4DAC51SZUFQOWIOY9H/LWoodward+Resonate+Airspace+03.jpg RESONATE 2016 - RESONATE 2016 RESONATE was a solo exhibition shown at Airspace Projects, Marrickville (NSW) and Stockroom Gallery, Kyneton (Vic). It comprised two kinetic sculptures, two animations, and a publication: - CIRCUM 2016 - water, acetal, fasteners, nylon hose, santoprene hose, elastic, plastic bottles, motor - 100cm x 100cm x 100cm - REVOLUTION 2016 - animated pen on trace paper, looped projection (edition of 3 plus artist proof) - COUNTER 2016 - animated pen on trace paper, looped projection (edition of 3 plus artist proof) - ONGOING/REVERSE 2016 - water, acetal, fasteners, nylon hose, santoprene hose, elastic, plastic bottles, motor - 100cm x 100cm x 20cm - RESONATE 2016 - publicatio The exhibition focused upon the subtle, nuanced movements that can be found in organisms, in humans, and in machines, resonating across and between the animate, the inanimate, and the human-made: vibrations, tremors, twitches, pulses, rhythms, and the systems that underlie these movements. Motion, the basis of all life, is present not only in the visible, tangible realm, but right down to the atomic level. It is at the heart of our action and of our inaction, and it is the way in which we understand both time and the world around us. RESONATE sought to draw out the ways in which these various forms – organism, animal, non-animal, human, and machine – both resonate with and differ from each other. The exhibition was accompanied by a publication in which five contributors – including the exhibiting artist, artist-curator Dr Kent Wilson, artist-theorist Professor Barbara Bolt, poet Ryan van Winkle, anatomist Dr Ryan Jefferies, and artist-philosopher Dr William Seeley – responded to the above conceptual stimulus. Offering texts, drawings, photographs and poetry, the contributions interwove and overlapped, exposing further rhythms, systems and resonances between and across the several practices at play. The publication is available for purchase; please contact the artist. Images by the artist and Jem Selig Freeman, images shown are from both galleries. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815160166-VW4DAC51SZUFQOWIOY9H/LWoodward+Resonate+Airspace+03.jpg RESONATE 2016 - RESONATE 2016 RESONATE was a solo exhibition shown at Airspace Projects, Marrickville (NSW) and Stockroom Gallery, Kyneton (Vic). It comprised two kinetic sculptures, two animations, and a publication: - CIRCUM 2016 - water, acetal, fasteners, nylon hose, santoprene hose, elastic, plastic bottles, motor - 100cm x 100cm x 100cm - REVOLUTION 2016 - animated pen on trace paper, looped projection (edition of 3 plus artist proof) - COUNTER 2016 - animated pen on trace paper, looped projection (edition of 3 plus artist proof) - ONGOING/REVERSE 2016 - water, acetal, fasteners, nylon hose, santoprene hose, elastic, plastic bottles, motor - 100cm x 100cm x 20cm - RESONATE 2016 - publicatio The exhibition focused upon the subtle, nuanced movements that can be found in organisms, in humans, and in machines, resonating across and between the animate, the inanimate, and the human-made: vibrations, tremors, twitches, pulses, rhythms, and the systems that underlie these movements. Motion, the basis of all life, is present not only in the visible, tangible realm, but right down to the atomic level. It is at the heart of our action and of our inaction, and it is the way in which we understand both time and the world around us. RESONATE sought to draw out the ways in which these various forms – organism, animal, non-animal, human, and machine – both resonate with and differ from each other. The exhibition was accompanied by a publication in which five contributors – including the exhibiting artist, artist-curator Dr Kent Wilson, artist-theorist Professor Barbara Bolt, poet Ryan van Winkle, anatomist Dr Ryan Jefferies, and artist-philosopher Dr William Seeley – responded to the above conceptual stimulus. Offering texts, drawings, photographs and poetry, the contributions interwove and overlapped, exposing further rhythms, systems and resonances between and across the several practices at play. The publication is available for purchase; please contact the artist. Images by the artist and Jem Selig Freeman, images shown are from both galleries. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815195208-P6Q5HCUI9SMKQQN08BFJ/LWoodward+Resonate+Stockroom+02.JPG RESONATE 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815235744-IPZOR4HTA8BWPIHK1KMA/image-asset.jpeg RESONATE 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815201323-MBAEA23IRV5V2QZFOAZ9/LWoodward+Resonate+Stockroom+03.JPG RESONATE 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815126746-9TRU1LA6CBQBXG96OX4Z/LWoodward+Resonate+Airspace+02.jpg RESONATE 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815244819-07XXDCVL95EEPCMCBMT5/LWoodward+Resonate+Stockroom+05.JPG RESONATE 2016 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1505815131625-TGIQL6S8OGP5DO7VKGJB/LWoodward+Resonate+Airspace+01.jpg RESONATE 2016 http://www.laurawoodward.com.au/conical-2018 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569844502-8ZA1XLWQNU147FOI90N1/LWoodward_Conical+2018_3.jpg CONICAL 2018 - CONICAL 2018 Commissioned by Carr Architecture and Interior Design to create a unique work to be installed in a light well in the entry of United Places Boutique Hotel, South Yarra Location: United Places Boutique Hotel, 157 Domain Road, South Yarra Water, acrylic, stainless steel, motors, motion sensor Sculptural element approximately 1.5m x 1.5m x 1.5m, light cast on to floor approximately 2.5m x 2.0m Visitors to United Places Boutique Hotel in South Yarra enter through a long corridor, at the end of which they can just see three circles of light cast onto the floor. As they approach the circles, they step under a conical light well. Looking up, they see three spheres suspended in the light-well. Each sphere contains water through which both artificial light and the sun cast refracted circles of light onto the floor. Whilst visitors are looking up, a sensor is triggered which causes the water to vibrate, causing rippled patterns to appear in the refracted circles of light on the floor. The visitors literally stand within the work, caught between the unexpected sculptural elements above and the fleeting ripples below. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569844502-8ZA1XLWQNU147FOI90N1/LWoodward_Conical+2018_3.jpg CONICAL 2018 - CONICAL 2018 Commissioned by Carr Architecture and Interior Design to create a unique work to be installed in a light well in the entry of United Places Boutique Hotel, South Yarra Location: United Places Boutique Hotel, 157 Domain Road, South Yarra Water, acrylic, stainless steel, motors, motion sensor Sculptural element approximately 1.5m x 1.5m x 1.5m, light cast on to floor approximately 2.5m x 2.0m Visitors to United Places Boutique Hotel in South Yarra enter through a long corridor, at the end of which they can just see three circles of light cast onto the floor. As they approach the circles, they step under a conical light well. Looking up, they see three spheres suspended in the light-well. Each sphere contains water through which both artificial light and the sun cast refracted circles of light onto the floor. Whilst visitors are looking up, a sensor is triggered which causes the water to vibrate, causing rippled patterns to appear in the refracted circles of light on the floor. The visitors literally stand within the work, caught between the unexpected sculptural elements above and the fleeting ripples below. