Hi blog. Me and Erin have started a gallery/space in our lounge.
Our first event is this Saturday:
We’re charging $50 a week for shows, and of course less if you only want to do a one day/night thing, or 3 days, or whatever. I’ll probably do some workshops there too.
I made these drawings as a little project to help me take a break from working on the computer, and to make something of the job I’ve found myself in. I’m working as a cleaner in a high school, and they’re all made with things I’ve found in the bins, or on the ground. So every day I’d come home and make a drawing with what I’d found.
The yellow one’s actually done with highlighter, but it doesn’t scan so well.
I might write some more thoughts later, but I have to get to work.
I seem to like wind and trees.
One of my games was mentioned in this article on ‘voidscapes’:
killscreendaily.com/articles/voidscapes/
Voids have always existed around videogames. It’s the negative space that you can sometimes accidentally fall into and watch as the polygons you once walked on disappear. A void is that endless, omnipresent outside part of videogames where nothing happens and nothing exists. Voids are the largest part of videogame spaces but it’s always the bit that’s covered up like a crime scene. So what’s a “voidscape,” then?
[…]
One of the most meaningful videogame dioramas I’ve played is Rylie Thomas’s The Milkmaid, which turns Johannes Vermeer’s 17th century oil-on-canvas painting “The Milkmaid” into a climbing frame for us to investigate. Thomas uses a videogame as a tool for us to engage in a close examination of a blown up art asset, revealing its garish textures and even the very slightest of its contours. You end up getting more intimate with an in-game asset than you probably have before just because it’s the only thing that you can focus on other than the surrounding void.
Me and Youtube’s auto caption thing wrote a poem:
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The shower’s pipes today sounded like sixty layers of cello harmonics.