threemovements

collections of movements, words, places, sounds
an exercise in persistence, understanding and dedication

By the always amazing Sarah Walker 

By the always amazing Sarah Walker 

(via 10 Creative Uses for Old Wood Pallets | RenewPurpose)

(via 10 Creative Uses for Old Wood Pallets | RenewPurpose)

“I thought – this is what real art feels like. It does not seek permission, it does not ask to be loved, it does not strive to be beautiful, or clean or neat. It is not made quickly, or to direction. It is not normal, or safe. It does not even make sense. It is an idea that grows so slowly no-one can pin-point where it came from. And as the slow growing goes it will never be complete. It is hard. It is difficult. It is thankless. It will send you broke and into debt. And none of that will matter because it’s just something that you do, sure as blinking and breathing, while everywhere people tell you no and ask you why.”
—   Dreamer’s Gate | Useless Lines

“I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were. […] It is a good idea, then, to keep in touch, and I suppose that keeping in touch is what notebooks are all about. And we are all on our own when it comes to keeping those lines open to ourselves: your notebook will never help me, nor mine you.”
—   Joan Didion on Keeping a Notebook | Brain Pickings

David Binder: The arts festival revolution (by TEDtalksDirector)

Eye of the Storm: ALICE SPRINGS 25 – 28 APRIL 2013

Melbourne Futures: Mudfest map, 2009.

Dictionary of Sydney

Ai Weiwei | Louisiana Channel

“Vitrine: The Great Boom of Doom Amy Cleary and Danny Frommer The Great Boom of Doom is a site-specific collaborative work that is formally derived from the Vitrine itself, specifically the curve of the windows and its function as a display space. Amy and Danny are interested in display systems, techniques and materials that range from dioramas that are made by children, models made by architects and mechanical engineers, and information design for museums. They are interested in how people represent the past as historical, and try to present an ideological and sustainable future. The artists explore through their own practice how humans relate to nature via their conceptual and technological frameworks, and how they try to shape, control, and exploit it. The beauty of the forms that can be derived from these frameworks interests them, however are also skeptical of their means and ends. Danny Frommer makes kinetic work that explores the relationship of humans to machines; craftwork to mechanical processes. He makes components out of things that are not normally mechanised in order to make forms that show the humour, beauty and fallibility of some of our systems of understanding. Through relief paintings and sculptural assemblages, Amy Cleary brings together traditional and non-traditional art making materials and forms – allowing the materials and forms to speak for themselves and to each other, producing unexpected outcomes.”
—   PLATFORM