Melody Woodnutt

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Information
CV (coming soon)


Current Work

The Ship
16mm films
Tropical Gothic
Miniatures


Past Work (selected/partial)

The Symposium
Collapse
Blind Coven
Vibraphones
The Raven
Apathy and Wonder
Sex, Space, Intimacy
The Last Century Was About History, The Next Will Be About Belief 
Objects




Ongoing Project

The Weight of Mountains


Archived Work
2008 - 2018
(under construction) 

Installations
Sound pieces
Performace
Curatorial
Residencies
Festivals
Publications/Press
Art Direction for film




Affiliations

   Artist Film Workshop

   Nanolab

   Law and the Senses

   The Esoteric Travel Writing Research Group

   

The Ship
Expanded Cinema




The Ship references an unfinished familial project in the form of a 17-metre wooden boat frame located in North Queensland. This conspicuously absent “boat” has no hull, sea, nor captain, and is instead conjured as a curious intermedial and transhistorical world. Presented as a portal into the boat’s contextual/colonised landmass and a ‘tropical gothic’ realm, the artwork becomes an allegory for historical objects persisting over time and space. The myriad meanings associated with ‘ships’ begs a question of context and subjectivity; within the violent construction of so-called Australia it represents a fractured colonial inheritance, at once personal and societal. Beyond this, a romanticism lies within ships or boats as an heterotopian world upon an unknowable sea.

Utilising expanded cinema and cues from ‘The Ship of Theseus’, this work constitutes an attempt to finish building my grandfather's 39-year-old unfinished boat - the artwork thus becomes its spectral fiction.


Utilises:
Field recording, 16 mm film (Bolex, contact printing, optical printing, hand processing), sound samples/recordings.

For:
16mm short film; kinetic 16mm film sculpture and immersive installation; cinematic score & vinyl release, ambisonic sound for installation.




The Ship, 2021, Victorian College of the Arts.
16mm film loops, film reels, film projectors, crocodile skull, synaesthetic light, salt, neon pink pigment, cyanotypes.





Image by Melody Woodnutt of Frank Woodnutt in his ship yard, May 2019. On the occasion of his 90th birthday, months before his death.


BELOW ARE SOME BEHIND THE SCENES IMAGES:



BIBLIOGRAPHY

Chion, Michel. The Voice in Cinema. New York: Columbia University Press, 1999.

Chomsky, Noam. “Part 4: Open Talks on Open Enquiries.” In Of Minds and Language : A Dialogue with Noam Chomsky in the Basque Country, edited by Massimo Piattelli-Palmarini, Juan Uriagereka, and Pello Salaburu, 381-382. Oxford; New York: Oxford University Press, 2009.

Craven, Allison. Finding Queensland in Australian Cinema: Poetics and Screen Geographies. London; New York: Anthem Press, 2016.

Deleuze, Gilles. Cinema II - The Time Image. London: Bloomsbury Academic, 2013.

Goswick, Dana Lynne. “Change and Identity Over Time.” In A Companion to the Philosophy of Time, edited by Heather Dyke and Adrian Bardon, 367. Malden, Massachussetts: Wiley-Blackwell, 2013.

Hitchcock, Alfred, dir. Rebecca. United States: United Artists, 1940. Feature film.

Lundberg, Anita, Katarzyna Ancuta, and Agnieszka Stasiewicz-Bienkowzka. “Tropical Gothic: Arts, Humanities, and Social Sciences.” eTropic 18, 1 (2019): 1-11. https://doi.org/10.25120/etropic.18.1.2019

Perkins, Rachel, dir. Radiance. Western Australia: Independent, Polygram Filmed Entertainment, 1998. Feature film.

Tuck, Eve and C. Ree. "A Glossary of Haunting." In Handbook of Autoethnography, edited by Stacy Holman Jones, Tony E. Adams, and Carolyn Ellis. Abingdon: Routledge, 2013.

Walley, Jonathan. Cinema Expanded: Avant-Garde Film in the Age of Intermedia. New York: Oxford University Press, 2020.

Wollf, Mark. “In Search of a Tropical Gothic in Australian Visual Arts.” eTropic 18, 1 (2019): 192-212. DOI:10.25120/etropic.18.1.2019.3691

Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton & Co., Inc., 1970.