2023 Grad Show

Marsel Reddick

AUArts Grad Show mars_headshot

Sculpture

marselreddick.com

My current research focuses on the constitution and dissolution of the self. I consider the ongoing entanglements of self and otherness through a variety of media such as claymation, spatialized sound, and interactive performance/installation. Through these mediums, I attempt to challenge binaries of self/other by focusing on the content of the relational interactions between these seemingly disparate entities, rather than their articulated differences.

Moon Dream (2021) Moon Dream unfolds a world where a sleeping character practices Tarot on the moon. Three cards are pulled, and the dreamer is transported into each one in the form of claymation. The fluid environments connote the malleability of the self in dream-states. Inserting the self into these archetypal environments creates a cyclical depiction of identity. In search of understanding themself, the character finds only what they already know, becoming both subject and object to their own spectatorship.
Meditation I (2022) Meditation I considers our relationships to words like “you” and “I” and "them" and how difficult it is to divorce ourselves from these indexical terms. The work combines the practice of meditation with awareness of the distinctions between ourselves and others in attempt to evoke a simultaneous experience of meditative oneness and melancholic yearning.
flow (2022) flow examines the overlapping of selves that occur in intimate relationships. In front of the screen are two sets of headphones, facilitating a moment of parallel experience between viewers. flow is about two entities becoming enmeshed: as the figures within the video flow and intertwine, the two viewers are sharing the same experience. flow put emphasis on change and relationality, rather than imposed permanence.
Hold my hand (2023) Hold my hand is an unedited documentation of myself engaging with my shadow. As I reach for my shadow’s hand, my movements cause the shadow to stray out of reach, leading to repeated attempts to hold hands with my shadow as it continues to evade me. The work explores an attempt to contend with an externalized version of the self, demonstrating the frustration and longing involved in this process; even if my hand were to perfectly align with the shadow’s, there would be no real contact achieved.

Videos

This is a collection of a variety of my self-portrait, stop-motion, and text-based videos.

Videos
Moon Dream (2021) Moon Dream unfolds a world where a sleeping character practices Tarot on the moon. Three cards are pulled, and the dreamer is transported into each one in the form of claymation. The fluid environments connote the malleability of the self in dream-states. Inserting the self into these archetypal environments creates a cyclical depiction of identity. In search of understanding themself, the character finds only what they already know, becoming both subject and object to their own spectatorship.
Videos
Meditation I (2022) Meditation I considers our relationships to words like “you” and “I” and "them" and how difficult it is to divorce ourselves from these indexical terms. The work combines the practice of meditation with awareness of the distinctions between ourselves and others in attempt to evoke a simultaneous experience of meditative oneness and melancholic yearning.
Videos
flow (2022) flow examines the overlapping of selves that occur in intimate relationships. In front of the screen are two sets of headphones, facilitating a moment of parallel experience between viewers. flow is about two entities becoming enmeshed: as the figures within the video flow and intertwine, the two viewers are sharing the same experience. flow put emphasis on change and relationality, rather than imposed permanence.
Videos
Hold my hand (2023) Hold my hand is an unedited documentation of myself engaging with my shadow. As I reach for my shadow’s hand, my movements cause the shadow to stray out of reach, leading to repeated attempts to hold hands with my shadow as it continues to evade me. The work explores an attempt to contend with an externalized version of the self, demonstrating the frustration and longing involved in this process; even if my hand were to perfectly align with the shadow’s, there would be no real contact achieved.
Recording of Nocturne for a cup-bearer (2023) Nocturne for a cup-bearer is an eight-channel spatialized sound installation. In a darkened room, eight speakers each emulate resonances within the circle of fifths, which have been recorded on the piano, blending together depending where the viewer is in the room. This work explores the continuum of harmony and dissonance, queering classical notions of musical structure, cadence, and composition. This is an audio recording of the spatialized sound installation.
OADAHTDAMVAV (2021) Of a darkness a hundred times deeper and more various and velvety consists of a darkened room, nine spatialized low frequencies, and a dimly glowing orb. The orb emulates colours of the planets, fading from turquoise to orange to a nearly imperceptible grey. This simulated solar system positions viewers as orbital objects in space embraced by sonic vibrations, with an aim of causing initial emotional response to dissipate into ambivalent sensation to underscore our shared materiality.

