Yvette Hamilton

'Transit' - Olsen Annexe, Sydney. 24th July - 10th August 2024

Installation view

'Transit' - Olsen Annexe, Sydney. 24th July - 10th August 2024

Installation view

An Observation of Sunlight, Silver, and Glass (Homage to Elizabeth Fulhame) #1 . 2022. Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram. 130 x 95 cm

'Transit' - Olsen Annexe, Sydney. 24th July - 10th August 2024

Installation view

'Things I Can't See From Places I Can't Be (Black Hole)' # 2, #3. 2024. Hand printed gold-toned salt prints on cotton rag from AI computer-simulated image. 34 x 26 cm

'Transit' - Olsen Annexe, Sydney. 24th July - 10th August 2024

Installation view

'Celestial' #1 - 2024. Inkjet print on cotton baryta paper from unique silver-gelatin photogram. 100 x 80 cm

'Things I Can't See from Places I Can't Be' (Black Holes) #1, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #2, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #3, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #4, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #5, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #6, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #7, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Things I Can't See from Places I Can't Be' (Black Holes) #8, 2024.

Hand printed gold-toned salt print on cotton rag from AI computer-simulated image made in Midjourney.

'Atmosphere Study, May 7', 2024

Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram

'Atmosphere Study, May 5', 2024

Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram

'Atmosphere Study, May 4', 2024

Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram

'Atmosphere Study, May 9', 2024

Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram

'Atmosphere Study, May 10', 2024

Inkjet print on cotton baryta paper from cameraless unfixed lumen photogram

'The Appearance and The Disappearance' 2024 installation view at SCA Project Space 13.4.24 - 20.4.24

Atmosphere Study (May 7), 2023. Archival pigment print from cameraless unfixed lumen photogram. 50 x 50cm

'The Appearance and The Disappearance' 2024 installation view at SCA Project Space 13.4.24 - 20.4.24. Foreground: 'Supermassive' Single channel HD video. 3 minutes, looped.

Left: 'The View from Nowhere' 2023. Dry plate on glass 10cm x 15cm and 'An Observation of Sunlight Silver and Glass' #5, 2023 Archival pigment print from cameraless unfixed lumen photogram 70 x 95cm

Right: Things I Can’t See from Place I Can’t Be (Black hole #1), 2024. Gold-toned salt print from AI computer-simulated image made in Midjourney. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #2), 2024. Gold-toned salt print from computer-simulated image by NASA. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #1), 2024. Gold-toned salt print from AI computer-simulated image made in Midjourney. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #2), 2024. Gold-toned salt print from computer-simulated image by NASA. 20 x 25cm

'The View from Nowhere' 2023. Dry plate on glass 10cm x 15cm and 'An Observation of Sunlight Silver and Glass' #5, 2023 Archival pigment print from cameraless unfixed lumen photogram 70 x 95cm

'The Appearance and The Disappearance' 2024 installation view at SCA Project Space 13.4.24 - 20.4.24

'The View from Nowhere' 2023. Dry plate on glass 10cm x 15cm and 'An Observation of Sunlight Silver and Glass' #5, 2023 Archival pigment print from cameraless unfixed lumen photogram 70 x 95cm

Transit #3, 2023. Single channel HD video. 6:31 minutes, looped.

Supermassive, 2023. Single channel HD video. 3 minutes, looped.

Left: An Observation of Sunlight Silver and Glass #1, 2023. Archival pigment print from cameraless unfixed lumen photogram. 90 x 125cm

Right: Things I Can’t See from Place I Can’t Be (Black hole #3, 2024. Gold-toned salt print from AI computer-simulated image made in Midjourney. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #4), 2024. Gold-toned salt print from computer-simulated image by NASA. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #3, 2024. Gold-toned salt print from AI computer-simulated image made in Midjourney. 20 x 25cm

Things I Can’t See from Place I Can’t Be (Black hole #4), 2024. Gold-toned salt print from computer-simulated image by NASA. 20 x 25cm

Dye sublimation prints on aluminium

Signal mirrors, spotlights, cinefoil, plywood. Dimensions variable.

Signal mirrors, spotlights, cinefoil, plywood. Dimensions variable

Dye sublimation print on aluminium 12 x 90cm, mirror, spotlight. Dimensions variable

Dye sublimation print on aluminium 12 x 90cm, mirror, spotlight. Dimensions variable

Dye sublimation print on aluminium 12 x 90cm, mirror, spotlight. Dimensions variable

Single channel HD video and dye sublimation prints on aluminium

Dye sublimation print on aluminium

Dye sublimation prints on aluminium

'Space, Time, Light', installation view.

Blue Mountains Cultural Centre August 13 - October 2, 2022.

Installation view at Blue Mountains Cultural Centre. August 13 - October 2, 2022.

Space, Time, Light. Installation view.

Blue Mountains Cultural Centre. August 13 - October 2, 2022.

'Solar Observation' - detail view

Installation view at Blue Mountains Cultural Centre. August 13 - October 2, 2022.

