The year is 2024 AD and there is a rental crisis in deep space. Property prices are through the roof and housing stock is at an all time low. Celestial overpopulation leads to civil unrest that erupts throughout the galaxy as there is no space left in space. Until two rogue developers from the future descend on a small blue planet located in the Laniakea Supercluster, in search of new property acquisitions. This development opportunity would be forever known as PROJECT : EARTH!

The sound effects will contain computer user interface and mechanical/digital device inspired sounds to enhance the impression of actual sentinel scans/evaluations taking place around the audience at the installation site

The musical soundtrack will take inspiration from suspenseful down-tempo / 80’s sci-fi spy thriller / dub / video game music (half time, dotted 1/8th note delays, analog pads, metal samples, LFO, LPF, vibrato)

marine_digital_conservation_SA_2023.exe, looks toward an inevitable digital future where we may live on a lifeless, artificial planet with only poor digital representations of the extinct species we have destroyed.
All over the world climate change caused by human hands under western capitalism has already made an enormous impact on the extinction of biodiversity of flora and fauna. If we continue on this path, which we show no meaningful signs of slowing down, soon there will be nothing left other than us humans and the livestock we like to consume. Millions of years of evolution annihilated for the sake of short-term corporate profits.
As a society we have chosen not to reduce our unsustainable consumption practices but to instead poorly digitise these living natural beauties before they are lost forever. Some chilling examples include the last remains of the extinct thylacine (80 seconds of black and white film footage and a handful of pelts) and the island digitisation project of Tuvalu, a Pacific Nation which will soon be underwater due to rising sea levels who are creating a virtual replica in a desperate effort to preserve their cultural heritage.
Created in July 2023 as part of Make | Shift - Artist in Residence at The Mill, Adelaide, mentored by Margie Medlin.
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.Make|Shift and Cinematic Experiments: Projection Techniques and Technologies are presented with support from City of Adelaide and Illuminate Adelaide.

An experimental extended universe of music video ‘killer’ by PlastiQ.

Created in Unreal Engine using photogrammetry, video to motion capture animation, leapmotion hand-tracking, virtual production and all recorded in realtime.

A collaboration between CAPITAL WASTE X Plastiq as the first recipient of the Light Adl Artist Fund exhibited at the Lightroom Gallery at LIGHT ADL in Kaurna Yerta (Adelaide), May 2023

‘Dance Machine’ curated by Tom Golin presents a series of works responding to the sweeping dance moves of Christopher Dyke. In collaboration with video artist Liam Somerville, Dyke’s dance moves have been recorded using motion capture technology. From these recordings, the dance has been abstracted into various images of ribboning lines, each depicting four seconds of Dyke’s movement. Fifteen local artists, designers and furniture makers received a specific timestamp of the dance and responded to it in their chosen medium.This exhibition creates a map of the body in motion, a reinterpretation of distilled movements into objects, paintings, and drawings. Each response is an act of translation, of trying to make sense of a moment, channeling the frenetic energy of Dyke’s movement into acts of pinching, painting, carving, bending and throwing. Each artwork is not an attempt to retrace the steps of the dance, rather an opportunity to re-interpret it, to extend it into new forms, and get into the groove of Christopher Dyke’s rhythms.In Household Gallery, each slice of Christopher Dyke’s dance has now found its way back together. A single minute has been extended into hours of labour and reflection, distilled into a range of artworks that move with and against each other; there is no repetition like a chorus line, instead it’s a house party.

ESCHATECH VR is an immersive, climate-fiction VR experience of the last 100 seconds of humanity on planet earth. The video game-esque simulation throws the player into the last chapter of the anthropocene as they awake in a survival bunker with a descending timer strapped to their wrist. When the player ventures outside, they are confronted by gigantic titans, anthropomorphic representations of the rampant capitalism, resource pillaging and irresponsible pollution that is contributing to the extinction of our species through catastrophic environmental annihilation. The player has no objectives, no guide and so is totally free to explore the desolate landscape as they wish during the limited time, much like their everyday life. They are met with many existential metaphors hidden throughout the experience and hopefully return to reality left with a few questions on their own environmental footprint, this is to promote conversation and ideally climate action at a personal level. The experience suggests that humans are hurtling toward total climate destruction and that unless we radically modify our consumption behaviours immediately the extinction of humankind may be sooner than we first projected. Although this may seem a reasonably pessimistic future projection, the VR experience also hints there is a way humans can escape ontological destruction, by transcending the trappings of humankind to evolve into the ‘post-human’.

INTERGALACTICUS a film by CAPITAL WASTE
soundtrack // Baghdad Social Club  
titles // studio kiki
thanks to // Michael Ellingford, Seb Calabretto, Harrison Hall
screened at //
Adelaide Festival Centre, February 2019
a3 Festival, Victoria December 2024

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