Sound Installations

This collection consists of two spatialized sound installations I created at AUArts in 2021 and 2023.

Sound Installations
Recording of Nocturne for a cup-bearer (2023) Nocturne for a cup-bearer is an eight-channel spatialized sound installation. In a darkened room, eight speakers each emulate resonances within the circle of fifths, which have been recorded on the piano, blending together depending where the viewer is in the room. This work explores the continuum of harmony and dissonance, queering classical notions of musical structure, cadence, and composition.

This is an audio recording of the spatialized sound installation.
Sound Installations AUArts Grad Show Of_a_darkness_a_hundred_times_deeper
OADAHTDAMVAV (2021) Of a darkness a hundred times deeper and more various and velvety consists of a darkened room, nine spatialized low frequencies, and a dimly glowing orb. The orb emulates colours of the planets, fading from turquoise to orange to a nearly imperceptible grey. This simulated solar system positions viewers as orbital objects in space embraced by sonic vibrations, with an aim of causing initial emotional response to dissipate into ambivalent sensation to underscore our shared materiality.
Reincarnation Tree (2022) Reincarnation Tree consists of a lodgepole pine tree, an instructional signpost, and a counter. Viewers are asked to leave a piece of skin, hair, or nail at the base of the tree and are invited to click the counter which signifies the number of participants. Leaving a small part of the body invites tender, symbiotic relationship between the viewer and the tree.
Reincarnation Tree (2022) Signpost closeup
Musical Tarot Readings (image 1) This is documentation of a performance where I gave Tarot readings (Major Arcana only) presented through improvisational synth. Viewers were invited to sit down, draw three cards, and put on headphones to receive their personal reading. Each card of the Major Arcana was assigned a key based on its traditional corresponding musical note.
Musical Tarot Readings (image 2)
Match! game (image 1) Match! game is an interactive sculpture inspired by Ay-O's fluxus finger boxes, which consist of holes for fingers to reach into and various textured contents within the boxes. This work was born out of imagining if inside the box, instead of a mysterious lifelessness, there were another hand reaching back. This work is an exploration of playfulness, futility, and collaboration; the game can only be won if both parties win, and winning achieves nothing tangibly rewarding.
Match! game (image 2)

Interactive Works

These are documentations of my most recent interactive works.

Interactive Works AUArts Grad Show 2022_Reincarnation_Tree
Reincarnation Tree (2022) Reincarnation Tree consists of a lodgepole pine tree, an instructional signpost, and a counter. Viewers are asked to leave a piece of skin, hair, or nail at the base of the tree and are invited to click the counter which signifies the number of participants. Leaving a small part of the body invites tender, symbiotic relationship between the viewer and the tree.
Interactive Works AUArts Grad Show 2022_Reincarnation_Tree_Closeup
Reincarnation Tree (2022) Signpost closeup
Interactive Works AUArts Grad Show 2022_Musical_Tarot_Readings
Musical Tarot Readings (image 1) This is documentation of a performance where I gave Tarot readings (Major Arcana only) presented through improvisational synth. Viewers were invited to sit down, draw three cards, and put on headphones to receive their personal reading. Each card of the Major Arcana was assigned a key based on its traditional corresponding musical note.
Interactive Works AUArts Grad Show 2022_Musical_Tarot_Readings_closed
Musical Tarot Readings (image 2)
Interactive Works AUArts Grad Show 2022_Match_Game
Match! game (image 1) Match! game is an interactive sculpture inspired by Ay-O's fluxus finger boxes, which consist of holes for fingers to reach into and various textured contents within the boxes. This work was born out of imagining if inside the box, instead of a mysterious lifelessness, there were another hand reaching back. This work is an exploration of playfulness, futility, and collaboration; the game can only be won if both parties win, and winning achieves nothing tangibly rewarding.
Interactive Works AUArts Grad Show IMG-7855
Match! game (image 2)

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