Video installation at the Margaret Lawrence Gallery including works created throughout my PhD as a partial component of its completion. The installation plays with the line between abstraction and recognition as it emerged my research on contingency in digital video and the reconfiguration of appropriation.
Decomposing Contingencies - Nickk Hertzog, 2017
Documentation of Decomposing Contingencies, exhibition, Margaret Lawrence Gallery, 2017. Nickk Hertzog.
Prayers video featured in group exhibition, Unhidden, with Martina Copley, Kouichi Okamoto, Lynette Smith, Naomi Troski, Elke Varg, curated by Kali Michailidis.
Feed Forward video featured in Melbourne Central Art Loop: Series Two, Issues Today, curated by [Mars] Gallery, also featuring Alex Lanau-Atkinson, Arada Panichayatrum, Brendan Lee, Cassandra Tytler, Christopher Berogna, Corinne Berndt, Gary Willis, Jess Kritzer, Katie Sfetkidis, Kawita Vatanajyankur, Natasha Manners, Norie Neumark and Maria Miranda, Olivia Guardiani, Pip Ryan, Sam Pearson and Jackson Tipping, Tricky Walsh, Zoe Scoglio , Claire Anna Watson, Megan Keating and Samuel Johnstone, James Base, Diego Ramirez, Charlie Freedman, Tristan Jalleh.
4-channel video installation with sound, Rubicon ARI, Melbourne, 2016.
The urban landscape is haunted by the troubled ghosts of abandoned buildings and hidden passages of drains and waterways. These haunted landscapes find themselves inhabited once more, possessed by choking weeds and the occult magic of endless tagging. They are home to strays both animal and human who live wild within their fragile boundaries. Through multiple videos, the installation summons the ghosts out there to possess the image. Captured and distorted, the delicate ruins are preserved beyond their physical sites and infect the digital image with a continued spiral of ruin and renewal
Video project based on a reinterpretation on The Birthday Party's post-punk song Release the Bats. Noise carves through the video form, breaking new languages into fragile forms. Video is approximately 2 minutes 30 second loop. 2016
Out of the Black and into the Ether
Video installation with sound. Part one in Blackspace, part two in Voidspace. These videos further developed the Poor Old Horse Project in these two installations. 2015.
Blackspace Installation, 2015
Voidspace Installation, 2015
Poor Old Horse
Video with sound based on the concept of the Debt Horse and other stories of horses and water. The work horse, the totem, the symbolic horse receives our debt so we might destroy it. This work is based off the structure and footages related to these events, both appropriated and original, and sinks into the ambiguity that is the line between memory and the weight of debt.
Poor Old Horse, 2015
Hellhound on my Trail
Video work with sound, appropriated footage and original. This work explores the notion of wandering and it's place in the urban landscape. The line between meaning and non-meaning is explored in the breakdown of fringe locations, that blur into one another and pull their representation into ruin. The hellhound traverse ruins, wandering through video meaning.
Hellhound on my Trail, 2015
Video projects for the Concrete Terra exhibition at The Front ARI, in collaboration with ACAB Collective 2014. Exploration of the hauntingly artificial environments of Melbourne's purpose-built Docklands.
Concrete Terra 1, 2014
Concrete Terra 2, 2014
Nobodies Fault But Mine
Nobodies Fault But Mine, Installation, found objects and sound. A theatrical tableaux of autobiographical ambiguity.
The Projects ARI, Melbourne, 2013
Happy Underground, was a project of documenting acts of vandalism and presenting them as a fictional book titled Happy Underground: Ten Years of Slogans Vandalism and Words.
Rave Cave of Psychotropic Nightmares
A multi-faceted installation including found sculptural elements, detritus, video works and monitors, water fountains, lights and sound, created as a collaboration between ACAB Collective and Nickk Hertzog. The work explores the idea of sensory overload in the unending piles of detritus that are produced. Toxic colours are mirrored in the toxic plastics and foams, and the toxic layer of sound that permeates the work. Endless consumptions is a full on party, and this is where things get weird.
Kings ARI, Melbourne, 2012.
A low resolution poetic reflection on the fringes of a world on the brink of collapse. Post-apocalyptic visions occur through barely discernible video, and form a loose poetry of the end of world and the beginning of something else. 2010-11