If Pigs Could Fly (The Media Machine), (1987), 4:20 mins, Sydney.
Image Music: Tim Donahue (1985) 4:43 mins, Tokyo. Image Music was the first piece I completed with the Fairlight CVI. It was made for American musician Tim Donahue, who was living in Tokyo and had invented a marvelous instrument which he called the “harp guitar”.The tape consists of impressions of the music...
Karkador (1986), 2:55 mins, Tokyo. Commissioned by Pioneer Laser Disk for a project titled “AV Cocktail” (representing the 5th anniversary of laser disk in 1996). Produced by Tyrell Corp, Tokyo with music by P-Model.
Kinema No Yoru (Film Night) (1986) 2:15 mins, Tokyo.
Kiru Umi No Yoni / Cutting Like the Ocean; A Didactic Document Version I, (1983), 21:53 mins, Tokyo.
Kiru Umi No Yoni/Cutting Like the Ocean; A Didactic Document, Version II, (1986), 21:53 mins, Tokyo.
installation incorporating video, 1983 Kaneko Art G1 Tokyo, (1983); Roslyn Oxley Gallery Sydney (1983); “Interface” University Gallery Adelaide (1984) Installation on which the tape Kiru Umi No Yoni is based.
Kommunication (1986) 4:28 mins, Tokyo. The silhouettes of figures (drawn with the keys of a character generator) move in and around a series of television sets. A reworking of the imagery of Nin Nin utilising the Fairlight CVI and A/B rolls. [Peter Callas]
Lost in Translation (1994-99), 6:00 mins, Sydney/Brazil/Karlsruhe. “The double movement of displacement and circulation, loss and regeneration, constitutes a means of uncovering the disjunction between history and memory [in Latin America].” -[Charles Merewether]
Massage (1982), 7:00 mins, Sydney. In Massage (made with Dianne Lloyd) an actor (Geoff Miller) is being massaged with chromakey coloured grease paint. The images which appear within the chromakey areas are generic “media” images.1 1. Peter Callas from “Peter Callas: Initialising History, video works 1980-1999”
installation incorporating videos and built structures.Adelaide Festival (1992);“Video Positive”, Liverpool (1993); Angel Row Gallery, Nottingham (1994); “Multimediale 4” ZKM Karlsruhe (1995) Commissioned by the Adelaide Festival, this installation featured two styrofoam sculptured heads of Lenin and Marat, based on imagery from Bilderbuch für Ernst Will (Ernst Will’s Picture Book): A Euro...
Museum of Contemporary Art Video (1991), 4:25 mins, Sydney. CVI imagery, Abekas A64 and Quantel Harry used to create a video art work commissioned by the Museum of Contemporary Art, Sydney. Music by Derek Kreckler. [Peter Callas]
Neo-Geo: An American Purchase (1989), 9:17 mins, Sydney.
Night’s High Noon: An Anti-Terrain (1988), 7:26 mins, Sydney.
installation incorporating videos and built structures, 1989“In Transit” Chisenhale Gallery, London (1989)
Nin Nin (1983) 3:00 mins, Hobart. The silhouettes of figures (drawn with the keys of a character generator) move in and around a series of television sets. [Peter Callas]
Our Potential Allies (1980), dual monitor installation, 15:00 mins. Reconfigured for single screen (1999). Various locations including The Sydney Studio (1981); Australian Perspecta (1981) Art Gallery of NSW Sydney; “Portopia 81”, Kobe, Japan (1981); “Vision in Disbelief”, 4th Biennale of Sydney (1982); “Parallel Universes”, Queensland University of Technology (2012); “Digital Aesthetic”, Preston, UK,...
three monitor installation 15:00 mins, 1991“Refiguring the Media Image”, Ivan Dougherty Gallery Sydney (1991) A recreation of the 1980s installation using a third monitor which featured a series of masks. Peter Callas
Powerhouse Logo (1988), 00:16 mins, Sydney. CVI imagery and Abekas A64 used to create a logo for the Powerhouse Museum, Sydney, utilising objects from the museum’s collections.
Sailor (Takahashi Yukuhiro) (1986), 3:17 mins, Tokyo. Music video produced for Takahashi Yukuhiro of Yellow Magic Orchestra. [Peter Callas]
Two monitor installations 11:00 mins, 1980 These dual screen works aimed to contrast manipulated and unmanipulated imagery. The source imagery for Shared Shadow was filmed in a park in Rozelle, Sydney, utilising the shadow of the camera, tripod and operator (myself). The second screen shows an identical sequence in (rough) synchronisation...
Singing Stone, 4:22 mins, Sydney, 1980 A hand clutches a oval stone which is drawn back and forth across a white surface in tight circular motions, grinding pigment. Muffled white noise and scraping sounds accompany the images. (Sound is an integral part of Callas’ practice, in which aural and visual elements...
Singing Stone, 4:22 mins, Sydney, 1980 A hand clutches an oval stone which is drawn back and forth across a white surface in tight circular motions, grinding pigment. Muffled white noise and scraping sounds accompany the images. (Sound is an integral part of Callas’ practice, in which aural and visual elements...
Digital printsBoutwell-Draper Gallery, Sydney (2003); ARC one Gallery, Melbourne (2004)
Style (1988), 4:25 mins, Sydney. CVI imagery used on four screens fed by four synchronised laser disks to depict objects from the Style collection of the Powerhouse Museum, Sydney. This installation ran for the first seven years of the Powerhouse. [Peter Callas]
