YANG Zhenzhong (China, b. 1968) has explored spatial relationships in many of his video projects throughout his career. In an ongoing examination of the personal, political and institutional, Yang turns the camera to record actions and construct situations that deliberate from a precise point of view. ‘Using the convention of perspective, Zhenzhong's LANDSEASKY artwork Passage speaks to the transitional space between spaces. A space that is cut away, removed from all visual references of ‘the other side’.  While portraying an exaggerated long space it ... Read More

ZHU JIA's (b.1963, China) early video work explored urban phenomena revealing an analytic approach to imagined and real space. In Jia's work for LANDSEASKY; Beyond my control, the two projections meet at the corner of two walls. Each projection shows a hand drawing in the projection. The space is compromised when a hand from one projection transitions to the other projection wall. Jia has presented work at Shanghai Biennale 2008;  Istanbul Biennale 2007; World Factory, San Francisco Art Institute 2007;The Guangzhou Triennial 2005; Centre Pompidou, Paris ... Read More

HEIMO ZOBERNIG (b.1958, Austria) employs various media to address a distinct selection of artistic problems in Modernism. In Nr. 23 (2005) exhibited in LANDSEASKY, Zobernig uses chroma-key post-production effects to introduce layers of spatial views and in turn highlight the materiality of the medium. The video alternates between flat monochrome blue and external views to a garden through gridded windows and venetian blinds. The artist, moving the blinds and the projection screens up and down, performs a repertoire of movements to create the editing framewor ... Read More

  WANG PENG (China, b. 1964) explores a very particular logic relating to screen space in his recent video work. His approach is realised through constructed techniques that includes the synthesis of two or more spatial points of view within the one screen. In Beyond for LANDSEASKY, it is the separation and relationship between the three screens imagery with reference to an obscured (or invisible) horizon that is employed. In ‘Feeling North Korea’ half of the screen is flattened by imposing a black void, while the other half screen plays out foo ... Read More

Barbara Campbell (b. 1961 Australia) works between multiple concepts of spatiality­—mediated, architectural and geographic—to create singular experiences for the viewer/participant. For LANDSEASKY, Campbell has been following the journey of migratory shorebirds on the East Asian-Australasian flyway, the flight path that links the birds in Australia and New Zealand to their breeding grounds in Siberia and the Arctic through the all-important feeding and resting sites on the Korean Peninsular and China’s east coast; a path that uncannily tracks the very t ... Read More

YENDOO JUNG (b. 1969, Korea) is well known for his constructed photographs and videos that interpret and represent the recollections of others. His still and moving images capture elaborate hand-made sets that reconstruct memories of subjects, events and scenery in real-time. For LANDSEASKY, a diptych video work forms part of the Handmade Memories series. In one screen. an elderly man recounts a personal story set around a train journey. In the other, a projection of pre-recorded video footage of a train track is set into a staged environment. We become aware ... Read More

Craig Walsh (b. 1966, Australia) often uses projection in response to existing environments and landscapes. His work plays with scale creating immersive and playful projection experiences, confronting real space and illusionary space. ‘Standing stone site’ 2012 was filmed in the Pilbara in Western Australia using time lapse technique to record the sunrise and sunset on the jagged iron ore landscape. The already unbelievable iron ore horizon is ‘double crossed’ in postproduction switching the sunrise of the sky with the sunset of the land and vice versa ... Read More

KIMSOOJA (Korea, b.1957) works in video, installation, sculpture and performance practices. Her work is highly meditative, achieved through the mindful repetition of actions, imagery and materials drawn from the everyday. The video work Bottari – Alfa Beach (2001) exhibited in LANDSEAKSY examines the notorious Nigerian beach, a site used to ship slaves off the continent, bound for colonial destinations around the globe. The artist has described the horizon she saw on Alfa Beach as ‘the saddest and most shocking line I’ve ever seen’. The inverted horiz ... Read More

WANG GONGXIN (China) b.1960 has emphasised the sculptural in his work for LANDSEASKY by incorporating objects into his projections and spatially considered screen arrangements. In The Other Rule in Ping Pong, Gongxin synchronises two wall projections and one monitor to construct a simulated ping-pong game in screen space. The ball appears to move with speed from wall projection to monitor to wall projection, implied by rhythmic audio cues describing the ball’s movement. The conventional expectation of the game and the balls movement is ruptured by unexpect ... Read More