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569985051-AI8KNZJPLOWZEX91CVOS/LWoodward_Conical+2018_5.jpg CONICAL 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569745491-PRLQALTZYM5K6U2KM3W3/LWoodward_Conical+2018_1.jpg CONICAL 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569881424-99XRLFMDAXEDI4EPM7CM/LWoodward_Conical+2018_4.jpg CONICAL 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581570020328-R2HKYNTYHPJLKLBT3WNK/LWoodward_Conical+2018_6.jpg CONICAL 2018 http://www.laurawoodward.com.au/encircle-2017 daily 0.75 2020-02-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581568861953-1LYGORS8GYTBJHQ4GC5N/LWoodward+Encircle+2017_1.jpg ENCIRCLE 2017 - ENCIRCLE 2017 Laura Woodward with Like Butter Pty Ltd. Commissioned by Elwood Primary School, Elwood, Melbourne Powdercoated galvanised steel, made from 667 individual steel triangles 7m x 4m x 1m To celebrate their 100 year anniversary, Elwood Primary School sought a work that integrated the school’s anchor emblem. ENCIRCLE responded to the school emblem in an unexpected way, starting with the anchor emblem and then developing it in order to open up imaginative play-space for the children and to create a work that could function within the mixed-age play area. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581568861953-1LYGORS8GYTBJHQ4GC5N/LWoodward+Encircle+2017_1.jpg ENCIRCLE 2017 - ENCIRCLE 2017 Laura Woodward with Like Butter Pty Ltd. Commissioned by Elwood Primary School, Elwood, Melbourne Powdercoated galvanised steel, made from 667 individual steel triangles 7m x 4m x 1m To celebrate their 100 year anniversary, Elwood Primary School sought a work that integrated the school’s anchor emblem. ENCIRCLE responded to the school emblem in an unexpected way, starting with the anchor emblem and then developing it in order to open up imaginative play-space for the children and to create a work that could function within the mixed-age play area. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581568946290-7EN9L7A6ZTB9CAWKWW9E/LWoodward+Encircle+2017_4.jpg ENCIRCLE 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581569039102-O13TN85RUX5KOV12NP3O/LWoodward+Encircle+2017_6.jpg ENCIRCLE 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581567131325-W8MTT2A276OUR8PJLEQO/IMG_9771.jpg ENCIRCLE 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581568954423-28023BW06DOP0N3QFR26/LWoodward+Encircle+2017_3.jpg ENCIRCLE 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581568999601-NIR3CY4YSRA6FVXNTQKW/LWoodward+Encircle+2017_5.jpg ENCIRCLE 2017 http://www.laurawoodward.com.au/and-the-sun-was-filled-with-salt-2019 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819971981-DBCL259RRAPX08NJY92N/image-asset.jpeg AND THE SUN WAS FILLED WITH SALT 2019 - AND THE SUN WAS FILLED WITH SALT 2019 Salt, acrylic, acetal, aluminium, motor, fasteners, wire rope, electrical wire 120cm x 120cm x 30cm I spent December 2017 at Arteles Creative Centre in rural Finland. AND THE SUN WAS FILLED WITH SALT emerged in response to the deep Finnish winter, where the muted sun appeared low on the horizon for only a few hours each day, and where dawn and dusk were long, drawn-out, unassuming affairs. It began with the idea of creating a large aperture mechanism that, in opening and closing, would change the amount of light coming into the gallery. However, as the work developed it metamorphosed into something other, and eventually became AND THE SUN WAS FILLED WITH SALT. It contains two vessels of equal volume – one large, flat and narrow, the other small and spherical – held within a slowly rotating wheel. As the wheel turns, salt flows from one vessel to the other, generating a constantly moving, tilted horizon in the larger vessel. Light gently diffuses through the salt. As the salt moves, varying densities create subtle, shifting patterns, both in the salt itself and in ghostly powder on the vessel’s surfaces. The exhibition catalogue can be viewed here. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819971981-DBCL259RRAPX08NJY92N/image-asset.jpeg AND THE SUN WAS FILLED WITH SALT 2019 - AND THE SUN WAS FILLED WITH SALT 2019 Salt, acrylic, acetal, aluminium, motor, fasteners, wire rope, electrical wire 120cm x 120cm x 30cm I spent December 2017 at Arteles Creative Centre in rural Finland. AND THE SUN WAS FILLED WITH SALT emerged in response to the deep Finnish winter, where the muted sun appeared low on the horizon for only a few hours each day, and where dawn and dusk were long, drawn-out, unassuming affairs. It began with the idea of creating a large aperture mechanism that, in opening and closing, would change the amount of light coming into the gallery. However, as the work developed it metamorphosed into something other, and eventually became AND THE SUN WAS FILLED WITH SALT. It contains two vessels of equal volume – one large, flat and narrow, the other small and spherical – held within a slowly rotating wheel. As the wheel turns, salt flows from one vessel to the other, generating a constantly moving, tilted horizon in the larger vessel. Light gently diffuses through the salt. As the salt moves, varying densities create subtle, shifting patterns, both in the salt itself and in ghostly powder on the vessel’s surfaces. The exhibition catalogue can be viewed here. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819796831-II4U8ZEKWYY3IQLY70ZD/LWoodward_And+the+Sun+was+filled+with+Salt+2019_01.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819104041-WLGQ03ASL3H437SKNCHK/image-asset.octet-stream AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819792447-3HWI9NQD3MW7Z46GTDDH/LWoodward_And+the+Sun+was+filled+with+Salt+2019_02.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819836565-E8JY3BBEVLM9SUIYLWNR/LWoodward_And+the+Sun+was+filled+with+Salt+2019_03.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819836558-PCIMY1FOYSBOWJIPKX06/LWoodward_And+the+Sun+was+filled+with+Salt+2019_04.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819869981-4V0YORYEHBY25XY6H93F/LWoodward_And+the+Sun+was+filled+with+Salt+2019_05.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819870493-JD0RYL517KVM9GNLMHCA/LWoodward_And+the+Sun+was+filled+with+Salt+2019_06.jpg AND THE SUN WAS FILLED WITH SALT 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581819886405-MYD8Z2TEQ45DTG4UE31J/LWoodward_And+the+Sun+was+filled+with+Salt+2019_07.jpg AND THE SUN WAS FILLED WITH SALT 2019 http://www.laurawoodward.com.au/what-compels-us-2017 daily 0.75 2020-02-16 https://static1.squarespace.com/static/55e94acce4b0ffc2192fe44e/t/5e4891998639f00805fb2e30/1581812827827/ WHAT COMPELS US 2017 https://static1.squarespace.com/static/55e94acce4b0ffc2192fe44e/5e488b6e3be8c0066dc202fd/5e488c5b7beeaf30f5926030/1581812827827/ WHAT COMPELS US 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581813588714-VB546C1WFHER88ZE8247/image-asset.jpeg WHAT COMPELS US 2017 - WHAT COMPELS US 2017 WHAT COMPELS US was developed through an invitation from Professor Jane Davidson for the National Gallery of Victoria Triennial’s research hub Digital video, 6 minutes 50 seconds WHAT COMPELS US is a video artwork that weaves together Woodward’s sculptural video work with her artistic research into the relationship between movement, bodies and empathy, to explore the question “what compels us towards things that move?” WHAT COMPELS US was presented in the research hub during the National Gallery of Victoria Triennial from December 2017 to April 2018, and is also hosted on the Triennial “Voices” website here. A podcast is available here in which Timothy Moore interviewed Woodward about WHAT COMPELS US. http://www.laurawoodward.com.au/murmur-2017 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581815927180-N8U5IOMJ0Y1IHHYWXTOW/Murmur+2017_0S9A2284_image+by+Tom+Blachford.JPG MURMUR 2017 - MURMUR 2017 Laura Woodward with Jem Freeman and Like Butter Pty Ltd Commissioned by DKO Architecture, Probuild, and developer Hiap Hoe (Singapore) through Andy Dinan Art Consulting, for Marina Tower, Docklands Melbourne. Location: 8 Pearl River Road, Docklands Melbourne Optic fibre, LEDs, video, electronic components, aluminium 75m x 7m x 1m. In MURMUR, 20,000 small points of light create an amorphous, amoeba-like “cloud” of light that weaves through the architectural space, a