International Residency APPLICATION / by Jacquelene Drinkall

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Jacquelene Drinkall, EcoDome: Heart Mountain, digital photograph, pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 55.5 cm (height) x 61 cm (length), 2016. Technical advice and printing production by Don Lee at Banff Photo Services.

Jaquelene Drinkall, EcoDome: Round Head and Energy Lines, digital photograph, pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 55.5 cm (height) x 61 cm (length), 2016. Technical advice and printing production by Don Lee at Banff Photo Services. Tin-foil hat performed by Heather Ackroyd. Artwork concept, direction, production by Jacquelene Drinkall.

Jaquelene Drinkall, EcoDome: Round Head and Energy Lines, digital photograph, pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 55.5 cm (height) x 61 cm (length), 2016. Technical advice and printing production by Don Lee at Banff Photo Services. Tin-foil hat performed by Heather Ackroyd. Artwork concept, direction, production by Jacquelene Drinkall.

Jacquelene Drinkall, EcoDome: Transcendental, digital photograph, pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 55.5 cm (height) x 61 cm (length), 2016. Technical advice and printing production by Don Lee at Banff Photo Services.

Jacquelene Drinkall, EcoDome: Transcendental, digital photograph, pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 55.5 cm (height) x 61 cm (length), 2016. Technical advice and printing production by Don Lee at Banff Photo Services.

Jacquelene Drinkall, 'Weatherman UFOlogy (Kandos Occupation)', demountable architecture made from industrial vacuum-formed High Impact Acrylic, marine ply and hardware, 464cm (width) x 464cm (depth) x 250cm (height); installation view at Cementa_13 in 2013; 2006-2016 and an ongoing project.

Jacquelene Drinkall, 'Weatherman UFOlogy (Kandos Occupation)', demountable architecture made from industrial vacuum-formed High Impact Acrylic, marine ply and hardware, 464cm (width) x 464cm (depth) x 250cm (height); installation view at Cementa_13 in 2013; 2006-2016 and an ongoing project.

Jacquelene Drinkall, Disco Ball Gaze, durational performance of two hours over two nights at Oxford Art Factory, 2014, Video still printed as as pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 61 cm (length) x 55.5 cm (height), 2016. Performance by the artist, Jacquelene Drinkall, and photography by John Douglas and Gianni Wise.

Jacquelene Drinkall, Disco Ball Gaze, durational performance of two hours over two nights at Oxford Art Factory, 2014, Video still printed as as pure pigment inkjet print on archival enhanced matte paper (Epson Premum Quality), 61 cm (length) x 55.5 cm (height), 2016. Performance by the artist, Jacquelene Drinkall, and photography by John Douglas and Gianni Wise.

Jacquelene Drinkall, Solstice Telepathy, Conjoined Dyadic Headpiece/s made from hand woven telecommunications wire and performed live on the Bow River, Banff National Park, on the evening of the Summer Solstice. Performers: Colin Wintz and Annie Macmillan, Photographer: Hannah Imlach. Artwork concept, direction, production, and hand weaving of telecommunications wire by the artist, Jacquelene Drinkalll.

Jacquelene Drinkall, Solstice Telepathy, Conjoined Dyadic Headpiece/s made from hand woven telecommunications wire and performed live on the Bow River, Banff National Park, on the evening of the Summer Solstice. Performers: Colin Wintz and Annie Macmillan, Photographer: Hannah Imlach. Artwork concept, direction, production, and hand weaving of telecommunications wire by the artist, Jacquelene Drinkalll.

Jacquelene Drinkall, Visual Telepathies exhibition installation view at Verge Gallery, 2015, showing two artworks. LEFT/CENTRE: Jacquelene Drinkall, ‘Disco Ball Gaze’ HD video on HD monitors (colour, audio) disco ball, velvet cloth over small table, documentation of participatory endurance performance at The Cube, Oxford Art Factory, 2014 (no audio was exhibited in the Verge Gallery installation); and Jacquelene Drinkall in collaboration with Warren Armstrong, RIGHT/CENTRE: ‘Hypnosis in Video for Brain Computer Interface’ velvet chair, EEG neuroheadset and participant interaction, live video camera feed, laminated paper map of mental states correlating to colours visualising brain data, 2015 (my video montage of scenes of hypnosis in video, titled ‘Hypnosis in Video’, colour, audio, 20 minutes, was made in 2001 and was this year repurposed for EEG neuroheadset interaction)

Jacquelene Drinkall, Visual Telepathies exhibition installation view at Verge Gallery, 2015, showing two artworks. LEFT/CENTRE: Jacquelene Drinkall, ‘Disco Ball Gaze’ HD video on HD monitors (colour, audio) disco ball, velvet cloth over small table, documentation of participatory endurance performance at The Cube, Oxford Art Factory, 2014 (no audio was exhibited in the Verge Gallery installation); and Jacquelene Drinkall in collaboration with Warren Armstrong, RIGHT/CENTRE: ‘Hypnosis in Video for Brain Computer Interface’ velvet chair, EEG neuroheadset and participant interaction, live video camera feed, laminated paper map of mental states correlating to colours visualising brain data, 2015 (my video montage of scenes of hypnosis in video, titled ‘Hypnosis in Video’, colour, audio, 20 minutes, was made in 2001 and was this year repurposed for EEG neuroheadset interaction)

