opalotype glass Box
more than 78 oversized pages
inc. B/w & color illustrations
25 x 22 cm 
ISBN: 000-0-0000005-0-1
printed by lighteditions, singapore. 2018
edition of 2

since 2015-2018, i worked on opening 'try-works & kinetic movement’ in the cities: melBourne, sydney, singapore, Berlin, new york and méxico city. in particular, i was looking at the idea of physical, vital and mental movements in literature and photography’s history. the materials, experiences and methods were actioned mostly on paper. with new energy and innovation, i tried to propel prose, narratives and the Body in art with allegory.

fundamentally, 'try-works' 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 cosmos that expose the bowels of emotions, learning and balance.

when i first started translating suBconscious fat, something off-hand happened when i returned to singapore after visiting Berlin for the second time. photographing a street name nearly everyday and researching street name martin-opitz-straße, i came to know that Baroque aesthetics and alexandrine technique could propel first fact or feeling aBout first photography with flash fiction and prose poetry.

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 made a strange connection with a street name and a 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.

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 my 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 poppers 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). 

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."

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 domestically printed photo is a chemistry manipulation of ecstasy and disaster at the same time.

“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.

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.

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 the glass panel. here, i tried to purge the social intercourse of a carBon congested culture and the ideal of density per se.

exorcising in the arts and science, i recorded a Brain of lamb, five acupuncture needles and moxa with a large format 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?

the relationship with cockroaches in singapore first happened when i kneeled in the kitchen whilst marking first kumkuma impressions on paper with my forehead. i 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, i started 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? i allowed myself 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 i was aBle to mix media and track Behind path’s unknown — tracking all its path to make new work possiBle.

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 have started a photographic landscape series using carBon. this technique was first used around 1865 with a common pigment of carBon 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 conflicts. so i visited macRitchie reservoir for its dramatic and exaggerated site of nightmares and illusions, dreams and wishes. the un-finished series “looking at sensations” is aBout holding new thoughts and “looking” (at a leaf) for the first time But not the same time as jiddu krishnamurti.

installation view at the am flutgraBen, 10997 Berlin, germany. drawing + light #7 work courtesy jomichellepiper.com