delightful, uplifting, intimate and responsive installation. The light-cloud is animated; forms seem to roll through it, generated from shifts in the brightness of each individual light-point. Volumetric animations flow through this cloud, inspired by naturally occurring patterns such as ocean currents, storm formations, wind movements, and flocking behaviour; those natural forces that are ever-present in our urban environments. At times, Murmur moves intensely, brightnesses converging and then dissolving in seconds, reminiscent of New Quay’s history as a bustling port. At other times, the lighting shifts gently, gradually rolling through the lane-way in textural patterns. Waves of light that start at each end of the lane tantalise passers-by to wander in, following the light forms and in doing so discovering the lane-way itself. Responding to the tower’s architecture, MURMUR weaves its way through the lane, sweeping around columns and folding into nooks. In its vast and dramatic scale, multiple interpretations, integration with the architecture, and site-specificity, the overall impact of MURMUR is uplifting. At points, the light-form hovers tantalisingly just out of reach, whilst at others it soars up to meet the glazed ceiling; inviting curiosity, engagement, lightness, and joy for hotel guests, local residents and the general public. Electrical engineering: Tekt Industries. Optic fibre supply and consultation: Fibre Optic Cable Pty Ltd. Artwork electrician: Simon Boucher Electrical Contracting. Images 1 and 2 by Tom Blachford, images 3 to 7 by Jem Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581815927180-N8U5IOMJ0Y1IHHYWXTOW/Murmur+2017_0S9A2284_image+by+Tom+Blachford.JPG MURMUR 2017 - MURMUR 2017 Laura Woodward with Jem Freeman and Like Butter Pty Ltd Commissioned by DKO Architecture, Probuild, and developer Hiap Hoe (Singapore) through Andy Dinan Art Consulting, for Marina Tower, Docklands Melbourne. Location: 8 Pearl River Road, Docklands Melbourne Optic fibre, LEDs, video, electronic components, aluminium 75m x 7m x 1m. In MURMUR, 20,000 small points of light create an amorphous, amoeba-like “cloud” of light that weaves through the architectural space, a delightful, uplifting, intimate and responsive installation. The light-cloud is animated; forms seem to roll through it, generated from shifts in the brightness of each individual light-point. Volumetric animations flow through this cloud, inspired by naturally occurring patterns such as ocean currents, storm formations, wind movements, and flocking behaviour; those natural forces that are ever-present in our urban environments. At times, Murmur moves intensely, brightnesses converging and then dissolving in seconds, reminiscent of New Quay’s history as a bustling port. At other times, the lighting shifts gently, gradually rolling through the lane-way in textural patterns. Waves of light that start at each end of the lane tantalise passers-by to wander in, following the light forms and in doing so discovering the lane-way itself. Responding to the tower’s architecture, MURMUR weaves its way through the lane, sweeping around columns and folding into nooks. In its vast and dramatic scale, multiple interpretations, integration with the architecture, and site-specificity, the overall impact of MURMUR is uplifting. At points, the light-form hovers tantalisingly just out of reach, whilst at others it soars up to meet the glazed ceiling; inviting curiosity, engagement, lightness, and joy for hotel guests, local residents and the general public. Electrical engineering: Tekt Industries. Optic fibre supply and consultation: Fibre Optic Cable Pty Ltd. Artwork electrician: Simon Boucher Electrical Contracting. Images 1 and 2 by Tom Blachford, images 3 to 7 by Jem Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814770724-E1VY5TLM9DPMAT8LC329/Murmur+2017_0S9A2307_image+by+Tom+Blachford.JPG MURMUR 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814789916-LF1MVB4IONJVC6EGPHQW/Murmur+2017_0S9A2284_image+by+Tom+Blachford.JPG MURMUR 2017 - MURMUR 2017 Laura Woodward with Jem Freeman and Like Butter Pty Ltd Commissioned by DKO Architecture, Probuild, and developer Hiap Hoe (Singapore) through Andy Dinan Art Consulting, for Marina Tower, Pearl River Road, Docklands Melbourne. Commission: $320,000 excluding GST Optic fibre, LEDs, video, electronic components, aluminium 75m x 7m x 1m. In MURMUR, 20,000 small points of light create an amorphous, amoeba-like “cloud” of light that weaves through the architectural space, a delightful, uplifting, intimate and responsive installation. The light-cloud is animated; forms seem to roll through it, generated from shifts in the brightness of each individual light-point. Volumetric animations flow through this cloud, inspired by naturally occurring patterns such as ocean currents, storm formations, wind movements, and flocking behaviour; those natural forces that are ever-present in our urban environments. At times, Murmur moves intensely, brightnesses converging and then dissolving in seconds, reminiscent of New Quay’s history as a bustling port. At other times, the lighting shifts gently, gradually rolling through the lane-way in textural patterns. Waves of light that start at each end of the lane tantalise passers-by to wander in, following the light forms and in doing so discovering the lane-way itself. Responding to the tower’s architecture, MURMUR weaves its way through the lane, sweeping around columns and folding into nooks. In its vast and dramatic scale, multiple interpretations, integration with the architecture, and site-specificity, the overall impact of MURMUR is uplifting. At points, the light-form hovers tantalisingly just out of reach, whilst at others it soars up to meet the glazed ceiling; inviting curiosity, engagement, lightness, and joy for hotel guests, local residents and the general public. Images 1 and 2 by Tom Blachford, images 3 to 7 by Jem Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814829256-HUFYOBMNJ7WCSH190F5D/Murmur+2017_2_Jem+Freeman.jpg MURMUR 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814848249-K9P6B3WXPVNXFRO9SWDH/Murmur+2017_3_Jem+Freeman.jpg MURMUR 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814868665-RHW3S976IP8S7RRRN030/Murmur+2017_4_Jem+Freeman.jpg MURMUR 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814812668-Q7NUHU60SAZIUAB392ZC/Murmur+2017_1_Jem+Freeman.jpg MURMUR 2017 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581814875461-LTC9YY1LSITHBL4YWQ7A/Murmur+2017_5_Jem+Freeman.jpg MURMUR 2017 http://www.laurawoodward.com.au/drop-2018 daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811592598-CXCJ9TS25MXO5LA1YAE6/LWoodward+Drop+2018_03.jpg DROP 2018 - DROP 2018 Commissioned by Science Gallery Melbourne for the exhibition Perfection. Perfection was shown in the Melbourne School of Design, the University of Melbourne, in September and October 2018. DROP explores the concept of perfection in relation to water dynamics, balance and systems. DROP is a water-driven, cyclical system embodied in an artwork. It is driven by two primary, crucial factors: the power of water, and the inter-reliant relationships between components within the system. It asks the question: how does perfection manifest in the ongoing functioning of cyclical systems, and what role does water play in this manifestation? The three vessels in DROP are suspended on a single length of cable supported by several pulleys. Because of this, the vessels sit in dynamic relation to each other, with the weight of each of the three vessels at any one point in time determining their subsequent heights. As water is pumped from the first vessel to the second, the water's weight gradually shifts until it causes the second vessel to drop, whilst the first vessel rises. As it does so, the next pump starts and begins to move water from the now-full second vessel to the third vessel. When the third vessel is full, the next pump starts and the first vessel is filled again. This process continues indefinitely in a cyclic loop. The incremental nature of the water's movement means that DROP takes approximately one day to complete a full cycle. In this system, each component is crucial to the system’s ongoing cyclical functioning. However, as is visible in this system, perfection in a system is not achieved through the perfection of each component, but is instead found in the perfect balance between components. For example, the amount of water in one vessel is irrelevant to the system; what is important is that there is the ‘perfect’ amount of water balanced across the three vessels, so that the system is in perfect balance at any given point in time – and can therefore continue to function. Images by Christian Capurro. