On the contemporary relevance of death. In response to The Romantics, in plea for the present, in hope for the future. Looking at the sky, time, and haptics. Looking at weather, the self, life and death again. Looking at looking. For the Living as we Die asks-Does love matter? Does breakfast matter? Could they be the same question?
For the Living as we Die occurs as a work in two parts. Skyscape holds 30 separate skyscapes captured this year while the small, moving, searching Memory Skies video consists of depicted drawings made of weather information from the Australian Bureau of Meteorology about moments by-gone. For instance, the moment I was born —29th of August 1994, 5am, Coffs Harbour—was recorded as having 2 oktas of cloud. Accompanying the etching is a soundscape which echoes the archived BOM information. In it the okta/octave connection is reflected, only using the first two notes of the octave scale, bottom C and D.
For the Living as we Die speaks to the contemporary relevance of death: a response to The Romantics, a plea for the present, a hope for the future. It gazes at the sky, time, and touch; at weather, the self, life, and death—again and again. It reflects on the act of looking itself. The work asks you to explore both what's vast as well as that which is visible. For the Living as We Die asks: Does love matter? Does breakfast matter? Could they, perhaps, be the same question?
