installation incorporating videos and multiple slide projections, 1988Artspace Sydney (1988); Praxis, Perth (1988); Australian Centre for Contemporary Art,Melbourne (1988) Installation presentation of work made in Japan, with multiple slide projections on the walls. (The composition above was produced with four slide projectors and one monitor; the slide composition measuring approximately 3.5...
“The Deep”, digital mural, 5 metres x 80 metres.Luna Park, Sydney (1994) Large digital mural for Luna Park ride. Peter Callas
The Esthetics of Disappearance (1986), 5:55 mins, Tokyo. This work, which takes its title from Paul Virilio’s publication of the same name, explores notions of the cinematic in relation to recent global history, with particular focus on the role of the media in conveying information and events into the home via...
installation incorporating videos and built structures, 1990-92Long Beach Museum of Art Long Beach (1990); “Video Positive”, Liverpool (1991); “Australian Perspecta” Art Gallery of NSW (1991); “Installation Age” Tokyo Metropolitan Museum of Photography Tokyo (1992) An installation based on Neo Geo. A physical pyramid combining Masonic imagery of the front of the...
Transition Transmission (1980), 5:00 mins, Sydney. Recorded under the Iron Cove Bridge in Sydney, this tape contrasts the rhythmic sound the traffic makes on the bridge structure with the enigmatic appearance and disappearance (using the colouriser) of a figure in the landscape. 1 1. Peter Callas from “Peter Callas: Initialising History, video works 1980-1999”
three monitor installation, 20:00 mins, 1981Roslyn Oxley Gallery Sydney, 1981 This piece was made in reaction to my involvement in the filming of the documentary Deadly Harvest in Thailand and the Shan States of Burma. The two person crew were in the ultimately unsuccessful pursuit of an interview with a notorious...
Digital prints, 1999-2003Drill Hall Gallery, Canberra (1999); Brisbane City Gallery (2000); War Memorial Art Gallery, University of Sydney (2000); “Heterosis”, Conde Duque, ARCO, Madrid (2002); Suzanne Biederberg Gallery, Amsterdam (2003); ARC one Gallery, Melbourne (2003) Imagery based on syncretic imagery in religious and political contexts in Brazil. The title,“A New Time”,...
Digital prints, 2002-04Stills Gallery, Sydney (2002); ARC one Gallery, Melbourne (2004) A series of shaped panoramas produced during an Asialink residency at Sanskriti Kendra in Delhi. Peter Callas
Visions (1986), 4:45 mins, Tokyo. An eye blinks as it observes an empty space. We watch from within the eyeball as the detritus of vision gets mixed with imaginary figures which float in the air of the room. [Peter Callas]
Super 8 film, colour Shown at the 8th Sydney Super 8 Film Festival held at the Chauvel Cinema, 26 November 1987. An experimental film work made during a Super 8 workshop led by Geoff Weary at Tin Sheds Art Workshops, University of Sydney. The main ‘techniques’ employed were in-camera slow motion and coloured...
colour, sound, Super 8 Banner is described as "A compressed history of US expansionism by way of some well-known cultural icons."1 "Working backwards, the distinctive red stripes of Sydney's Coca Cola sign and REagan's Star Wars policy must have inspired that original star-spangled banner worked out by Betsy Ross and George Washington...
"Madame Tussaud learnt her skills of wax modelling during the French Revolution. The Terror provided her with models more often dead than alive. The story of Madame Tussaud is woven around the great portrait machine of the revolution - the guillotine. Descriptions of its awesome efficiency and her gruesome task...
Super 8 film, Dual projection, colourSound by Michelle Andringa This work had two iterations. In its initial form, it was the title given to a live performance that employed film loops as part of its visual material, and also used the gallery’s ‘cottage’ architecture and exterior plantings. Performed at:Australian Centre for Contemporary Art,...
Shot on S-VHS, completed on U-matic, 1992, 6 min "Madame Tussaud's story is woven around the great portrait machine of the revolution - the guillotine. Its awesome efficiency, touted as a humane form of execution provides a gruesome contrast to images of pastoral serenity."
U-matic Video, colour, sound, 6-mins In Griffith University Art Collection, Accession No 000816.01B
My current project, Read Me extends my investigation of the loss of self-identity as a result of personal passivity. It takes an interest in the process of automatic writing as a psychological state of inspiration moving between activity and passivity. There are two parts to the video performance, Read Me (Once)...
Tiago Carneiro da Cunha, Brazil, Low attention span/high curiosity rate [portrait of Peter Elliot], 7 mins, 2000
Karen Casey’s Dream zone (2012) emerges from the artist’s fascination with the relationship between human consciousness and our experience of the world.