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811592598-CXCJ9TS25MXO5LA1YAE6/LWoodward+Drop+2018_03.jpg DROP 2018 - DROP 2018 Commissioned by Science Gallery Melbourne for the exhibition Perfection. Perfection was shown in the Melbourne School of Design, the University of Melbourne, in September and October 2018. DROP explores the concept of perfection in relation to water dynamics, balance and systems. DROP is a water-driven, cyclical system embodied in an artwork. It is driven by two primary, crucial factors: the power of water, and the inter-reliant relationships between components within the system. It asks the question: how does perfection manifest in the ongoing functioning of cyclical systems, and what role does water play in this manifestation? The three vessels in DROP are suspended on a single length of cable supported by several pulleys. Because of this, the vessels sit in dynamic relation to each other, with the weight of each of the three vessels at any one point in time determining their subsequent heights. As water is pumped from the first vessel to the second, the water's weight gradually shifts until it causes the second vessel to drop, whilst the first vessel rises. As it does so, the next pump starts and begins to move water from the now-full second vessel to the third vessel. When the third vessel is full, the next pump starts and the first vessel is filled again. This process continues indefinitely in a cyclic loop. The incremental nature of the water's movement means that DROP takes approximately one day to complete a full cycle. In this system, each component is crucial to the system’s ongoing cyclical functioning. However, as is visible in this system, perfection in a system is not achieved through the perfection of each component, but is instead found in the perfect balance between components. For example, the amount of water in one vessel is irrelevant to the system; what is important is that there is the ‘perfect’ amount of water balanced across the three vessels, so that the system is in perfect balance at any given point in time – and can therefore continue to function. Images by Christian Capurro. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581813097347-QA05PHTK5PIAQK5SQPUI/image-asset.jpeg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811598245-MJD6R0XE2V297NM4OJ67/LWoodward+Drop+2018_05.jpg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811591322-W0ZMWN2JOD5LV2V2BQLD/LWoodward+Drop+2018_02.jpg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811601896-E1L1UKTOPT26B2LDRY6H/LWoodward+Drop+2018_07.jpg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811602672-8EHH6TXGFA86CWI6X1UW/LWoodward+Drop+2018_08.jpg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811599775-L2IP5KZR1Z0ONPXQX8CU/LWoodward+Drop+2018_06.jpg DROP 2018 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581811595191-7JUOJWPFF9F7N73LBPHM/LWoodward+Drop+2018_04.jpg DROP 2018 http://www.laurawoodward.com.au/the-tower-vigil-2019 daily 0.75 2021-02-07 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612671415593-SNQ14ZSC27Z887KDG2FT/LWoodward_The+Tower+Vigil_2019_01_1008.jpg THE TOWER (VIGIL) 2019 - THE TOWER (VIGIL) 2019 Digital animation 1 minute, looped projection I spent December 2017 at Arteles Creative Centre in rural Finland. In this deep winter, the muted sun appeared low on the horizon for only a few hours each day. Dawn and dusk were long, drawn-out, unassuming affairs. In the early months of pregnancy, I felt unwell for much of the residency. I found myself sitting for long, dark hours, drawing. Slow, soft strokes appeared on the page. Strange forms emerged, imagined spaces that unfurled in front of me – a small body of work that marked the time and the darkness, that drew out unexpected, inaccessible, previously unseen spaces. As they emerged I envisaged that they would, eventually, metamorphose into something other. Perhaps they would become animations: quiet, softly moving pieces. Perhaps they would become sculptural works, developing like many of my other works to become immersive, moving, experiential installations. Or perhaps they would re-emerge as wall-sized drawings standing larger than the viewer, bringing these imagined spaces into the bodily realm. Alongside its sister work, NEST (THE HORIZON), THE TOWER (VIGIL) emerged from these initial drawings. Eighteen months after being in Finland, and now with a small baby, I revisited the drawings. In doing so, I sought to capture their uncertainty and the ‘unfixedness’ of the imagined spaces within them, taking a gentle approach so that they could develop softly into the next stages of their coming-into-being. In doing so, each of the works touches upon qualities of early parenthood; of holding, of standing vigil, of repetition, and of constant change. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612671415593-SNQ14ZSC27Z887KDG2FT/LWoodward_The+Tower+Vigil_2019_01_1008.jpg THE TOWER (VIGIL) 2019 - THE TOWER (VIGIL) 2019 Digital animation 1 minute, looped projection I spent December 2017 at Arteles Creative Centre in rural Finland. In this deep winter, the muted sun appeared low on the horizon for only a few hours each day. Dawn and dusk were long, drawn-out, unassuming affairs. In the early months of pregnancy, I felt unwell for much of the residency. I found myself sitting for long, dark hours, drawing. Slow, soft strokes appeared on the page. Strange forms emerged, imagined spaces that unfurled in front of me – a small body of work that marked the time and the darkness, that drew out unexpected, inaccessible, previously unseen spaces. As they emerged I envisaged that they would, eventually, metamorphose into something other. Perhaps they would become animations: quiet, softly moving pieces. Perhaps they would become sculptural works, developing like many of my other works to become immersive, moving, experiential installations. Or perhaps they would re-emerge as wall-sized drawings standing larger than the viewer, bringing these imagined spaces into the bodily realm. Alongside its sister work, NEST (THE HORIZON), THE TOWER (VIGIL) emerged from these initial drawings. Eighteen months after being in Finland, and now with a small baby, I revisited the drawings. In doing so, I sought to capture their uncertainty and the ‘unfixedness’ of the imagined spaces within them, taking a gentle approach so that they could develop softly into the next stages of their coming-into-being. In doing so, each of the works touches upon qualities of early parenthood; of holding, of standing vigil, of repetition, and of constant change. