Please visit this link for more info:
http://semipermanent.com/perth-home.shtml

Lucky you! Just because we’re nice guys and because Artrage love us, we are able to offer you some huge discounts on the cost of admission. In fact, these are the best priced Semi-Permanent tickets in Australia!

The offer is only valid until Monday the 5th of October, so be quick. Download the flyer below to get your hands on this juicy deal.

The south wall of the building was painted by Creepy, Hurben, Sam DeSouza and Jodee Knowles. That’s a lot of leaves Creepy!

There’s some talk of lightboxes being installed amongst the artwork. Go Perth!

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Working with sound artists Josh McAuliffe and Tomàs Ford, the kids edited their recordings into loops and sound compositions making for some unique soundscapes.

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We roped Creepy in and after 2 fun-filled afternoons we had completed our unique portrayal of a massacre. That core-flute(?) stuff was really nice to work with and brought out a bit of the poet in all of us.

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Now as we looked about the junkyard-esque terrain, we realised this wasn’t going to be a simple endeavour. The walls to either side were covered in traditional graffiti. Large bold pieces, a little horrid but very striking. One piece in particular, a large ‘JISM’ throw-up tells it’s own story that digs it’s little heels into a layer beneath the vandalism and says more about social culture than anything.

We took a few photos, the fence was black, corrugated and looked derelict. We thought about painting it, but we were afraid anything we could possibly do would either disappear or be completely overshadowed by the density of the other paintings in the lot.

The idea of cutting tin had been floating about for awhile and we thought that the shiny tin would sit well with the painted matt black fence. Hurben had used the silhouette of a flock of birds in the book he created for ‘Hurben’s World ‘ and we thought the idea of a flock of birds emerging from the middle of the fence would both inspire and enhance the quality of the fence without covering it up or taking anything away.

To the hardware store!

We purchased a ‘Nibbler’ for $90. It’s an attachment that sits on the end of your drill and ‘punches’ the tin, really fast. Cool!

Then to the back of a sign store, they always throw away nice things. We lugged a few sheets of nice looking tin that used to be signs. I think there was even one for the ‘Magic Apple’.

Used an overhead projector to draw the shapes, cut them out and attached them using pop-rivets. Beautiful!

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The Patch was an interactive art installation first deployed at ‘Coalesce’ – a micro festival at The Bakery, Northbridge which featured other artists, such as Tomas Ford doing a 7-hour ‘Cabaret of Death’ poetry marathon and Pilar Matt Dupont & Tarryn Gill with their ‘Heart of Gold’ Project.

Coalesce
Date: Sat 24th Jul, 2004
Venue: Bakery Artrage Complex
Artrage and The Tall Concrete Collective present: A night of cross-pollination multi space adhesion.

The installation consisted of 25m² of lawn raised up on a small stage which was surrounded by earth/dirt to give that ‘freshly-cut-out-of-the-ground’ look. The neatly manicured lawn was enclosed by chrome poles and red rope, which lent the space the desired look of exclusivity. In the centre we installed a ‘truth window’ to convince patrons that this was the real thing.

Leading up to the entrance of ‘The Patch’ was a 10 metre long red carpet (borrowed from Cinema City RIP) and we had our own security, in the form of a bouncer, to control access to the lawn (Thanks Zach/Sam) who checked stamps and maintained harmony.

Before they were allowed to enjoy the roped-off area, the public first had to complete a worksheet and deposit it in the box. Once they had done this, they received a stamp and could enter the grassed zone, after removing their footwear of course. The entire process was our way of poking at the overwhelming bureaucracy we have to face in our daily lives.

Visit the Worksheet results for The Patch 01

As well as being a cheeky sentiment about regulations and exclusivity, The Patch also became a performance space. There was a timetable of events defining opening and closing times. Some of the performances we had on offer involved golfers, an ironing housewife and some quiet reading time.

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Special thanks go to Filip Bardy for taking these photos long before we had digital cameras

The Patch II

We were asked to install The Patch in the Midland Railway Yards as part of Artrage’s huge festival event, Crossfire. It was an interesting contrast to our previous install as The Patch was previously built for the Bakery space. The Railway yards were massive in comparison and our installation looked tiny.

We were added to a series of collector’s cards used for the promotional material. Here is the text that was on the reverse of the card:

Imagine finding a place. A place where the journey leads you to consider your environment and the neverending surge of beaurocracy. Imagine that place, being under your feet. The internal space is befriended by a visitor from the outside. Simulating a process we are all accustomed to, ‘The Patch’ is a toe-tickling experience with farcical red tape and a new but familiar perspective. The Patch first bloomed mid 2004. Next came a few relenting invites and no sponsorship deals.

Visit the Worksheet results for The Patch 02

Bump In Time Lapse

Bump Out (In) Time Lapse

Ironing Maid

So what do you do with this much lawn when the show is over? You place it in phone boxes of course! This enabled us to carry on the idea in the street much to everyone’s delight!

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One of us overheard the director of Artrage talking at the pub about these cans that he had found. Giggling to ourselves, we spoke with him and were told of this ‘exhibition’ that was happening at the end of the year called ‘Supermart’. He said our cans would be perfect for it. We believed him and proceeded to refine our techniques and limit our range to 20.

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