'Solar Observation' - detail view

Installation view at Blue Mountains Cultural Centre. August 13 - October 2, 2022.

'Space, Time, Light', installation view.

Blue Mountains Cultural Centre August 13 - October 2, 2022.

Installation view at Blue Mountains Cultural Centre, 2022

Installation view at Blue Mountains Cultural Centre, 2022

Installation view Peacock Gallery, Nov 2018.

Afterglow and The Last Touch are interconnected works that explore relationships between light, dark, time and chance. The LED light sculpture was laid upon photographic paper to make the lumen prints and photograms that make up the photo collage. The two works create an installation that explores illumination in both a three-dimensional and two-dimensional rendering. Through variations in developing times, the touch of the light onto the photographic paper either reveals or conceals what has been laid upon it.

‘Luminous Capture #7 (positive)’ - animated lightbox, LED lights, microprocessor, duratrans, custom acrylic housing.

Releasing light until it vanishes - Hannah Jenkins

http://rundog.art/luminous-capture-yvette-hamilton/

“The meditative tick and whir of the lightbox heating up and fading back down is hypnotic. Perhaps some ingrained memory of mine recognises this characteristic and immediately associates the pattern with the rhythmic sound of waves crashing. The automation of ‘Luminous Capture #7 (positive)’ (2019) feels like time ticking through minutes, decades, centuries. Each flash is a slice of time, happening in both a linear fashion—one after the other, but also collapsing—one on top of the other.

How fast did that time move across the sky, and reflect back into my eyes? Am I truly capable of seeing every flash from storm Diana or just the prolonged exposure?

These works have captured light, but they also acknowledge that light expands out to the horizon and into the dark—and allow it the space (and time) to do so. Now the light is looking at me.”

Luminous Capture #7 (positive)’ - animated lightbox, LED lights, microprocessor, duratrans, custom acrylic housing.

‘Luminous Range’ - limited edition artist book

Install photograph - Ellen Dahl

Glass Capture #1 - 5

Install photograph: Ellen Dahl

“Rodin said photography is a lie, ‘for in reality time does not stop.’

However, in examining the UV imprints of ‘Glass capture #1 – 5’ (2019), I see all kinds of micro and macro growths and recessions, like a psychedelic petri dish, or a choppy ocean. The transfer of light has touched everything here, from the work’s beginning in that Scottish lighthouse, to the morning light that passes through the glass panes, casting milky shadows on the gallery wall, before finally bouncing back into my eyes.”

Hannah Jenkins

Luminous Capture #5 (negative and positive) and Glass Capture #1 - 5

Install photograph: Ellen Dahl

Luminous Range - limited edition artist book

Install photograph - Ellen Dahl

‘Luminous Capture #7 (positive)’ - animated lightbox, LED lights, microprocessor, duratrans, custom acrylic housing.

Luminous Capture #5 (negative and positive)

Luminous Range - limited edition artist book

Install photograph - Ellen Dahl

Luminous Capture - 2019

Archival pigment prints from solar photogram paper negative. HD video, black curtains. Installation dimensions variable.

Dark Star #1

Archival pigment print from solar photogram paper negative.

Image 20 x 22cm, framed 54 x 58cm

Dark Star #1

Archival pigment print from solar photogram paper negative.

Image 20 x 22cm, framed 54 x 58cm

Dark Star_scan

HD video

Dimensions variable

Invisible (bluescreen) #1 - 2021

Digital print on fibre rag paper, 40 x 56cm

Invisible (bluescreen) # 2

Digital print on fibre rag paper, 40 x 56cm

Invisible (bluescreen) #2 - 2021

Install view at Wayout Projects, Feb - April 2021, Kandos, NSW, as part of the exhibition ‘BLUE TOO’ curated by Beata Geyer.

Invisible (bluescreen) #1 - 2021

Install view at Wayout Projects, Feb - April 2021, Kandos, NSW, as part of the exhibition ‘BLUE TOO’ curated by Beata Geyer.

Bell Rock 2019

Inkjet print on paper, 205cm x 150cm and single channel video projection.

Installation view at PhotoAccess gallery Canberra, July 2019

Installation photograph - Kate Matthews

Bell Rock - 2019

Artist: Yvette Hamilton

Inkjet print on paper, 205cm x 150cm, and single channel video projection.

Installation view, PhotoAccess gallery, Canberra, July 2019

Installation photograph - Kate Matthews

Survey 2019, Animated lightbox - LED lights, acrylic, custom frame and coal dust.

Install photograph: Jessica Maurer

Blind Survey, Unique silver gelatin photograms

Survey and Blind Survey were exhibited at Verge Gallery in April 2019 as part of the exhibition, Resurfaced Geographies, with Izabela Pluta and Ellen Dahl.

These works responded to the idea of landscape photography, with the particular landscape that I responded to being the the Fife coast in Scotland, formerly the site of the Michael Colliery, a former coal mining site that my Grandfather worked in during the post war years. The landscape as it was at the time of mining is no longer, the architecture of the tunnels underneath the feet still in existence, but hidden from view. I approached this site seeking some visual clues to what had gone before, scanning the ground like a survey. the bosy of work ties into my enduring interest between what can be seen and what cannot.