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612671415787-EQELIQJH3TS8QGZYSCY7/LWoodward_The+Tower+Vigil_2019_02_1390.jpg THE TOWER (VIGIL) 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612671443496-P7HNFIO97ASSFSZ99ML9/image-asset.jpeg THE TOWER (VIGIL) 2019 http://www.laurawoodward.com.au/nest-the-horizon-2019 daily 0.75 2021-02-07 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612664513948-DW0YPKGEM0IBNACDTAE5/LWoodward_Nest+The+Horizon_2019_01.jpg NEST (THE HORIZON) 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612664513948-DW0YPKGEM0IBNACDTAE5/LWoodward_Nest+The+Horizon_2019_01.jpg NEST (THE HORIZON) 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612666668908-31A62AYY5IR3NAUS5KXB/LWoodward_Nest+The+Horizon_2019_01.jpg NEST (THE HORIZON) 2019 - NEST (THE HORIZON) 2019 Digital animation 4 minutes 30 seconds, looped projection I spent December 2017 at Arteles Creative Centre in rural Finland. In this deep winter, the muted sun appeared low on the horizon for only a few hours each day. Dawn and dusk were long, drawn-out, unassuming affairs. In the early months of pregnancy, I felt unwell for much of the residency. I found myself sitting for long, dark hours, drawing. Slow, soft strokes appeared on the page. Strange forms emerged, imagined spaces that unfurled in front of me – a small body of work that marked the time and the darkness, that drew out unexpected, inaccessible, previously unseen spaces. As they emerged I envisaged that they would, eventually, metamorphose into something other. Perhaps they would become animations: quiet, softly moving pieces. Perhaps they would become sculptural works, developing like many of my other works to become immersive, moving, experiential installations. Or perhaps they would re-emerge as wall-sized drawings standing larger than the viewer, bringing these imagined spaces into the bodily realm. Alongside its sister work, THE TOWER (VIGIL), NEST (THE HORIZON) emerged from these initial drawings. Eighteen months after being in Finland, and now with a small baby, I revisited the drawings. In doing so, I sought to capture their uncertainty and the ‘unfixedness’ of the imagined spaces within them, taking a gentle approach so that they could develop softly into the next stages of their coming-into-being. In doing so, each of the works touches upon qualities of early parenthood; of holding, of standing vigil, of repetition, and of constant change. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612666806654-UYNBTCBICCJSFG6G8UXS/LWoodward_Nest+The+Horizon_2019_02.jpg NEST (THE HORIZON) 2019 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1612670879895-0QV7SCWISZ0XG13HG1GO/image-asset.jpeg NEST (THE HORIZON) 2019 http://www.laurawoodward.com.au/how-do-we-hold-these-things-together-2022 daily 0.75 2022-05-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652582286820-59480JCRGOAVSM5Q8L17/_DSF2775-1.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652582286820-59480JCRGOAVSM5Q8L17/_DSF2775-1.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652583029768-5PDWPKX5Y1D3RTEPVKYR/LWoodward_And+the+Sun+was+Filled+with+Salt_01.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 - HOW DO WE HOLD THESE THINGS TOGETHER? 2022 Water, grass, stainless steel, nylon hose, pumps, sound equipment, wire rope, fasteners Dimensions variable HOW DO WE HOLD THESE THINGS TOGETHER? considers the process of new death technologies, such as water cremation, and what kinds of ceremonies, rituals or spaces might develop around these emerging body disposal methods. I was thinking about how we engage with life when we know that death is coming – thus the title. This was particularly pertinent for me as I was pregnant whilst developing the work and was increasingly aware of the liminal space between life and death during the act of childbirth. HOW DO WE HOLD THESE THINGS TOGETHER? imagines a space for mourning, in which the deceased’s remains might form a sonic landscape for a period of time whilst loved ones take the time to say goodbye. I have attended both burial services and cremation services and noticed how different they are: in burial services, there is a durational aspect for mourners as the body is lowered and dirt covers the coffin. In the cremation services that I have seen, however, the body simply moves out of view without a durational equivalent to the lowering of the body into the ground. In HOW DO WE HOLD THESE THINGS TOGETHER?, I imagined how a durational equivalent might manifest for loved ones if a body was disposed of with water cremation – which, like traditional cremation, occurs out of sight. Each of the three vessels in “How do we hold these things together?” drips water onto a convex metal drum, amplifying the sound of the water falling. The varying tones of the three units create a meditative and rhythmic soundscape within the space. This sombre tone is however tempered by the lush grass; fed by the water as it falls from the drums, its intense green a nod to the interconnections between death and life. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652583029931-EBL4895K6WBWU8G5EJG5/LWoodward_And+the+Sun+was+Filled+with+Salt_02.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652583031442-TZDVZ6OMXTO2GJXJBAG4/LWoodward_And+the+Sun+was+Filled+with+Salt_03.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652583032861-WDYDHX1UR40UJZ45PWZI/LWoodward_And+the+Sun+was+Filled+with+Salt_05.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1652583031989-3SZY86IZ9QS4OWRIR24L/LWoodward_And+the+Sun+was+Filled+with+Salt_04.jpg HOW DO WE HOLD THESE THINGS TOGETHER? 2022 http://www.laurawoodward.com.au/floating-land-how-do-we-hold-these-things-together-2023 daily 0.75 2024-10-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541236410-SWQY8QUGK4E87LHP8XZ5/image-asset.jpeg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 - FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 Water, stainless steel, nylon hose, pumps, sound equipment, wire rope, fasteners, grass, aluminium truss Dimensions variable In early 2023 I was invited to reinvisage my work HOW DO WE HOLD THESE THINGS TOGETHER? for Floating Land: Us and Them, held from the 24th of June to the 30th of July 2023. Held biannually, Floating Land is Australia’s premier art in the environment event, taking in sites across Noosa. In 2023, Floating Land: Us and Them, sought “to scrutinise aberration and affinity. To look at other perspectives and share who each of us are. Our stories and experiences. Our joys, darknesses and dreams. It will set out to challenge assumptions, check prejudice and revel in discomfort. Unpick antagonism, interrogate mutual exclusivity, and jumble competing concerns. It might even find some common ground.” In light of this theme, my work HOW DO WE HOLD THESE THINGS TOGETHER? - which I developed in reponse to emerging death technologies - was installed in a small country cemetery outside the township of Pomona. The work sat alongside both old and new graves, its sombre tones resonating throughout the cemetery. The full description of this work can be found here. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541236410-SWQY8QUGK4E87LHP8XZ5/image-asset.jpeg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 - FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 Water, stainless steel, nylon hose, pumps, sound equipment, wire rope, fasteners, grass, aluminium truss Dimensions variable In early 2023 I was invited to reinvisage my work HOW DO WE HOLD THESE THINGS TOGETHER? for Floating Land: Us and Them, held from the 24th of June to the 30th of July 2023. Held biannually, Floating Land is Australia’s premier art in the environment event, taking in sites across Noosa. In 2023, Floating Land: Us and Them, sought “to scrutinise aberration and affinity. To look at other perspectives and share who each of us are. Our stories and experiences. Our joys, darknesses and dreams. It will set out to challenge assumptions, check prejudice and revel in discomfort. Unpick antagonism, interrogate mutual exclusivity, and jumble competing concerns. It might even find some common ground.” In light of this theme, my work HOW DO WE HOLD THESE THINGS TOGETHER? - which I developed in reponse to emerging death technologies - was installed in a small country cemetery outside the township of Pomona. The work sat alongside both old and new graves, its sombre tones resonating throughout the cemetery. The full description of this work can be found here. