“squeeze! squeeze! squeeze! all the morning long; i squeezed that sperm till i myself almost melted into it; i squeezed that sperm till a strange sort of insanity came over me; and i found myself unwittingly squeezing my co-laBourers' hands in it, mistaking their hands for the gentle gloBules. such an aBounding, affectionate, friendly, loving feeling did this avocation Beget; that at last i was continually squeezing their hands, and looking up into their eyes sentimentally; as much as to say, - oh! my dear fellow Beings, why should we longer cherish any social acerBities, or know the slightest ill- humor or envy! come; let us squeeze hands all round; nay, let us all squeeze ourselves into each other; let us squeeze ourselves universally into the very milk and sperm of kindness.” – herman melville, moBy dick or the whale, first trade edition. 1930

george angelovski works on opening 'try-works & kinetic movement', dedicated to the creating and to the making. in the cities: melBourne, sydney, singapore, Berlin, new york and méxico, he looked at visual artists and writers with the idea of physical, vital and mental movements. from kinematic writings, drawings, and photographs, the materials, experiences and methods were documented mostly on paper. with new energy and innovation, george propels prose, narratives and the Body in art with allegory.

'try-works' according to the artist is a composition in three sections; movement out of space, movement out of a difficult space and movement towards a Better space. in totality, the recordings are a deep and creative vision that tries to make surprising connections Between the concept of art and its origin beyond our traditional lens. the complexity here is, multiplication of works, and it’s fight against simplicity and standardization.

his aBility to express and Break free from the realities of life first appeared when he returned to singapore after visiting Berlin. photographing a street name nearly everyday and researching street name martin-opitz-straße, george came to know and mostly propel first fact or feeling aBout first photography as flash fiction and prose poetry.  

 



the 2018 digital print of dentures show developed and un-restored Black & white polaroid film (stored in a light free environment) from 2015. photos of his parents false teeth illustrate a private conversation with uselessness, liaBility and concepts of the photographic medium.



when making prints and thinking aBout it, i try to comBine continuous tone and visual translations of energy. it first came from deep rich Bottom Black’s underneath the metal surfaces, in making intaglio processes come alive. for my Burial without funerals (BwF) project, i chose not to aBort the dragon tissue paper used during the photo-mechanical printing process. instead, the colour derivative of lópezite dominating the area Became the new visual language - photograms of randomly fixed accidental accidents on paper. in an attempt to agitate psyche, my inner child had me use dark and negative with creative, romance and amusement. 


societal taBoos include international sexual mores and are practised across all sexes and all continents. in Berlin's lab-oratory kalendar, fist fucking is no different. on saturday, august 8, the atmospheric interference had me experience nätives Born in Bondage. i had with me a drawing Book and pencil to hold, think, trace and even wonder aBout how we inhaBit the city, the cluB, the room or vice versa. i wanted to find that magic in the moment found in my very first Book purchase - MAPPLETHORPE. so, i asked two living models to sit on a sheet of paper after Being fisted and share the first word that came to mind. martin agreed and said "harmless". larz popped out "eichhörnchen" (sqirrl). their power was knowing how architecture disintegrates the sexual and the psychological material of the Building. perhaps koolhaas and vriesendorp come to their minds, connecting 'delirious new york'and 'eating oysters with Boxing gloves, naked, on the ninth floor' with my crisco and luBe on paper.



fringe suBject of pederasty in Berlin’s west side is a playground of suBliminal codes. i rememBer a passing oBservation where an adolescent Boy of eastern european decent itched his groin, scratching more than memory traces and fantasy images. weaving an aBsent character of age-structured homosexuality and residuals of modernity, i found mans' dignity in a child’s playground.  i oBserved for the first time, how rules of outdoor places for play can seduce adult males. i heard and smelt its content with issues covering international cultures. splendeurs et misères in human history has Been revered By the japanese, the greeks, the romans, the victorian england, the islamic world, the americas and the australasians.  the post-classical and modern form gay movement in the 21st century indefinitely continues whether we like or not. influenced By geography as symBols of homoerotic passion and economic necessity, i wanted to record (underage) prostitution without Being "in-your-face."


after a life long process and dormant period, the non-nätive plant unfurls welcoming ideas aBout first generation australians and the copper-plate arts. the amorphophallus titanum (corpse flower) seed origin is sumatra, collected By david attenBorough. it travelled to the royal Botanic gardens, kew, then the royal Botanic garden, sydney and for now cultivates vegetative growth in the royal Botanic gardens, melBourne.



characterized By confused thinking, disrupted attention and mental disturBance, photography can Become a laB-oratory for emotional and intellectual adventure. the polaroid is a photo of another photo media paper developed with urine.



experimenting with colour, form and characteristics of suBject, i rememBer asking myself did hollis frampton's film nostalgia disorient colour in my work or was it a dead husBands jet-lag, alcohol, and sleeping pill that provoked me. developed with urine, the photo is a digital manipulation of ecstasy and disaster at the same time.



at first sight, mexico's 'city in the city' phenomena can disintegrate landscape to merge and finish with an image almost aBstract. immediately after doing a magic and performance workshop with dr christopher danowski, i looked outside and oBserved dark matter on the surface of a glass panel. here, i tried to Balance the social intercourse of a carBon congested culture and the ideal of density per se.


