Cultural Patterning

The view was obscured from street level. We discovered my commission because of an unlit 1960’s building and an emergency exit. From the rooftop, paper cut images punctured Swanston Street and defined China Town’s entry point. My brother captured the site. Our new perspective had offered another way of seeing the changing world of our city. We didn’t look down.

Ephemeral Museum, 2012

The Atherton Grades Estates Fitzroy became a monument to art and architecture. Images were made with reference to Le Corbusier, Frank Lloyd Wright’s Guggenheim Museum, Frank Gehry Yale psychiatric institute, Antoni Gaudí’s Casa Milà 'La Pedrera', Jørn Utzon’s Sydney Opera House, Centre Pompidou Renzo Piano and Richard Roger, Roy Lichtenstein’s, it was also gift wrapped, wrapped in postal fragile wrapping tape, and colour coded iPhone packaging.

Video time lapse by James HH Morgan 


Colour Field Painting explores cultural rituals and notions of spectatorship by documenting the site in Collingwood on the anniversary of the 1967 referendum. The film was then projected back into the site and layered with pattern. Situated as permanent video projection on the Collingwood football stand, the work was installed for a 12 twelve-month duration. The work was curated by The Gertrude Association and was commissioned by the City of Yarra in 2014.

Transience, 2013

The site of The Builders Arms in Fitzroy has a rich and colourful history. Artworks and etchings made from the time of the early settlement of the area, the treaty document, and reference to local Indigenous culture are reinstated on the architectural skin of the building.

The work was created as still imagery in segments with Amanda Morgan and Ian de Gruchy.

Video time lapse by James HH Morgan 

Night Film Night, Cinecity 2014

Night Film Night is about making cultural connections between architecture and us. I was looking at ways to experiment with images to reveal how organic aspects of architecture could be created to connect people with communities. The images in the film were taken in Fitzroy and then re-filmed as they were projected back into the site. The ambient sound was recorded during the screening and then layered back into the film.

Indigenous Australians travel to this neighbourhood down the Black Mile, a main artery of the suburb. People came to Fitzroy, the oldest working class suburb of Melbourne to reconnect with home, family and culture.

Carol of the Birds, 2014

Nick Azidis and Amanda Morgan. Commissioned by Greater City of Geelong.

Video documentation by James HH Morgan

Impermanence (no.9), 2013

The work investigates concepts and techniques about the movement and patterning of cities. The audio draws on psychological connections to film and architecture. The work is a continuous 60 second sequence, with no digital effects, post production, or edits. The work was a two-time prize winner in Cinecity Architectural film competition in 2013 and toured internationally.

Audio collaged from 'Carl Jung on Film.' Interview conducted in Zurich, Switzerland on August 5-8, 1957. Interviewer Dr. Richard I. Evans Department of Psychology University of Houston.

Impermanence no.5 (fragile globe), 2013
The Suture, was The Man Who Wasn’t There, and The Conversation, with a Blood Simple, Dead Man, on a Lost Highway, 2013

The work layers meanings, titles and audio from 6 different films to reconstruct the narrative. The right hand image was originally a separate monitor with a remote control the simulated the channel surfing of the edits in the video. The work we created as an installation to viewed in a domestic interior.

Original version:
2004: Two-channel interior video installation, 1+1+1, curated by Janet Burchill & Jennifer Mc Camley, Yuill/Crowley, Sydney; Studio Show, Gunnery Studio, ARTSPACE, (Sydney); 2003; Home Loan, curated by Larissa Hjorth & Kate Shaw, Caroline Springs, (Melbourne)