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693540111533-I9M9WEPC659FOGCEWEVR/_DSF9546.jpg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693540908138-71HCCT1LDJM95MHI9OHN/image-asset.jpeg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 - FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 Water, stainless steel, nylon hose, sound equipment, wire rope, fasteners, grass, aluminium truss Dimensions variable In early 2023 I was invited to reinvisage my work HOW DO WE HOLD THESE THINGS TOGETHER? for installation as part of Floating Land: Us and Them, held from 24th June to 30th July. Held biannually, Floating Land is Australia’s premier art in the environment event, taking in sites across Noosa. In 2023, Floating Land: Us and Them, sought “to scrutinise aberration and affinity. To look at other perspectives and share who each of us are. Our stories and experiences. Our joys, darknesses and dreams. It will set out to challenge assumptions, check prejudice and revel in discomfort. Unpick antagonism, interrogate mutual exclusivity, and jumble competing concerns. It might even find some common ground.” With this theme in mind, my work HOW DO WE HOLD THESE THINGS TOGETHER? - which I had developed in response to emerging death technologies - was situated in a small country cemetery near the township of Pomona. This new site opened up new dimensions in the work, as it sat respectively alongside the graves and its sombre tones resonated through the cemetery. HOW DO WE HOLD THESE THINGS TOGETHER? considers the process of new death technologies, such as water cremation, and what kinds of ceremonies, rituals or spaces might develop around these emerging body disposal methods. I was thinking about how we engage with life when we know that death is coming – thus the title. This was particularly pertinent for me as I was pregnant whilst developing the work and was increasingly aware of the liminal space between life and death during the act of childbirth. HOW DO WE HOLD THESE THINGS TOGETHER? imagines a space for mourning, in which the deceased’s remains might form a sonic landscape for a period of time whilst loved ones take the time to say goodbye. I have attended both burial services and cremation services and noticed how different they are: in burial services, there is a durational aspect for mourners as the body is lowered and dirt covers the coffin. In the cremation services that I have seen, however, the body simply moves out of view without a durational equivalent to the lowering of the body into the ground. In HOW DO WE HOLD THESE THINGS TOGETHER?, I imagined how a durational equivalent might manifest for loved ones if a body was disposed of with water cremation – which, like traditional cremation, occurs out of sight. Each of the three vessels in “How do we hold these things together?” drips water onto a convex metal drum, amplifying the sound of the water falling. The varying tones of the three units create a meditative and rhythmic soundscape within the space. This sombre tone is however tempered by the lush grass; fed by the water as it falls from the drums, its intense green a nod to the interconnections between death and life. Images by the artist. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693540110930-ZM864AB4UN9FRZZ89Q3R/_DSF9563.jpg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693540117680-SNJYFH5DX38T4EW7ZVCV/_DSF9577.jpg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693540117655-UAM52FOQUD1J25UNT256/_DSF9598.jpg FLOATING LAND: HOW DO WE HOLD THESE THINGS TOGETHER? 2023 http://www.laurawoodward.com.au/the-hour-of-the-second-sun-2020 daily 0.75 2023-09-01 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693542117362-0HX1WF9C3BQZCH1XBLPD/image-asset.jpeg THE HOUR OF THE SECOND SUN 2020 - THE HOUR OF THE SECOND SUN 2020 Salt, acrylic, acetal, aluminium, motor, fasteners, wire rope, electrical wire 120cm x 120cm x 30cm “The Hour of the Second Sun” is a sibling to the earlier “And the Sun was Filled with Salt”, which emerged from experiences of pregnancy and child-raising. “And the Sun was Filled with Salt” embodied a constantly-tilting horizon line, revealing ever-changing and unexpected patterns and variations in density and tone within the salt. “The Hour of the Second Sun” (which incidentally coincided with again being pregnant) is an experiment in the impact of subtle change. How would the patterns vary with a single alteration – the addition of a second outer vessel? From this doubling emerges a dynamic conversation: a paralleling and tension; a giving and taking. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693542117362-0HX1WF9C3BQZCH1XBLPD/image-asset.jpeg THE HOUR OF THE SECOND SUN 2020 - THE HOUR OF THE SECOND SUN 2020 Salt, acrylic, acetal, aluminium, motor, fasteners, wire rope, electrical wire 120cm x 120cm x 30cm “The Hour of the Second Sun” is a sibling to the earlier “And the Sun was Filled with Salt”, which emerged from experiences of pregnancy and child-raising. “And the Sun was Filled with Salt” embodied a constantly-tilting horizon line, revealing ever-changing and unexpected patterns and variations in density and tone within the salt. “The Hour of the Second Sun” (which incidentally coincided with again being pregnant) is an experiment in the impact of subtle change. How would the patterns vary with a single alteration – the addition of a second outer vessel? From this doubling emerges a dynamic conversation: a paralleling and tension; a giving and taking. Images by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541874496-EAG1CAEAFTOXMHWXZB4Z/image-asset.octet-stream THE HOUR OF THE SECOND SUN 2020 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541864058-MFS93Z7XBYIT9HZXI6ES/LWoodward_The+Hour+of+the+Second+Sun+1_small.jpg THE HOUR OF THE SECOND SUN 2020 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541864970-FMD7T5F0QXD9A3G3DJEK/LWoodward_The+Hour+of+the+Second+Sun+2_small.jpg THE HOUR OF THE SECOND SUN 2020 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693541869450-RWHRBSHNNVTJO9H9CTJK/LWoodward_The+Hour+of+the+Second+Sun+3_small.jpg THE HOUR OF THE SECOND SUN 2020 http://www.laurawoodward.com.au/the-salt-curtain-2023 daily 0.75 2024-10-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546514134-MHRQO93D9NTEFLCECFQW/LWoodward+The+Salt+Curtain-2.jpg THE SALT CURTAIN 2023 - THE SALT CURTAIN 2023 Salt, aluminium, three-dimensionally printed PLA plastic, acetal plastic, acrylic plastic, motor, stainless steel, fasteners 2.1m x 2.1m x 2.1m Salt has always been central to civilisation. Throughout time it has been harvested, traded, mined, warred over, and taxed. It has been fundamental as a food preservative for millenia, and used in various religious ceremonies across cultures. It also has broad uses in industrial, chemical and agricultural applications. In this and many other ways salt has also been a pillar of economic systems across the globe: in parts of Africa salt was used as actual currency, and the English word salary comes from the Latin word for salt. ”The Salt Curtain”, initially created for an exhibition in a retired bank building, activates salt as its central material. Whilst salt’s pivotal role throughout history grounds it very much in the current world situation – economic instability, the climate crisis, a global pandemic, hunger and ill-health, and numerous conflicts – this work looks forward, optimistically speaking to a future of localised, circular economies: a place of communities working together to everyone’s benefit, of no-one being left behind, of a world that has stabilised and that is, finally, slowly but surely reflourishing. Images by the artist. This project is supported by the Victorian Government through Creative Victoria. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546514134-MHRQO93D9NTEFLCECFQW/LWoodward+The+Salt+Curtain-2.jpg THE SALT CURTAIN 2023 - THE SALT CURTAIN 2023 Salt, aluminium, three-dimensionally printed PLA plastic, acetal plastic, acrylic plastic, motor, stainless steel, fasteners 2.1m x 2.1m x 2.1m Salt has always been central to civilisation. Throughout time it has been harvested, traded, mined, warred over, and taxed. It has been fundamental as a food preservative for millenia, and used in various religious ceremonies across cultures. It also has broad uses in industrial, chemical and agricultural applications. In this and many other ways salt has also been a pillar of economic systems across the globe: in parts of Africa salt was used as actual currency, and the English word salary comes from the Latin word for salt. ”The Salt Curtain”, initially created for an exhibition in a retired bank building, activates salt as its central material. Whilst salt’s pivotal role throughout history grounds it very much in the current world situation – economic instability, the climate crisis, a global pandemic, hunger and ill-health, and numerous conflicts – this work looks forward, optimistically speaking to a future of localised, circular economies: a place of communities working together to everyone’s benefit, of no-one being left behind, of a world that has stabilised and that is, finally, slowly but surely reflourishing. Images by the artist. This project is supported by the Victorian Government through Creative Victoria. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546585161-EE2Q1GCUU0IDN4P4ED3W/image-asset.jpeg THE SALT CURTAIN 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546513030-MHZ1TXQ9IM2I3QKAOF1D/LWoodward+The+Salt+Curtain-4.jpg THE SALT CURTAIN 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546522204-LE9YEHQG3RFFSC9NSQP2/LWoodward+The+Salt+Curtain-6.jpg THE SALT CURTAIN 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546522624-DFTKLZUJTMQ3MZLTFFLT/LWoodward+The+Salt+Curtain-5.jpg THE SALT CURTAIN 2023 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1693546526245-4CUASUVY2L59REN79XQU/LWoodward+The+Salt+Curtain-7.jpg THE SALT CURTAIN 2023 http://www.laurawoodward.com.au/remnant-act-one-2024 daily 0.75 2024-10-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728962648822-7PHKW5GYL8G8FIA9G5OX/Laura_Woodward_Remnant+Act+One.jpg REMNANT ACT ONE 2024 - Remnant Act One 2024  Archival giclee print on di-bond, 33.5 x 80cm, limited edition of 5 + 2 AP This photographic work was shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. Emerging from an accident in the studio, in which I inadvertently smashed an artistic experiment, it suddenly exposed an entirely new direction for the work (one of those magical moments that so rarely happens in studio practice). This moment was the catalyst for both this work and the subsequent “Remnant Act Three” and “Remnant Acts (2054 to 2101)”. The resulting works filled the missing link that I had been struggling with in the exhibition, enabling more explicit connections with the ideas I had been toying with: of how we literally keep things alive – foetuses, children, eco-systems, humankind. About standing on the edge of climate collapse. About our insatiable drive for technology and its increasing creep into the deepest of evolutionary impetuses: the drive to procreate. Of how a single moment, a single drop of matter, can lead to a whole life – an entire potential for love, care, power, destruction and joy. Technical assistance provided by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728962648822-7PHKW5GYL8G8FIA9G5OX/Laura_Woodward_Remnant+Act+One.jpg REMNANT ACT ONE 2024 - Remnant Act One 2024  Archival giclee print on di-bond, 33.5 x 80cm, limited edition of 5 + 2 AP This photographic work was shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. Emerging from an accident in the studio, in which I inadvertently smashed an artistic experiment, it suddenly exposed an entirely new direction for the work (one of those magical moments that so rarely happens in studio practice). This moment was the catalyst for both this work and the subsequent “Remnant Act Three” and “Remnant Acts (2054 to 2101)”. The resulting works filled the missing link that I had been struggling with in the exhibition, enabling more explicit connections with the ideas I had been toying with: of how we literally keep things alive – foetuses, children, eco-systems, humankind. About standing on the edge of climate collapse. About our insatiable drive for technology and its increasing creep into the deepest of evolutionary impetuses: the drive to procreate. Of how a single moment, a single drop of matter, can lead to a whole life – an entire potential for love, care, power, destruction and joy. Technical assistance provided by Jem Selig Freeman. http://www.laurawoodward.com.au/new-gallery-3 daily 0.75 2024-10-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964581012-6CIRXYBCNFYRIGLFZHYD/Laura+Woodward_Remnant+Act+Three.jpg REMNANT ACT THREE 2024 - Remnant Act Three 2024  Archival giclee print on di-bond, 60 x 40cm, limited edition of 5 + 2 AP This photographic work was shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964581012-6CIRXYBCNFYRIGLFZHYD/Laura+Woodward_Remnant+Act+Three.jpg REMNANT ACT THREE 2024 - Remnant Act Three 2024  Archival giclee print on di-bond, 60 x 40cm, limited edition of 5 + 2 AP This photographic work was shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. http://www.laurawoodward.com.au/new-gallery daily 0.75 2024-10-20 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964557504-V67RLW639IOX3NJ22NQS/Laura+Woodward_Remnant+Act+2054.jpg REMNANT ACTS (2054 TO 2101) 2024 - Remnant Acts (2054 to 2128), 2024 A series of six photographic works, archival giclee prints on forex, each limited edition of 5 + 2 AP In image order: Remnant Act (2054), 20 x 15cm Remnant Act (2065), 13.5 x 20cm Remnant Act (2085), 17.5 x 15cm Remnant Act (2101), 20 x 15.5cm Remnant Act (2121), 24 x 13cm Remnant Act (2128), 14 x 18cm https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964557504-V67RLW639IOX3NJ22NQS/Laura+Woodward_Remnant+Act+2054.jpg REMNANT ACTS (2054 TO 2101) 2024 - Remnant Acts (2054 to 2128), 2024 A series of six photographic works, archival giclee prints on forex, each limited edition of 5 + 2 AP In image order: Remnant Act (2054), 20 x 15cm Remnant Act (2065), 13.5 x 20cm Remnant Act (2085), 17.5 x 15cm Remnant Act (2101), 20 x 15.5cm Remnant Act (2121), 24 x 13cm Remnant Act (2128), 14 x 18cm https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964557319-Q1HJYTQIIVTJGFLHY7PN/Laura+Woodward_Remnant+Act+2065.jpg REMNANT ACTS (2054 TO 2101) 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964565129-G9T8XZ1V3DQWJ6V7G1NJ/Laura+Woodward_Remnant+Act+2085.jpg REMNANT ACTS (2054 TO 2101) 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964565145-FV29UR54N2215E7HO82Q/Laura+Woodward_Remnant+Act+2101.jpg REMNANT ACTS (2054 TO 2101) 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964570252-TXW3PNKSSGP4MYZ5T72H/Laura+Woodward_Remnant+Act+2121.jpg REMNANT ACTS (2054 TO 2101) 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964571647-QTG7WX3ZUMC3118Q52E7/Laura+Woodward_Remnant+Act+2128.jpg REMNANT ACTS (2054 TO 2101) 2024 http://www.laurawoodward.com.au/new-gallery-5 daily 0.75 2024-10-20 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964694501-YDZ6UN9PJAJ2VZEEBQ6W/Laura+Woodward_DSF2800_small.jpg OLD GROWTH 2024 - Old Growth 2024 Water, Australian blackbutt timber, acrylic, bearings, 3D printed PLA, 3D printed ABS, silicone, silicone hose, PVC, motor, fasteners, dimensions variable https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964694501-YDZ6UN9PJAJ2VZEEBQ6W/Laura+Woodward_DSF2800_small.jpg OLD GROWTH 2024 - Old Growth 2024 Water, Australian blackbutt timber, acrylic, bearings, 3D printed PLA, 3D printed ABS, silicone, silicone hose, PVC, motor, fasteners, dimensions variable