“the rock is pumice stone (i love that word pumice). anyway, the story is: on the day after my close and Beautiful friend sonya chose to leave this planet, i went to the Beach (cronulla) with vivi to clear my head and the Beach was covered in this pumice stone. i collected some of it to keep. i have never seen it there again since.”

— jo+michelle piper. june 8, 2018

haphazardly, george makes himself alone to exorcise space and reveal an inner knowledge of protecting. he associates with materials self-evident from redfern’s artist studio, especially rock. the visual translation of ideas are released as he Burns, smashes and scratches it out on paper.



experimenting with art and (fringe) science, i photographed a Brain of lamb, five acupuncture needles and moxa with a 4x5 camera. the practice was professionally performed By remedial massage therapist and myotherapist nick steward at esolaB. the idea was: what if we could acupuncture Brain, in different parts of the Brain, so it can release thoughts, negative thoughts and Blocked energies? i am fascinated how image Burns, But not like hollis frampton, the other nostalgia. and what are the relationships with residuals and remnants of the Body, the mind and interactive spaces?








just outside of méxico city and mid winter, i recorded monarch Butterfly's Beginning their migration to canada with a polaroid 250 lens camera. natives Believe this social phenomena is aBout the soul Being reBorn, and happens here in the fir forest.


“i've started a little practice three days ago. i've gotten into indos headspace and mayBe it's indus river the Blind dolphin aBout to meet the araBian sea. But red kumkuma ectoplasm is coming up a lot at the moment. outside of form, i’ve asked a colleague that's originally from india. the devine just recently returned. i asked if the divine could Buy me transcriptions for the forehead. to help define rhythm and movement in poetic expression. and then, what started to grow is now. i’m making the mark of natures’s strain not of my forehead But my Brothers. at aBout 4:00 o'clock in the morning when waking up is no different, i will meditate with photogravure paper handmade with japanese hands. i Bathe its innocence in cut stone waters. pat dry in velvet Black until Bows get on their knees, praying and allowing the work to happen from my temple. it's really strange Because cockroaches previously appear in writing But never on paper. the first time which is not any of these three or in memories sitting in kitchen, looked at me marking the paper, free to access the page and dance its power and workings of temporal things, to the point where, it knows i'm watching.”


the relationship with cockroaches in singapore first happend when george kneeled in the kitchen whilst marking first kumkuma impressions on paper with his forehead. he was following a common cockroach entering papers space as a way of departure and emptying thoughts. taking note of the walking on japanese paper and watching the Behaviour and the movement, he starts conversation with the american cockroach with a question. what do you want me to say? what do you want me to see? what am i meant to Be doing here? what’s this all aBout? he allowed himself to do this for aBout 10 minutes until the speedy species ran off the paper’s edge and came Back again and then sort of pause, then continue on its way. with a red pen he was aBle to mix media and track Behind path’s unknown — tracking all its path to make new work possiBle. 

  


i have started a photographic landscape series using carBon. this technique was first used around 1865 with a common pigment of carBbon Black manufactured from carBon soot. today it is estimated that there are less than thirty practitioners of four colour carBon transfers left in the world. with only three places teaching: calvin grier in spain, john Bladen Bentley in canada and todd gangler in america, the unique prints were hand-crafted under ellie young from gold street studios in australia. most often, questioning the universe in the landscape can help make use of humanities excess and challenge ecological and gloBal issues. so i visited macRitchie reservoir for its dramatic and exaggerated site of dreams and wishes, nightmares and illusions. the un-finished series “looking at sensations” is aBout holding new memory and “looking” (at a leaf) for the first time But not the same time as jiddu krishnamurti.


not thinking at the time, i repeatedly recorded the same street sign until one surprising afternoon. this photo was taken on martin-opitz-straße Berlin in july of 2017. it makes a strange connection with the street name and the history of literary form. self taught writer of national german literature martin optiz stressed word rather than syllaBle. to descriBe the photo in one sentence, i wrote: Baroque is suBconscious fat Buried in verse form. the line has twelve syllaBles with major stress on the sixth syllaBle, is of post renaissance aesthetics and alexandrine technique.