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Image: Cold Truck timber, stain, paint, approx 60 x 45 x 100cm ©Stuart Elliot
Stuart’s talk will range from ideas of indexicality, detritus and residue to industrial scarification:  As a young artist, I was transfixed by the gouges, scrapes and scattered fragments that signified the less than perfect fit of humans and their accessories to the various environments wherein they found themselves.  From this fascination, Fakeology evolved as a way of making sense of the world.   Traditionally, this has manifested in the constructed object/image either as a stand-alone or as part of an integrated installation.  Of late I’ve been drawn more to the documentation of reduction.  This involves the research and application of the processes and consequences of corruption and erosion.  For quite a period of time I was focused on the aesthetic of the relic, that which was left at the experiential tide line.  More recently my interest, both applied and in research, has returned to.

Talk ImageNatacha Suttor – Artists Online: Miik Green as a Case Study. What happens when an Artist/Researcher and Social & Digital Marketing Analyst start talking about artists’ digital & social media presences?

This talk will give an overview of Miik’s online presences, specifically his social media presences and discuss the delineations between them and Miik’s different, yet interlinked, identities as: Artist, Researcher and Other (Husband/Dad/Brother/Friend etc).  This talk will be a little more interactive, as I will be involving our studio night host in some of the discussion. It will explore the rationale for the delineations, the ongoing process of navigating and negotiating them, discussions we’ve had over the past year about content, learnings along the way, and identifying some areas of opportunity for both Miik and other artists.

Natacha is a digital & social marketing specialist, currently working in the WA’s tertiary education sector. She focuses on online, search and social marketing and strategy, especially within the research, creative and tertiary education frameworks, and how this translates between organisational level activities, and across professional, artist, researcher level activities.

 

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