2017 Gesture - short silent film
2015 Vorticisms - short film to accompany 2002 musique concrete composition
2014 Red Eyes - short film to accompany 2014 track, "Red Eyes"
2011 Sprawls - computer generated drawings
2011 Nude - land sculpture
2009 190409 - concert film by Jason Sweeney
2008 Shoegazer - short film/performance work
2008 Ink Trio - three ink paintings
Gesture (2017) Short silent film.
When I was in Thailand in December 2016 I made a series of video captures on a new iPod Touch exploring the novelty of the Slo-Mo function - which in essence shoots video at a high frame rate.
When we were waiting for our ferry to depart the Phi Phi pier I shot a quick little capture of a conversation between several women who were seated next to us on the outside area of the ferry. I'm particularily fond of this short film - the way it capture various gestures and expressions of the women. The slow motion effect affords an opportunity to explore the frame in detail; within and beyond the fields of gesture.
Vorticisms (Film 2015, Audio composition 2002) A 2002 musique concrète work with a 2015 short film composed from video footage shot on a broken Sony Cybershot digital camera.
Vorticisms was an electro-acoustic composition created at the end of 2002. The composition comprised my final assessment for the first year of my Music Studies degree at the University of Adelaide. Vorticisms was played back at the end of year recital that year and in addition to the composition there was a graphic score distributed to audience members. Regrettably, the score is now lost.
I’ve always been fond of this composition, which represented my first attempt at a musique concrète-style of composition utilising collage techniques with found and pre-recorded sounds. I particularly like the variety of sounds utilised and the way they are represented, manipulated and blended together using a variety of studio techniques. Overall, I find Vorticisms to be a satisfyingly unsettled piece of music, with quivering tonalities, hazy textures, occasional silences and abrupt interruptions.
The accompanying film was assembled thirteen years later. I thought it would be interesting to make a short film using one of my earliest electronic music works as a template. I felt that the structure of the Vorticisms composition suited the sort of film I was interested in creating: a hazy, slightly surreal collage of moving (yet mostly static) images; no specific visual narrative - rather a sequence of unsettled imagery unified by loose allusion and metaphor.
The film's source imagery consists of relatively mundane scenery shot on a digital camera between 2009 to 2015, visually rendered by a strange and unique process built into the camera. The imagery appears as it was shot through the viewfinder: scenery and objects digitally smeared or distorted with vertical lines and other artifacts, coloured by an intense purple hue.
The digital camera was perfectly serviceable up until a wedding party in early 2009, whereby attempting to drunkenly take a series of photos on the dance floor ended with the camera hurtling towards the ground and making a sickening clunk. Picking up the camera I switched it back on and noticed that it still worked...to an extent.
I’ve kept this camera since then and occasionally used it on a whim to capture a variety of scenarios, anticipating that the camera’s built in process might transform the otherwise mundane into some visually interesting.
Red Eyes (2014) Music video for The Door Into Summer track, "Red Eyes".
"Red Eyes" is a track composed for my 2015 self-released album, The Door Into Summer. The album itself is an intensely personal record, largely chronicling a period of routinely visiting my mum and her partner (technically my step-father) prior to his death in April 2013. "Red Eyes" is characterised by repetitions of processed guitar tones - layers of organ-like chord patterns and tones, plucked arpeggios - gradually being enveloped by discreet cycles of feedback and reverberation.
"Red Eyes" is one my favourite pieces of music that I’ve composed and upon completing it I felt that it should be accompanied by a sequence of still images to break up the repetitions of the music, yet compliment the relatively staid and hazy musical texture.
The visual material is drawn from a film stock shot on my partner’s digital camera - an SLR capable of shooting high resolution video with the bonus of a focus pull to achieve some depth of field. The scenery and objects consist of our backyard in Lower Mitcham. Most of the footage was shot during the beginning of summer in 2014 (December) with late afternoon light. I was interested in capturing still objects and surfaces undergoing very slight physical movements or affected by fluctuation in light - emphasising their details, their juxtaposition with surrounding objects or inherent fragility. I feel as though this sequence of images compliments and enhances a very personal and poignant piece of music.
Nude (Constructed 2011) Land sculpture constructed with driftwood, stones and other found objects.
Nude pictured in July 2011 (top left image), May 2013 (top right image) and July 2014 (bottom image).
Nude was constructed on July 11th 2011 from found materials on a remote beach located between Lady Bay and Wirrina Cove on the
Western coastline of the Fleurieu Peninsula. The first video below documents the construction of the sculpture with an audio track
of field recordings made around the location of the sculpture.
In the following years the scuplture was visited and photographed, documenting its gradual deterioration.
Following severe storms in the winter of 2016, the sculpture was largely destroyed. (see video document below - August 2016.)
190409 (2009) High definition video capture of live performace.
Performance: Tristan Louth-Robins, HD Video: Jason Sweeney.
Live solo performance by TLR at the Adelaide Festival of Unpopular Music at Gallery De La Catessen, Adelaide, South Australia.
The video was exhibited in the foyer of the Adelaide Festival Centre as part of the 2009 Adelaide Moving Image Festival.
Improvised performance shot on a Sony Cybershot camera on the banks of the Isar river in Munich, Germany in late October, 2008.
The audio track is derived from the video capture and has been manipulated in post-production.