"On a grander scale, the festival opened on Friday with Tectonica, a collaboration between Ian Pidd, Martyn Coutts and Dylan Sheridan, which closed down the main intersection to host a nine-tonne rock and some “bloody big speaker stacks”. The tremendous, visceral soundscape condensed some 500 million-odd years of geological activity into an hour of epic, quadrophonic sound and, in the distance, an ominous red fissure opened up in the mountainside. Not content to lie dormant, the speakers rumbled sporadically throughout the weekend, felt and heard throughout the small town."
Asher Warren, The Conversation 2018
"Some trucks carried things, encouraging a deeper interpretation of the whole event. There was an immense hollow log that had delicate ferns literally growing on and within it. Another vehicle carried what looked like damaged and mud-encrusted mining equipment. Both of these were expertly lit, and thus unavoidable in their contrast and narrative of endings and renewal. The thunderous sound was lent a melancholy edge by this clever presentation, and the question of what was being celebrated hung in the air with a surprising poignancy. What happens when mining ends? What happens to people, and to the land they live and work on?"
Andrew Harper Artlink 2016
I Think I Can is an interactive installation that places miniature model railway layouts in public spaces, railway stations and arts centres, inviting the public to engage and play by becoming temporary residents via a tiny puppet.
Through puppetry, live video, and active audience interaction, this innovative public artwork asks “What would you like to be today?” engaging participants in an optimistic task of collective storytelling that deals with dynamic notions of residency and responsibility.
“A charmingly optimistic exploration of responsibility, community and place.”ABC News
“The whole project has a really gorgeous playful feel about it… It is all beyond charming.”The Guardian Australia
'SAC35 also aimed to give Salamanca Arts Centre something of an overhaul, to turn it inside out and have a good look at its innards and secret bits. Being a heritage building and a warehouse has given the actual structure a design that seems chaotic at worst and can charitably be described as eccentric—there are stairs and corridors and tiny rooms and quite enormous spaces all hidden away around corners and in roofs.
If the point was to invite people to look at the building itself and see its potential, the Big Weekend was a success; but if you just wanted a fun event filled with some really odd and thrilling moments, you could have that too. Never has the cliché “something for everyone” been quite so well realised, and subverted. Something wild for everyone.'
Andrew Harper, Realtime 109, 2012
"The first thing I notice is that Wayfarer is no mean technical feat. CarriageWorks is infested with multiple wireless networks allowing two-way audio communication between performers and audience, multiple live point-of-view camera feeds and complex positional tracking. Yet the human remains very much at the forefront of the activity, from the performer and player interaction before and during the game to the roving technicians ready with laptops to solve any little stagefright issues the technology might experience."
Gail Priest Realtime 81, 2007