UTAKO SHINDO

I hold the feeling

2011-09-17T21:48:00.003+10:00

The work presented for Immanent Landscape 2011 at Kurumaya City Oyama Museum.

lithograph, digital print on Izumi Paper
dimension variable

The Galaxy Garden

2011-04-30T10:51:00.009+10:00

The works presented for my curated exhibition 'the galaxy garden'
http://www.suttongallery.com.au/projectspace/index.php?year=2011

Shadow drawing-Hanakaido (edt. Version1, 2/3)
Shadow drawing-Sakura (edt. Version1, 2/3)
Off set lithograph print on Izumi paper
38×50cm

Immanent Landscape

2010-08-25T23:32:00.008+10:00

The works produced for my curated exhibition 'Immanent Landscape_ 内在の風景'.
www.i-landscape.net

In the darkness, digital image, 45 by 52cm

Shadow drawing-pine, drawing on fabriano paper, 48 by 72cm

Tsumurumitsumeru (Close to see) - BEHOLD

2010-03-29T16:08:00.000+11:00

Tsumurumitsumeru (close to see) - Behold
2010
Lamda Print, Acrylic Perspex
25.6cm by 36.4 cm each

Utsurou (Shifting)
2010
Brown Paper (patroonnapier), Ball Point Pen
60 by 90 cm (69 by 99 cm framed)

Installation view at Youkobo ART SPACE, Tokyo

it drops, it reflects

2009-10-11T08:22:00.004+11:00

Installed at SHED at G&A Allen, as a part of ECO LIVING FESTIVAL organized by LYNDAL JONES
72 glasses, 64 digital prints on clear film adhered on acrylic pespex,
artist publication (500 issues) in collaboration with Benjamin Hosking (photograph) and Dion Tuckwell (design)

Installation shot at 'Sustainable Fusion Reactions'
video projection, print on clear film, mirrors, logs, tables, artist's publication
dimension variable

Double

2009-09-11T16:37:00.007+10:00

presented as a part of group show 'PERIPHERAL' curated by Lisa Bryne
installed at Royal Melbourne Institute and Technology Project Space

'Double ended'
digital print on clear film, acrylic Perspex,
125 by 68 cm

'Double edged'
digital print on clear film, gallery window
370 by 160 cm

Miru Milieu - See Site -

2009-06-22T08:12:00.003+10:00

Video work on Tv monitor, Plaster Wall constructed temporarily, video projection, sound, digital print Di-bond
Installed at Sutton Gallery Project Space

Platform for Performance

2009-04-01T00:13:00.005+11:00

installation at George Paton Gallery, Melbourne
three video projections, desktop monitor, texts, shelf, sound
dimension variable

Waves in the Sea

2009-02-27T23:52:00.012+11:00

digital image

insatallation at White Street Project, Frankston
light box, duratrant image, sound, shipping container
dimension variable

Oscillating Landscape

2008-10-13T21:14:00.007+11:00

digital image

installation at School of Art Student Gallery, Victorian College of the Art, Melbourne
digital print transfer, rice paper, pine frame, sound and natural light
135 by 180cm (each screen)

(Originally presented at WestSpace as a part of Next Wave Festival. Above images are from MFA Examination Show)

Feet through

2008-04-05T22:05:00.009+11:00

*on-line version of this video work is available from
http://www.youtube.com/watch?v=unqLNmyxBBM

*My journal text on the work is available from
http://intersections.anu.edu.au/issue23/shindo.htm
still image

four video projections, walls, sound
installation at Conical Contemporary Art Space, Melbourne
(curated by Adrien Allen)

SUN PLAY

2007-11-01T00:18:00.008+11:00

'Sun Play'
Still from DVD 1:30, TV Screen

*video work can be view on Youtube
http://www.youtube.com/watch?v=JmEtRmM2AuY

Via Tree

2007-10-30T23:59:00.011+11:00

presented as a part of 'Draw Order' at Trocadero Contemporary Art Space
digital print transfer, banana paper, pine, sound, fishing wire
dimension variable

digital print transfer, banana paper

Studio Installation View (bellow left)

Returning Yesterday

2007-08-28T00:47:00.010+10:00

digital print transfer, wall, milk paint made out of oyster shell
presented as a part of 'POLAR' curated by Kiron Robinson and Lani Seligman
VCA Margaret Lawrence Gallery, Melbourne

LAND-men-SCAPE

2007-05-06T11:21:00.002+10:00

Digital print, 105 by 156 cm, 2007

A SUMMER DAYDREAM

2006-11-17T10:43:00.003+11:00

digital ptint on transparent film, Parspex, benches, sounds

THE REFLECTION OF THE SUNLIGHT

2006-08-08T17:57:00.004+10:00

digital print, 2006

NARRATIVE ACTION-Force of Movement

2005-08-09T09:34:00.002+10:00

Installation view at Vicotorian College of the Arts, 2005

footage from Narrative Action-Force of Movement photobased images, sounds, 2minites 20seconds

WERE BORN TO BE CONNECTED

2005-03-16T11:30:00.003+11:00

white marker, acrylic Parspex, charcoal, paper

The work explored the idea of human connection by making visual connections with visiters’ presence through the artist’s mediation.
The silhouettes of visiters were taken by artist and drawn on the acrylic Parspex and wall paperfor three hours in the early evening at the gallery space, which locates in the area, in Melbourne, where ‘alternative’ or ‘muticultural’ residences inhabit.
The visiters also left their thoughts on the wall paper about ‘human connection’.

A' ISSUE -U R A R T-

2004-05-22T11:45:00.005+10:00

plastic letter, charcoal, paint, tape, window, wall

The work was 5 days drawing project inside of exhibition space, which locates along the flinder street in city of Melbourne.
The work responded to the public discussion,on ‘waht is art’, which occered after the city of melbourne cencored the political artwork shown previously in the same exhibition space.
At the begining of the last day, the wall drawing which, was developed for 5 days, was ‘covered’ by the black painting on the window from inside, as the representaion of ‘cencoring artwork’.
At the end of 5th day, the black painting was partly taken away as performance in front of audiences’ presence, leaving the ‘marks’ which stated ‘U R A R T’.

TRANSLATIONS

2003-11-11T11:52:00.005+11:00

The work presented at the group show ‘Common Vernacular’ whose workshop was held at VCA for 6months.
The work was created at the gallery in the every morning for 5 days. Marks on the wall was translations of internal and external sounds which perceived by myself and expressed in a performative gestural drawing. As the final stage of translation, the English and Japanese translations of the marks were written on post notes of two different colors for each language, and sticked onto the wall.