BIO
Georgie Roxby Smith is an Australian visual artist working across a range of disciplines exploring new pathways between virtual and physical worlds. Employing a variety of tools - including 3D graphics, live performance, shared virtual spaces, installation and projection - these works explore the increasingly blurred border between materiality, reality, virtuality and fantasy in contemporary culture.

Georgie received a Bachelor of Media Arts from Deakin University in 2004. Her graduate studies include a Master of Fine Arts (by Research), Post Graduate Diploma in Visual Arts and Master of Visual Arts (by Coursework) from the Victorian College of the Arts, University of Melbourne. In 2010, Georgie developed her multi disciplinary work ‘Reality Bytes’ at The Watermill Center Spring Residency Program selected from over 130 applications by an international selection committee of cultural leaders consisting of John Rockwell, Alanna Heiss, Nike Wagner, Marie Claude Beaud, Sherry Dobbin, Jörn Weisbrodt and Robert Wilson. The work was subsequently presented at Rearview Gallery in Melbourne Australia. As well as exhibiting at multiple local galleries and public screens. Georgie was also part of Linden Centre for Contemporary Art Innovators Program 2010 and Melbourne International Arts Festival including ‘Navigators’ 2006, ‘John Cage’s Musicircus’ 2007 and, in 2008, contributed to ‘Longing Belonging Land’ on opening night.

Awards and grants include the Nellie Castan Award, Australian Postgraduate Award, Creative Research Activity Grant, Ian Potter Cultural Trust, Artstart, Friends of VCA, Dame Joan Sutherland Fund and the Eldon and Anne Foote Trust Travel Grant.
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EVENT

Georgia on My Mind (The Facebook Project)


Dates:
Fri Oct 22, 2010 00:00 - Fri Oct 15, 2010

[b[color=#004080]]Georgia on my Mind (The Facebook Project)[/color]
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Exhibition Opening 6.00pm Friday 22 October
Michael Koro Gallery, 110 Franklin Street, Melbourne

Georgia Smith (Missouri) is 66 years old. She is a hard core Christian and occasional racist. Her grandson Tyler has just had a liver transplant. He is OK.

In July 2010, personal details of 100 million Facebook users were collected and published online in a freely downloadable file. Frequent media reports warn us of the dangers of posting open information on Facebook - yet this doesn't deter hundreds of millions of users from divulging private information on the social networking site.

Focusing on one randomly selected 'Georgia Smith', the artist delves deeply into the most private areas of her life - what is freely available to her via her Facebook profiles and the information she is able to glean from this data through public records. Playing on the common activity of Facebook stalking, voyeurism, internet privacy and digital identity - this individuals life is exposed to the public within the gallery space.

Surrounding Georgia Smith (Missouri) are 500 individual profile pictures of Georgia Smith's from across the globe. Each profile is accompanied by a snippet of information from each individual's page, “I've got big boobs”, “Favourite book : Bible”, “Ibiza is culture, Ibiza is Life”. How much does this information tell us about these individuals or the on-screen personas they are attempting to portray? Displayed in an intimate space as one may display images of their friends and loved ones, the work is at once an expos'e of the artist's subjects and a massive self portrait of the artist herself.

Counteracting the exposure of her 500 Facebook "friends" Roxby Smith ustilises the Melbourne Propaganda Window to expose her own flawed digital identity in her attempt to create the perfect online profile.

[url]www.georgieroxbysmith.ning.com [/url]


EVENT

Byte


Dates:
Fri Jun 04, 2010 00:00 - Mon May 31, 2010

Location:
Australia

RearView, Georgie Roxby Smith
Performance 6.30pm Friday 4 June
RearView, Collingwood, Victoria, Australia

The interfaces that lead us into cyberspace prove that one cannot detach technology from desire. Digital technologies promise to transcend familiar reality and to connect us to the paradise that reality has taken from us. Down with the detours and delays of reality: let us have instant gratification! What we cannot have in reality, we can have via the fantasy screen. As a “consensual hallucination” cyberspace would be the utopic, new ideal world.
Interface Fantasy - Andre Nusselder

Byte is the second instalment of a performative installation developed in residency at the Watermill Center, New York in April 2010. her Watermill Center residency, Roxby Smith collaborated with new media and theater artists from New York and New Zealand to develop interdisciplinary creation that incorporated visual arts practice, installation, new media art, video art, theater and performance, bringing them together in one "event."

Roxby Smith's recent creations have explored new possibilities of virtual reality media in contemporary art practice. In Byte, she extracts and re-injects her Second Life avatar into physical space so that her work exists on a kaleidoscope of planes: "in world," within a body of physical sculptures, as ephemeral projections in space; and as recreated performances by both humans and avatars. The effect is that of a hall of mirrors, in which viewers occupy multiple realities at once. In fact, through Second Life, audiences will be able access the virtual installation component of the final work not only in person at RearView, but from their own homes. A live stream of this installation will be made available to the original Watermill audience, flipping the two realities of their heads and allowing Melbourne the privileged view.

Artist Statement
By creating an avatar or virtual self we create a strange balance between the level of investment and exposure of ourselves and role play. I am compelled by the general use of the “idealised body” by many users of virtual worlds and the desire to create utopian selves and environments in their blandest possible form. A cerebral longing to create a perfect self and life. Avatars are hollow - avatars are pure, avatars are clean, avatars have no orifices. They do not leak, shit, sweat, rot - there is no inconvenience to their bodies.

In exploring these ideas, I extract my self portrait avatar, Diogenes Wylder, from the screen, re-enacting her movements, wants and needs in a distorted and grotesque version of herself (in what has been referred to as eccentric figuration). The “real” Diogenes can never live up to the idealised world of avatar Diogenes. She becomes clown-like, desperate - stuck between two realities. Many of these performances are reinjected back into the screen and into Second Life where she can be confronted by her avatar self. My work also includes films and performances of the SL avatar - trying as desperately to be real as her counterpart tries to be virtual. These elements - live performance, virtual performance, mirroring, re-enacting , roleplaying - come together in a real world installation often alongside other performers who mimic both my performance and the avatar’s on screen presence. In this way not only the self will be fractured but also the position and role of the audience who are at once caught between realities, identities and their roles as spectator or actor.


EVENT

Byte


Dates:
Fri Jun 04, 2010 00:00 - Mon May 31, 2010

Location:
Australia

Byte is the second instalment of a performative installation developed in residency at the Watermill Center, New York in April 2010. her Watermill Center residency, Roxby Smith collaborated with new media and theater artists from New York and New Zealand to develop interdisciplinary creation that incorporated visual arts practice, installation, new media art, video art, theater and performance, bringing them together in one "event."

Roxby Smith's recent creations have explored new possibilities of virtual reality media in contemporary art practice. In Byte, she extracts and re-injects her Second Life avatar into physical space so that her work exists on a kaleidoscope of planes: "in world," within a body of physical sculptures, as ephemeral projections in space; and as recreated performances by both humans and avatars. The effect is that of a hall of mirrors, in which viewers occupy multiple realities at once. In fact, through Second Life, audiences will be able access the virtual installation component of the final work not only in person at RearView, but from their own homes. A live stream of this installation will be made available to the original Watermill audience, flipping the two realities of their heads and allowing Melbourne the privileged view.

OPENS FRIDAY 4TH JUNE 6PM
SHOW RUNS TO THE 26TH JUNE
GALLERY HOURS 12 - 6PM WED-SAT
REARVIEW
X

R∃AR VI∃W gallery
is at the rear of
244 Smith Street.
COLLINGWOOD.MELBOURNE.AUSTRALIA.