JAMES GEURTS SEISMIC FIELD
2018
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- ‘Field Fracture I’, 2017, 70 x 66cm, Edition of 6, Site action involving projector lens, reconfigured scanner and Polaroid chemical strata. Quarry near Nepoleon gully, at a disused gold mine shaft, VIC.
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- ‘Field Tectonic I’, 2018, 56 x 18cm, Edition of 6, Light box, photographic print (Durational site action where the Eurasian plate, the Adriatic plate and the African plate meet in Italy. A line of fire was dragged slowly through an existing furrow in a field over the threshold of day and night, on the day of earthquake.)
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- Installation view of Geophony I and Geophony II
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- ‘Seismogram’, 2017, Site work, drawing, reconfigured scanner. Framed photographic prints, pulsing fluorescent tube, exposed wires , 540cm x 140cm (Work on paper based the intersection between the pressure of geology and industry along the White Law fault line. The drawing was hand scanned on site with a reconfigured scanner as a site action. The schisms and glitches were activated responses to sunlight, atmosphere, temperature, dust of the site)
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- Geophony II, 2018, 47.2 x 25 x 7cm, Edition of 6, Bronze, copper plate base, (Based on an archaeological artifact (mouth harp) shaped by forces of geology and cultural strata)
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- ‘Rift Margin’, 2017, Cast Aluminum, fluorescent green acrylic, 200cm x 210cm x 60cm (3D scan from exposed geology, Ballerstedt’s open cut, New Chum anticline at Victoria Hill, VIC. The work was recomposed as vertical topographical layers. Fluorescent green acrylic line responds to contemporary geological mapping and measuring methods. The top plate is angled at a 23.5 degrees tilt, the angle of the earth’s rotation around the sun)
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- Geophony I, 2018, 17 x 44 x 22cm, Edition of 6, Bronze, copper plate base (Based on an archaeological artifact (spoon) shaped by forces of geology and cultural strata)
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- Geophony IV, 2018, Marble, powder coated mild steel stand, 30cm x 30cm x 80cm
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- Detail: Geophony IV, 2018, Marble, powder coated mild steel stand, 30cm x 30cm x 80cm
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- ‘Field Fracture III’, 2018, 60 x 100cm,Edition of 3 +1 A.P, Light box, dislocated photographic print on white acrylic, exposed wiring, (In-camera montage based on a site of schism between geology and architecture, Melbourne CBD.)
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- ‘Greenwich Mean Time – 0 Degrees: International Date Line- 180 Degrees’, 2018, Laser etched solar cell on Aluminum composite panel, Neon, exposed wiring, 400 x 300cm (Greenwich Mean Time – 0 Degrees takes the shape of time zone zero, situated in a binary with the line marking the first hour of the new day on earth, the International Date Line- 180 Degrees.)
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- ‘Seismic Transect’, 2017, Site work, Polaroid film, weather, dust, framed print, 150cm x 160cm, (Polaroid taken as site action, site of the intersection of fault line and Gold mine near Fosterville, VIC exposing the chemical strata of the photographic composite to reaction to the weather atmosphere, temperature, dust of the site, and shaped the layers under pressure, emulating geological pressures)
Seismic Field examines the relationship between geophysical forms and consciousness. Geurts intervenes the processes of scanning, polaroid photography and 3d mapping as site actions, disrupting the form and colour field, blurring the lines between geology and technological praxis. The works investigate seismic phenomena and cultural context, amplifying their perceptual and physical thresholds.
Based in Melbourne, Geurts completed his Masters of Art at RMIT Melbourne in 2009 and post graduate research at Vrije Academie, GEMAK The Hague 2011. He produces site and time-specific projects that locate paradigms of measurement. Through critical investigation Geurts draws out geographic and conceptual forms that are layered within specific sites of research. The artist examines how natural and cultural forces shape perception. Geurts works across the disciplines of sculpture, drawing, video, photography and Land Art. Geurts has exhibited his projects in galleries including: National Gallery of Victoria; White Cube, London; Gemak, The Hague Netherlands; Centre for Contemporary Art, Tel Aviv Israel; Art Gallery of South Australia, Adelaide; La Chambre Blanche, Quebec; Kuandu Museum of Fine Art, Taipei and the Australian Centre for Contemporary Art.