My sculptures, drawings, and installations deal with nature and weathering processes as metaphors for human experience.

Ensenada is a multi-media installation containing video,natural materials, and sound. This installation was located in the Bustillo Cigar Factory, in historic West Tampa. The exhibition explored issues of history, mapping, and cultural myth-making while also presenting a world in which life and death are connected. The artist utilized sugar sculptures, twine, spanish moss, video and sound to explore these themes. The written project for this installation contained stories and memories of the artist that reflected the ideas presented in the exhibition.

This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media.

Gāpatia i Fa'anoanoaga is a general Samoan expression which literally means 'burden with sadness', which encompasses all aspects of loss and grief in relation to the burden of obligation to reciprocity. This project has functioned as lightening the load of the burden of grief and loss through the process of making an art installation exploring a migrant Samoan experience.My project is concerned with the exploration of Samoan matters of cultural significance such as heritage, religion, identity and family, in particular those customs pertaining to deaths and funerals. The mores and values implicit in these reflect the fundamental aspects of obligation and reciprocity in Samoan life and society. As a Samoan-born and New Zealand raised woman, my work and explorations tended to engage with the challenges of disrupting boundaries formed around ideas of cultural appropriation and cultural authenticity.Therefore this project investigates my position as a migrant Samoan living in New Zealand exploring notions of mobility and globalisation and the effects on the obligation to reciprocity through practical art means. Importantly my art practice intends to explore and position the installation of contemporary materials to speak metaphorically about my identity and issues significant to the obligation to reciprocity in the fa'aSamoa (the Samoan way or in the manner of the Samoans; according to Samoan customs and traditions) particularly the concept tautua aiga (tautua means functions or any service performed in order to support aiga or family)Conceptually my work addresses and brings forth for consideration the impact of mobility and globalisation on cultural issues and practices. Through engagement with contemporary materials and processes my work reflects a kind of 'story-telling', which in this instance is a lament for those who have passed on and for a way of life that is in flux

This visual art project has explored the ancient Maori pukorero (oral tradition) of Te Whatu o Poutini (The Eye of Poutini) that articulates the journey of Poutini Taniwha, Waitaiki and Tamaahua from Tuhua (Mayor Island) in the Bay of Plenty, to the Arahura River. An oral geological map, the pukorero also expresses through cultural values, the intimate spiritual relationship Ngati Waewae have with our tupuna, the Arahura River, pounamu stone and each other. Exploring the genres of digital storytelling and video art installation, this project combines them as new media storytelling. The current experience of colonisation and urbanisation emotionally parallel the abduction, transformation and multiple places of belonging experienced by the tupuna Waitaiki at the hand of Poutini Taniwha. The project explores and acknowledges this connection. The survival, restoration and celebration of Ngati Waewae culture and the need to assert control of our own destinies has infused every component of the project.

