dual screen installation with drawings, 1984Roslyn Oxley Gallery Sydney (1984); “Correspondences” University Gallery Hobart (1984) A series of drawings from 1979 (when I was living in the Shepherd & Newman Warehouse in Darlinghurst, Sydney) are reworked as video imagery through a series of negative/positive video mattes and wipes. The same set...
installation incorporating video, 1986“Ohya Underground” Ohya Quarry, Utsonomiya, Japan (1986) A small field monitor was placed on a menhir-like structure built of three pieces of quarried stone in the cavernous space of the Utsonomiya quarry near Nikko, Japan. The looped hand-drawn imagery, which is CVI-generated, is of figures fleeing a burning...
installation incorporating videos and built structures, 1989“In Transit” Festival of Canterbury, Canterbury (1989) Produced for “In Transit”, an exhibition of work by Australian artists in Canterbury, Kent, UK. The site was in a disused upmarket car show room which was scheduled to be demolished. A mandatory archaeological trench had been dug....
installation incorporating videos and built structures, 1988“Ars Electronica” Bruckner Haus, Linz, Austria (1988)
(with Diane Lloyd) three monitor installation 20:00 mins, 1981The Sydney Studio (1981) A Story Story was a 3 monitor piece predicated on the fact that all analogue tape decks in the era in which this tape was made (1981) ran at slightly different speeds. The three tapes all carry identical sound...
Adelaide Festival Video (1991), 00:30 mins, Sydney/Adelaide. CVI and Abekas A64 imagery used to create an electronic ‘poster’ to accompany the print poster which I produced for the 1992 Adelaide Festival. [Peter Callas]
The Australian International Video Festival, 1991 - Video Installation Peter Callas - Our Potential Allies (1980 & 1991)
Ambient Alphabet (c of meaning) (1992), 5:16 mins, Tokyo.
Australian Video Festival Commercials (1987), 2 x 00:30 mins, Sydney. CVI imagery used as call for entries for the Australian Video Festival. [Peter Callas]
Bilderbuch fur Ernst Will (Ernst Will's Picture Book): A Euro Rebus (1990-93), 11:00 mins, Sydney.
Bon Voyage (1986), 4:35 mins, Tokyo. Produced for the theatre group Island (directed by Koharu Kisaragi) for the opening event of Seed Hall, an event space atop Seed department store in Tokyo in 1986. The imagery utilises a similar two frame animation technique elsewhere employed in the tape Double Trouble. The...
Digital printsBoutwell-Draper Gallery, Sydney (2004); ARC one Gallery, Melbourne (2007); “Digital Aesthetic”, Preston, UK (2012) The image series titled ‘Circle of Confusion’ is a part of a meditation on the Trionfo della Morte (‘The Triumph of Death’), an early 14th century fresco cycle in the Camposanto in Pisa.
Curtain (1980), 4:00 mins, Sydney. Curtain is an early experimental work in which Callas’ physical presence is of central importance. In this work, close-ups of the artist’s face are intercut by a photograph of a night time streetscape illuminated by street lights. The filmed movement of transparent layers of lithographic film...
Double Trouble (1986), 5:23 mins, Tokyo. One of the earliest works made by Callas using a Fairlight Computer Video Instrument (CVI) processor, a pioneering compositing and special effects system he utilised regularly from the mid 1980s to early 90s. The CVI was a hybrid of video and computing technologies which enabled...
East Meets West (Sandii & the Sunsetz), (1986), 3:37 mins, Tokyo Music video produced for Sandii and the Sunsetz. [Peter Callas]
three monitor installation, 20:00 mins, 1981Roslyn Oxley Gallery Sydney (1981) and “A Different Perspective” Artspace Sydney, (1981)
How to Make the Famous Pisco Sour; A Videotape inThree Locations (1986), 16:10 mins, Tokyo.
I Would Have Run But I Had A Heavy Cold (1980), 15:00 mins, Sydney. In I Would Have Run But I Had A Heavy Cold I enter the water beside a pontoon on the Hawkesbury River near Sydney. As speedboats zoom by with skiers in trail I crawl out of the...
