Tim Gruchy. Juried Artist
Artist Statement
Alethic’s broad conceptual terrain is multifaceted. It alludes to philosophical concerns, technoculture and futurism. As the work evolves it is also dealing with concepts of deep time, space time perception, cultural understanding of time, metaphysical and quantum physical scientific theories and developments, also the variant understandings and contexturalisations across different cultures. A wide range of vocal samples are used, many drawn from writers and thinkers informing my understanding of the world from the 1970s onwards.
The work is deeply rooted in speculative practice. My creative career has been based on researching the creative use of technology as it has evolved over the last forty years. Cultural contextualisation has been a major part of this and the role of the performer. My role is the conductor. Two Leap Motion devices monitor realtime movement, position and gesture of my hands from which complex signal flows control and influence sound and vision in a variety of ways. Conducting for the twenty first century. This is directly inspired by my work performing on stage within classical and contemporary classical modalities. Alethic is the most developed expression of my core practice to date.
The works takes the audience into deep immersion, physical and psychosensory. The work is variably formatted but at its’ highest delivery mode uses ambisonic sound to put the audience inside the 3D sound. Similarly up to 12 thousand pixel width visual content can fully surround the audience with the requisite technical production values and staging. All of this interactively controlled by my performance in real time. Video camera sources linear and realtime are also used and integrated at times. Much of the visual content is mathematically generated using a range of algorithmic styles and approaches including AI and machine learning.
About the artists
Tim Gruchy’s career spans exploration and composition of immersive and interactive multimedia through installation, music and performance, redefining its’ role and challenging delineations between cultural sectors. He has exhibited multimedia works, photography, video, music and performance since the early 1980s on 5 continents also with larger expressions in public art arenas.
His installations and performances feature in many international and Australasian institutions, festivals and public spaces including GUAM 2023, IlluminateADL 2021, Future Intelligence Shanghai 2019, WOMAD (2018/7), Wenzhou Bienalle (2016), Dak’Art Dakar (2016), Auckland Arts Festival (2015 & 2009), New Zealand Arts Festival (2014), SCOUT Auckland (2012), Biennale of Sydney (2012) (collaboration), Beijing 798 (2011), Shanghai Expo (2010), 2nd Asian Art BIennial Taiwan (2009), Melbourne International Arts Festival (2009), Adelaide Festival (1986-2008), and Sydney Festival (2004). Theatre and opera credits include ‘AIDA’ Sydney Opera House and touring Australia (2009-2013), ‘Ainadamar’, Adelaide Festival (2008), ‘Leningrad Symphony’ (2006). His designs have featured in works by Opera Australia, OzOpera, Sydney Theatre Company, Australian Dance Theatre, Auckland Philamonia Orchestra and Mau.
He is Adjunct Professor at the University of South Australia, and was Art Director and Distinguished Professor of the Digital Art Department, Shanghai Academy of Fine Arts from 2018–2021.
His research is in areas of interactivity, the human computer interface, performative interactives, having established dedicated labs at QUT in Brisbane and SAFA in Shanghai.
Represented by Mais Wright Gallery in Sydney.
He has lectured and facilitated workshops in video art and interactive digital design at creative institutions worldwide including Griffith University (Brisbane); Shanghai; Future University of Hakodate (Japan); National Institute of Dramatic Art (Sydney); University of Technology Sydney; Te Papa (NZ) and QUT (Brisbane). He has been extensively involved in museum design and projects at the intersection of architecture and multimedia.
A foundation member of ISEA presenting work at SISEA and FISEA
Credits: Tim Gruchy