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...
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]
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 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...
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]
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
Lisa Cheung, Canada, City Sleeper, 10 mins, 2000