SIM CHEOL-WOONG(b. 1958, South Korea) works predominately in digital video and often employs special effects in his videos. In An/other River (2011) displayed in LANDSEASKY, Cheol-Woong grafts together two sides of a river. At the top of the screen, the image pans along the Han River in Seoul showing a relentless length of high-rise development on the south bank. The bottom half of the screen shows video of the river lapping onto the northern riverbank, captured at a static position. Formally, the work references traditional Korean ink painting that uses a ... Read More

LAUREN BRINCAT (Australia) b.1980 is an artist that works in a variety of media, including video documentation of ‘actions’, typically performed by the artist in solitude. Brincat’s practice is largely guided by the early performance art of the 1970s. For LANDSEASKY, perspective exaggerates a simple recorded action made for video in This Time Tomorrow, Tempelhof. The artist is seen walking into frame and following the airport runway at Berlin’s Tempelhof Airport until she reaches vanishing point. The specific site evokes the history of this runway fam ... Read More

JOAO VASCO PAIVA (Portugal,  b.1979) has been based in Hong Kong since 2006. Using installation, video, sculpture and bi-dimensional objects, his practice challenges representation and medium specificity. For LANDSEASKY, Vasco Paiva's artwork Forced Empathy (2011) captures a buoy floating in a Hong Kong seascape. However, through computer trickery, Paiva disciplines the sea, anchoring the buoy in the centre of the frame and subsequently forcing the surrounding seascape to move in compensation. The point of view has remained intact though the behaviour of th ... Read More

SHILPA GUPTA's (India b. 1976) works in various media including video. Gupta's artwork featured in LANDSEASKY; One Hundred Hand Drawn Maps of India draws us into the complexities of the construction and delineation of space articulated in man-made borders. The video sequence features numerous representations of the Indian map, as drawn from memory by 100 Indian adults. The variety of forms produced throw into question how political borders are created, imagined, and learnt. A highly subjective interpretation of the territory of a nation sees states skipp ... Read More

GIOVANNI OZZOLA (Italy, born 1982) works primarily in video and installation. Central to Ozzola’s practice is the exploration of three-dimensional space and its relationship to light. In Ozzola’s work for LANDSEASKY, ‘Garage – sometimes you can see much more’ 2009-2011, the senses sharpen in the dark and are then overwhelmed by the strong light of a wider space. A tribute to Edward Hopper's "Rooms by the Sea", the rattling, mechanical movement of the rolling door shutter clashes with the opening of the horizon onto the sea. The shutter operates a ... Read More

PAUL BAI (Australia) b.1968 proposes a spiralling wind charm as an image to contemplate and reconcile for LANDSEASKY. What is the reality of its orientation? Is it spiralling left or right, up or down?  As the split projection suggests a physical orientation of the spatial context, the image that is separated by two leaning panels also introduces the projection space into the physical space of the gallery. To this extent, the blue sky and the gap between two panels all demonstrate a spatial position that is temporal, indeterminate and liminal, and doesn’t ... Read More

DEREK KRECKLER (Australia, b. 1952) works in performance, video, sound and photography. His work is concerned with the present-time re-imagining of historical events. The starting point for his LANDSEASKY installation Littoral (2014) was a photograph by George Mortimer titled Big Wave Hunting (circa 1903). Kreckler’s reenactment results in footage of a coastline rock shelf, stormy horizon and tumbling waves. As a counterpoint to the dramatic excesses of the original site, the work has no sound, save the banal oscillating fan, a projection devoid of colour, ... Read More

  JAN DIBBETS (The Netherlands) b. 1941 was one of the early pioneers to use the camera as a contemporary art tool. He has worked across photography, film and video, but is best known for his photographic works that transform natural landscapes into geometric abstractions through shifts of angle and perspective. These seminal works are exemplary of Dibbet’s early moving image experiments, and demonstrate three approaches to framing the sea to produce different spatial effects. This is a rare opportunity to see the complete series presented in one sp ... Read More