Sam Trubridge – PERFORMING MOBILITIES http://www.performingmobilities.net Sat, 13 Aug 2016 01:15:15 +0000 en-AU hourly 1 https://wordpress.org/?v=4.4.21 /wp-content/uploads/webFiles/cropped-PM_ico_02-32x32.jpg Sam Trubridge – PERFORMING MOBILITIES http://www.performingmobilities.net 32 32 NIGHT WALK /symposium/passages_mobile/night-walk/ Sat, 12 Sep 2015 04:05:17 +0000 http://2015.performingmobilities.net/?post_type=passages_mobile&p=1428 Night Walk is a performance work and process conducted as a blind navigation with the landscape, as part of an ongoing study into nomadic states. A large sphere of inflated black plastic is inhabited by a walker. As a journey takes its course, the sphere’s movement across various surfaces perforates the thin plastic, creating a constellation of pinpricks that afford the invisible walker within a mapping system to navigate by.

The clandestine-like movements of the black sphere reveal a hidden interior motive, for these acts of blind navigation produce a milieu in correspondence with each terrain encountered. Surfaces, materials, spatial qualities, rhythms, and other movement systems are gently intruded upon: a dark intrusion creating alternative, non-linear, nomadic narratives in relation to landscapes. A condition of blindness reveals tensions between the body and the geological, geographic, cultural, technological, and architectural terrains encountered.

In the specifically Australian context, walking country has particular significance as a mode of culturally-located knowing, resonant with the ‘songlines’ of Aboriginal tradition. Arriving in this ‘storied terrain’ of the Australian continent, this work by Sam Trubridge – whose formative childhood was spent under stars living on his parents’ sailing boat – performs as an autopoetic register of intersections between mobile spatial practices, non-linear narratives, and the organisational fixity of the state polis and urban architecture.

Following an experimental journey in the Murray Riverland, Night Walk journeyed through city spaces at irregular times over two periods of 48 hours in relation to the two Performing Mobilities gallery sites. Temporarily lodging at the entrance thresholds of the galleries and their spaces within, this nomadic object unsettles the architectural loci of the gallery with a provisional spatiality; inviting entry into its own interior; opening out the potential for multi-dimensional re-inscriptions of moving with and knowing the environment.

]]> Night Walk is a performance work and process conducted as a blind navigation with the landscape, as part of an ongoing study into nomadic states. A large sphere of inflated black plastic is inhabited by a walker. As a journey takes its course, the sphere’s movement across various surfaces perforates the thin plastic, creating a constellation of pinpricks that afford the invisible walker within a mapping system to navigate by.

The clandestine-like movements of the black sphere reveal a hidden interior motive, for these acts of blind navigation produce a milieu in correspondence with each terrain encountered. Surfaces, materials, spatial qualities, rhythms, and other movement systems are gently intruded upon: a dark intrusion creating alternative, non-linear, nomadic narratives in relation to landscapes. A condition of blindness reveals tensions between the body and the geological, geographic, cultural, technological, and architectural terrains encountered.

In the specifically Australian context, walking country has particular significance as a mode of culturally-located knowing, resonant with the ‘songlines’ of Aboriginal tradition. Arriving in this ‘storied terrain’ of the Australian continent, this work by Sam Trubridge – whose formative childhood was spent under stars living on his parents’ sailing boat – performs as an autopoetic register of intersections between mobile spatial practices, non-linear narratives, and the organisational fixity of the state polis and urban architecture.

Following an experimental journey in the Murray Riverland, Night Walk journeyed through city spaces at irregular times over two periods of 48 hours in relation to the two Performing Mobilities gallery sites. Temporarily lodging at the entrance thresholds of the galleries and their spaces within, this nomadic object unsettles the architectural loci of the gallery with a provisional spatiality; inviting entry into its own interior; opening out the potential for multi-dimensional re-inscriptions of moving with and knowing the environment.

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