Jacquelene Drinkall, Hypnosis in Media for Brain Computer Interface, EEG neuroheadset and viewing participant interaction, live video camera, 2015,  screen still. My video montage of scenes of hypnosis in video, titled 'Hypnosis in Video', colour, audio, 20 minutes, was made in 2001, and was repurposed for EEG neuroheadset interaction using the Emotiv bio-neuroheadset, with collaborative assistance from computer programmer Warren Armstrong. Shifting mental and emotional states of the viewing participant wearing the bio-neuroheadset are mapped to the shifting 'test pattern bars' of the interactive video, and the brain signals also trigger different thought-forms to appear on the screen - the thought-forms are replaced by a live video camera feed of the viewing participant after a succession of three different coloured thought-forms.

Jacquelene Drinkall, Hypnosis in Media for Brain Computer Interface, EEG neuroheadset and viewing participant interaction, live video camera, 2015,  screen still. My video montage of scenes of hypnosis in video, titled 'Hypnosis in Video', colour, audio, 20 minutes, was made in 2001, and was repurposed for EEG neuroheadset interaction using the Emotiv bio-neuroheadset, with collaborative assistance from computer programmer Warren Armstrong. Shifting mental and emotional states of the viewing participant wearing the bio-neuroheadset are mapped to the shifting 'test pattern bars' of the interactive video, and the brain signals also trigger different thought-forms to appear on the screen - the thought-forms are replaced by a live video camera feed of the viewing participant after a succession of three different coloured thought-forms.

Jacquelene Drinkall, Weaving My Avatars, oil on cowrie pine, each 25 cm (height) x 27 cm (length) installed in a cluster 85 cm (height) x 95 cm (length) at Grace Cossington Smith Gallery, 2013. These paintings combine images from virtual world performance, documentation of Occupy Sydney activists, imagery sourced from social media, and other artworks by the artist Jacquelene Drinkall.

Jacquelene Drinkall, Weaving My Avatars, oil on cowrie pine, each 25 cm (height) x 27 cm (length) installed in a cluster 85 cm (height) x 95 cm (length) at Grace Cossington Smith Gallery, 2013. These paintings combine images from virtual world performance, documentation of Occupy Sydney activists, imagery sourced from social media, and other artworks by the artist Jacquelene Drinkall.

Jacquelene Drinkall, EEG Telepathic Fascinator, handwoven telecommunications wire, 66 cm (height) x 27cm (length) x 27 cm (width), 2013. Installed at Incinerator Art Prize, Incinerator Gallery, Melbourne. The spikes of the headpiece are mapped to the sensors of the Emotive EEG bio-neuroheadset.

Jacquelene Drinkall, EEG Telepathic Fascinator, handwoven telecommunications wire, 66 cm (height) x 27cm (length) x 27 cm (width), 2013. Installed at Incinerator Art Prize, Incinerator Gallery, Melbourne. The spikes of the headpiece are mapped to the sensors of the Emotive EEG bio-neuroheadset.

00:00 – 00:22 Jacquelene Drinkall, Harlequin UFO, H264 movie file in colour, virtual world object documented responding to EEG brainwave input of a viewer via Emotiv bioneuroheadset, 2014.  Virtual object built by Lollito Larkham to my design (based on my Weatherman UFOlogy design) and computer programming for EEG neuroheadset interaction by Warren Armstrong.

00:25 – 02:00 Jacquelene Drinkall, Hypnosis in Media for Brain Computer Interface, 2015. ‘Hypnosis in Video for Brain Computer Interface’ velvet chair, 20 minutes of degraded VHS video montage of scenes of hypnosis in video, EEG neuroheadset and participant interaction, 2015. Computer programming for EEG neuroheadset interaction by Warren Armstrong

02:10 – 03:20 Jacquelene Drinkall, Disco Ball Gaze, two hour durational performance exploring exploring the hypnotic gestures of a crystal ball gazer, with disco ball, at The Cube, Oxford Art Factory, 2014. Videography by John A Douglas and Gianni Wise

03:30 – 07:15 Jacquelene Drinkall, EcoDome, H264 movie file with colour and audio, 14 minutes 49 seconds, 2016

07:20 – 08:50 Jacquelene Drinkall, Animating the Telepathic Balaclava Fascinator into Thin Air (Trampoline), interactive performance with community participation, documentation via H264 movie file with colour and audio, 10 minute video of 10 minute performance, 2015

09:00-10:00 Jacquelene Drinkall, Fukushima Firefox, virtual world performance in Blue Mars Lite virtual world, documentation via H264 movie file, with colour and audio, 13 minutes, 38 seconds, 2013