https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964707081-P0VJRAQS8NYE24LB2V2A/Laura+Woodward_DSF2237_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964705552-OJWPXWX5EM33MHF4CLYX/Laura+Woodward_DSF2924_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964693816-D6OA11CS7Z8SM0RSRT2G/Laura+Woodward_DSF2813_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964713019-A5ZORKK33VP9FZFZ3QA2/Laura+Woodward_DSF2824_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964699825-FRMJ9JU6O8WAV0DHY9YD/Laura+Woodward_DSF2847_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964716567-5X9DRPWL6KC5J5J2Y1B2/Laura+Woodward_DSF2871_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964699808-F8BZ5R486O6K7HBH6WSF/Laura+Woodward_DSF2917_small.jpg OLD GROWTH 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964712339-48Y11UQQPCUEO83XCM0Y/Laura+Woodward_DSF2243_small.jpg OLD GROWTH 2024 http://www.laurawoodward.com.au/new-gallery-4 daily 0.75 2024-10-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728961013340-75L8NPQUT15RO7N2CGOH/image-asset.jpeg THE COLLAPSE 2024 - The Collapse 2024 Single channel video, looped This is an excerpt of the looped video work "The Collapse", shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. The works in “This Fearsome Drop” became about resources, life-bearing, breathing, and standing on the precipice of climate catastrophe. Of the tension between the personal choices that we make in bringing children into the world, and the societal and global considerations and impacts of these choices. “The Collapse” emerged from a deeply personal moment in the early months of my third pregnancy, as I experienced my growing belly in the weightlessness of water. By the time the work itself was filmed a few months later at six months pregnant (with the assistance of my partner/the baby’s father), the baby became part of the work, her movements creating ripples in the water in moments of stillness. I was struck by the abstract quality of the close-to-unmanipulated footage, of its ability to simultaneously reach across the minute scales of cells and the unfathomable size of astral bodies, and to speak to both rising sea-levels and the simple embodied experience of bathing when pregnant. (At the exhibition opening, a friend told me that she read the work as feeling like the collapse of the self when giving birth and mothering, or the sublimation of self-into-baby-into-other. These readings also resonate strongly for me). Technical assistance provided by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728961013340-75L8NPQUT15RO7N2CGOH/image-asset.jpeg THE COLLAPSE 2024 - The Collapse 2024 Single channel video, looped This is an excerpt of the looped video work "The Collapse", shown as part of the solo exhibition "This Fearsome Drop" at Stockroom Kyneton in March and April 2024. The works in “This Fearsome Drop” became about resources, life-bearing, breathing, and standing on the precipice of climate catastrophe. Of the tension between the personal choices that we make in bringing children into the world, and the societal and global considerations and impacts of these choices. “The Collapse” emerged from a deeply personal moment in the early months of my third pregnancy, as I experienced my growing belly in the weightlessness of water. By the time the work itself was filmed a few months later at six months pregnant (with the assistance of my partner/the baby’s father), the baby became part of the work, her movements creating ripples in the water in moments of stillness. I was struck by the abstract quality of the close-to-unmanipulated footage, of its ability to simultaneously reach across the minute scales of cells and the unfathomable size of astral bodies, and to speak to both rising sea-levels and the simple embodied experience of bathing when pregnant. (At the exhibition opening, a friend told me that she read the work as feeling like the collapse of the self when giving birth and mothering, or the sublimation of self-into-baby-into-other. These readings also resonate strongly for me). Technical assistance provided by Jem Selig Freeman. https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960971054-GHNHYJSJBDX3HBLZ37VV/image-asset.octet-stream THE COLLAPSE 2024 http://www.laurawoodward.com.au/new-gallery-62 daily 0.75 2024-10-15 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964808288-UU8N3K2Y8MZZB9ZD1CX8/Laura+Woodward_DSF2744_small.jpg HOLDING ONTO HOPE 2024 - Holding Onto Hope 2024 Water, 3D printed PLA, acrylic, bearings, motor, fasteners, silicone, silicone hose, PVC, motor, fasteners, dimensions variable https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964808288-UU8N3K2Y8MZZB9ZD1CX8/Laura+Woodward_DSF2744_small.jpg HOLDING ONTO HOPE 2024 - Holding Onto Hope 2024 Water, 3D printed PLA, acrylic, bearings, motor, fasteners, silicone, silicone hose, PVC, motor, fasteners, dimensions variable https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964812758-1ONUO1AEGNW2NVOEGFWV/Laura+Woodward_DSF2784_small.jpg HOLDING ONTO HOPE 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964815161-1T3PNWTANCFY28JKZ7EJ/Laura+Woodward_DSF3412_small.jpg HOLDING ONTO HOPE 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964803280-UP7SBJ279RZL7PD628NF/Laura+Woodward_DSF2715_small.jpg HOLDING ONTO HOPE 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964808859-IKYBSCTAOSZXQVPB0N4B/Laura+Woodward_DSF2735_small.jpg HOLDING ONTO HOPE 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964812472-UCO2JBYU5WYXRCCNHO3Y/Laura+Woodward_DSF2765_small.jpg HOLDING ONTO HOPE 2024 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728964897016-QIXEE73MDJ1O77TRCTZ1/Laura+Woodward_DSF2702_small.jpg HOLDING ONTO HOPE 2024 http://www.laurawoodward.com.au/contact daily 0.75 2025-08-13 http://www.laurawoodward.com.au/new-page daily 0.75 2025-08-13 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445474053545-IUIM1JJUP8ESNVU0T8GJ/image-asset.jpeg Bio Untitled (Ripples), 2011 http://www.laurawoodward.com.au/page-cv daily 0.75 2024-10-13 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445473393697-JIHICGPIBKWJGN305LNY/image-asset.jpeg CV Crank, 2008 http://www.laurawoodward.com.au/reviews-essays-and daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445476613073-17YYEQ1T7DTDD8J9I7H8/image-asset.jpeg Reviews, Essays and Interviews Web (Retrial), 2012 http://www.laurawoodward.com.au/new-page-1 daily 0.75 2016-01-03 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1445476473368-YBD9WDUJZ80Y5TUQL0V4/image-asset.jpeg Research Profile Siphon, 2010 http://www.laurawoodward.com.au/artscareer-interview daily 0.75 2015-10-21 http://www.laurawoodward.com.au/laura-woodward-agential-relationships-of-time-matter-movement-and-experience-in-system-based-kinetic-sculpture daily 0.75 2015-11-26 http://www.laurawoodward.com.au/papers daily 0.75 2020-02-16 http://www.laurawoodward.com.au/neocyberneticandnewmaterialistm daily 0.75 2015-12-01 http://www.laurawoodward.com.au/public-artwork-overview daily 0.75 2020-02-16 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1581564034637-LJBH2SRJ27KDD7477MDI/0S9A2284.JPG Public Artwork Overview MURMUR, Marina Tower, Docklands Melbourne, 2017, with Like Butter. Image by Tom Blachford. http://www.laurawoodward.com.au/new-page-46 daily 0.75 2024-10-09 https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960170373-9B2H0F85NO74JOC2Z9XQ/Mod_DSF2813_large.jpg All Artwork https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960169179-AX8JSKCPO064WKZBTV87/Laura+Woodward_Remnant+Act+Three.jpg All Artwork https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960169289-C3AIKG6WTMXZKXPEZPSF/Laura_Woodward_Remnant+Act+One.jpg All Artwork https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960168157-ON40YSJI1NEFUVKT63CI/Laura+Woodward+-+The+Collapse+-+still.jpg All Artwork https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960170180-IY64WQC8X1T6LDI80VNE/Mod_DSF2773_large.jpg All Artwork https://images.squarespace-cdn.com/content/v1/55e94acce4b0ffc2192fe44e/1728960168200-42RNWVQNWP6R9663OXXJ/Laura+Woodward_Remnant+Act+2085.jpg All Artwork 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