Blind Survey - Unique gelatin silver photograms

20 x 25cm each

Blind Survey and Survey - installation view at Verge Gallery, Sydney, April 2019.

I Think This is the Place - installation view, Verge Gallery

I Think This is the Place - installation view, Verge Gallery

Blind - 2019, installation view

Blind is a site specific installation developed for Articulate Project Space in Sydney in April 2019. The work’s central premise was to conduct a two week long exposure of a piece of photographic paper responding to the play between the natural light in the space and artificial LED light placed against the image plane. The work is a process led installation which reflects on the idea of the exposure, the idea of space and the way that an 'image' can very often fail at depicting place.

Blind - 2019, installation view

Installation view - Wellington St Projects, Nov 2018

Isophase I and II and 56°26.1' N 2°23.1' W aim to highlight the symbiotic relationship between photography and the lighthouse, both materially and conceptually. Where a lighthouse throws light out into space to communicate in code, photography is a catcher of light, rendering light into a two-dimensional communication form.

Isophase I & II

56°26.1' N 2°23.1' W

Isophase I & II

Installation view at Hazelhurst Regional Gallery as part of ‘Vanishing Point’, 2018.

n the large light-based installation, I Just Have This Feeling, semaphoric symbology act as quasi-navigational markings that attempt to chart a course through an unknown sea.

The work mimics maritime navigational markers in both form and light patterning. In some sections of the sequence, the lights are actually conveying navigational instruction, but this code is quickly broken down into a chaotic rhythm where the reliability of the message is called into question, and we are literally ‘left at sea’.

Installation view, Perth Centre for Photography, July 2017

In the Phantom Island series, a collection of animated lightboxes aim to draw parallels between the idea of the self and the notion of a phantom island – an island that has been mapped but subsequently proven to not exist.

Installation view, Hazelhurst Arts Centre, April - June 2018

In Dead Reckoning I – III the artist repeatedly attempts to draw, from memory, the outline of a series of personally significant islands that shaped her identity. Through the layering of these hand-drawn attempts at remembering, a new and fictional landmass is created that resembles an aperture for looking through.

The works are inspired by the navigational technique of dead reckoning where one’s current position is calculated by using the last determined position on a map. The process is subject to significant and cumulative errors and in many applications has been replaced by the use of GPS.

Installation view - Airspace Projects, May 2018

As part of the collaborative exhibition ‘A Line around that we cannot see’ with Karen Golland and Heidi LeFebvre.

Moving Portrait is a live interactive portrait that captures a likeness of the viewer as they stand in front of the work. However, this likeness is only given when the viewer is moving - if they stand still, they disappear into a void of blackness.

This work is a part of an ongoing project that aims to in push at the boundaries of portraiture and explore the evolution of the notions of ‘being’ and ‘presence’ as influenced by evolving technological heterotopias.

Moving Portrait examines the ways in which the screen acts upon notions of self and the way in which the self is acted out upon the screen. This portrait explores the oscillation between stasis and flux in being and performing self, onscreen and online.

Where Are You is an interactive portrait that seeks to question the notion of being-in-the-world.

Taking the form of a sculptural object that acts as a mirrored viewing portal, the work beckons the viewer to find themselves in the frame. However, the ‘portrait’ offered is a transient one, where the viewer dissolves into their surroundings and disappears altogether.

The work is part of an ongoing exploration of the changing nature of the notion of ‘self’ in the evolving technological heterotopia and an interrogation of the boundaries of portraiture.

This disobedient ‘selfie’ questions – where are you when you cannot see yourself?

'Are You There' is an interactive work that explores portraiture and its intersection with the notion of place. Consisting of an oval shaped mirror sitting atop an elongated plinth, Are You There is an interactive artwork that was designed to be deliberately mimetic of the human form. The plinth acts as the body, and the mirror acts as a head. The work stands in the gallery space like a humanoid structure, standing still until activated by the proximity of a person attempting to see their reflection. Then, through facial detection software programmed to interact with a micro camera embedded in the mirror frame, the mirror turns away from the face presented to it and denies this reflection. The mirror, by turning away from the person who approaches, is saying ‘no’. This mirror denies us our self-image and appearance.

'Hello' consists of two robotic animated lightboxes that explore the relationship between people, place and light. 'Hello' is a portrait that depicts no trace of a human body or face, rather it is suggested, or ‘simulated’ through the rounded aperture through which the light emits. Taking this simulation further, and in a way to amplify the humanoid qualities of the piece, I programmed morse-code into the light boxes, so that each one attempts to communicate to the other and also to the audience.

'The Path of Totality' - 2013

A-M Gallery.

‘The Path of Totality’ is an exhibition of photographs and animated lightboxes that draw upon the experience of a total solar eclipse captured in 2012.

The works are a poetic meditation upon the notions of vision, awareness and locational identity.