Travis H. Heinrich from Australia is a multi-disciplinary artist; particularly interested in video, immersive installation, and unconventional modes of communication. “I graduated in 2011 from the ANU School of Art, and now live and working in Melbourne. I am a multi-disciplinary artist, particularly interested in the moving image, immersive installation, and unconventional modes of communication. My practice explores escapism achieved through contemporary interpretations of tromp l'oeil; the subjective perception of my everyday surroundings; and resisting artistic hegemony.” The ikono On Air Festival is showing Travis H Heinrich's film Kinetic painting 3 from 2011. This work is a commentary on the medium of video art, and how its temporal limitations are exposed when contextualized through the medium of painting. That said, this work should be considered a kinetic painting, and not video art. While I want this to be seen as an object, the temporal qualities of video pre-vented this and so it is seen for its linear expectations rather than its objec-thood. These expectations make the work dismissible to me through its pre-dictability, as the chemical reaction communicates immediately that its move-ment follows a constant set of rules. -> Channel Festival Curators Selection
Links- Travis H. Heinrich on Tumblr - Travis H. Heinrich on Vimeo
Other Videos by Travis H. HeinrichDance of the Fisherman (Fisherman's Sorrow) This work was made for a group exhibition entitled 'Dream of The Fisherman's Wife'; curated by Lucinda Eva-May. It was held in the Photospace Gallery at the Australian National University. We were asked to create a new work of art in response to 'Dream of the Fisherman's Wife'; an erotic woodcut made by Japanese artist Hokusai in 1814. The work is a life-sized video of myself performing a Japanese Butoh dance. The image of my body is a silhouette comprised of constantly flickering white blobs of bright light (as opposed to solid colour normally thought of in a silhouette). The work was then projected above a pool of water on the ground, reflecting the video underneath, seemingly beyond the physical restraints of the floor. I chose to focus on the fisherman, as he is absent from the woodcut despite being referenced in the title of the work. While the eroticism of the woodcut is the most obvious aspect of the work, I believe that the fisherman's sorrow in knowing that his wife is unfaithful is just as important. Sea of Light (2011 Honours work, final installation) 'Sea of Light' is an immersive installation I made as part of my ANU School of Art honours project. I developed a methodology for producing large-scale immersive video installations that are about everyday life and take place in the viewers perception. This video was projected on a large screen (3x4 meters), above a pool of water on the ground, which seemingly reflected the video underneath beyond the physical restraints of the floor. I used light as both method and means in creating this work: firstly in the technological aspects of it being present by projection; and secondly in using light as an object projected on the wall. The video shows the lights of Melbourne at night seen from within a plane. Half-way through the video, it becomes apparent that there is something odd about the video. When this is realised, it creates an ‘ah-ha!‘ moment, causing the video to be analysed closer. It’s these attributes (motion, lights, and the invitation to look closer into the everyday) that I am most fascinated with. The video shows Emily O'Brien, my wonderful assistant who helped me build my structures.
Curator's SpecialPart of the curatorial selection by Channels Festival