Doctor of Philosophy / Suction caissons have been used in the offshore industry in the last two decades as both temporary mooring anchorages and permanent foundation systems. Although there have been more than 500 suction caissons installed in various locations around the world,understanding of this concept is still limited. This thesis investigates the installation aspect of suction caissons, focusing on the installation in dense sand and layered soils, where sand is inter-bedded by silt and weakly cemented layers. The research was mainly experimental, at both normal gravity and elevated acceleration levels in a geotechnical centrifuge, with some numerical simulations to complement the experimental observations. This study firstly explored the suction caisson installation response in the laboratory at 1g. The influence and effect of different design parameters, which include caisson size and wall thickness, and operational parameters including pumping rate and the use of surcharge were investigated in dense silica sand. The sand heave inside the caisson formed during these installations was also recorded and compared between tests. The 1g study also investigated the possibility of installing suction caissons in layered sand-silt soil, where caissons were installed by both slow and rapid pumping. The heave formation in this case is also discussed. The mechanism of heave formation in dense sand and deformation of the silt layer was further investigated using a half-caisson model and the particle image velocimetry (PIV) technique. The installation response at prototype soil stress conditions was then investigated in a geotechnical centrifuge. The effects of caisson size, wall thickness, as well as surcharge were investigated in various types of sand, including silica sand, calcareous sand dredged from the North Rankin site in the North West Shelf (Australia), and mixed soil where silica sand was mixed with different contents of silica flour. Comparison with the 1g results was also made. The general trend for the suction pressure during installation in homogenous sand was identified. The installation in layered soil was also investigated in the centrifuge. The installation tests were performed in various sand-silt profiles, where the silt layers were on the surface and embedded within the sand. Comparison with the results in homogenous sand was made to explore the influence of the silt layer. Installations in calcareous sand with cemented layers were also conducted. The penetration mechanism through the cemented layer is discussed, and also compared with the penetration mechanism through the silt layer. Finite element modelling was performed to simulate key installation behaviour. In particular, it was applied to simulate the sand deformation observed in the PIV tests. The likely loosening range of the internal sand plug during suction installation in silica sand was estimated. By investigating the development of hydraulic gradient along the inner wall, the principle underlying the suction response for different combinations of selfweight and wall thickness was identified. FE modelling was also performed to explore the influence of the hydraulic blockage by the silt layer. This study found that the caissons could penetrate into all soils by suction installation. Among the key findings are the observations that the suction pressure increases with depth following a distinct pressure slope, corresponding to a critical hydraulic condition along the inner wall; and the installation was possible in both layered sand-silt and uncemented-cemented soils if sufficient pumping was available. While the caisson could penetrate the weakly cemented layers well with no notable adverse effects, problems were observed in the installation in layered sand-silt soil. These include piping failure in slow pumping rate installation at 1g, and the formation of extremely unstable soil heave during installation.

My argument is that documentary texts can be transformed into artworks via the processes of intertextuality and detournement, when they are exhibited as video installations. I argue that early 1920s modernist avant-garde painter-filmmakers shared with contemporary documentary video installation painter-filmmakers particular tendencies, characteristics and interests. The bodies of work in each period explore the generic properties of documentary through (primarily) abstract visual associations, rather than through a conventional linear space. Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador Dali, Joris Ivens, Man Ray and others will be considered in highlighting the relationship between documentary and avant-garde cinema. I use this discussion as a basis for examining my own work: for the creative component of this thesis, I filmed and edited a three screen video installation. I interviewed 67 Australian Muslims and used these interviews to explore the use of documentary in video installation. The theoretical framework I used is based on the following: Julia Kristeva?s notion of intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how documentary texts take on conventions appropriate to other genres; Guy Debord?s concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic elements found in documentary film; genre theory to interpret interactions between documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists have hijacked documentary. I also draw on Bill Nichols?s analytical framework of documentary modes (poetic, expository, observational, participatory, performative, reflexive) to explore documentary in cinema and installation art. The documentary genre is not habitually discussed outside film, television, photography or the web. My research demonstrates that the genre has found its place in other areas of artistic practice and can also apply to medium of video installation.

WISP is a forest that requests a reconsideration of the human relationship to nature and to the woods. It beckons the spirit and threads the supernatural through the everyday. The forest installation is comprised of drawings, sound, and suspended inorganic and organic objects that create an intimate entanglement and engages the body and senses. This paper reflects the experiences and the philosophies that led to this installation.

In an increasingly online world interpersonal interactions become a less integral part of our cultural make-up. The exploration of this phenomenon is the thematic concept that activates Between You and Me - a triptych-split-screen short film and video installation. This text is dedicated to exploring how theme, technique, and theory are considered in the context of the film, and how character and form (more than narrative) illuminate the thematic concept.

With digital technology now dominating the film and photography industry, analog resources are becoming scarce. Simultaneously, memories preserved through personal family archives also are in danger of deterioration. Time, heat and humidity can cause film to decay just as the passage of time and the erosion of memory allows their contents to fade. In Looking Back, my family film and photography archives are exhumed and collectively examined by myself and my family. Reflecting upon this massive accumulation of imagery and their attached memories seems an endless task. However, as expressed in Looking Back, the greater the effort to bring conclusive memories to the surface, the more impossible the task proves to be, and larger questions about the significance of family history result.