May the Winds Not Carry Us Out to Sea II

May the Winds Not Carry Us Out to Sea II | Installation and Performance | Brydee Rood 2022 | Whanganui NZ

This new iteration of May the Winds Not Carry Us Out to Sea explores experimental sound collaboration, directed and performed with a selection of musicians from Brass Whanganui collectively known as Damn Raucous Brass, on site in the Gonville Town Hall as an interarts presentation with my large windsock soft sculpture. Presenting this work in the old Gonville Town Hall September 23 - 25 2022 with GCUR - the Gonville Centre for Urban Research, enlivens & sustains a publicly accessible, creative activation of the space for the community to enjoy. This free community art event was generously supported by the Whanganui District Creative Communities Scheme

Images: Brydee Rood 2022

Becoming a Sunset

Becoming a Sunset | Installation | Brydee Rood | AOS 2022 Whanganui NZ

Becoming a Sunset is composed of a series of te Rā inspired sun panels, 38 variations of staring into the setting sun for a room with 38 windows on L4 of the Brutalist building, 133 Wicksteed St, Whanganui.  The materials used are heat-fused, collaged, assorted international and local rubbish bags - collected and archived over the past 15years of installation and performance practice responding to waste and plastic pollution.

Images: Brydee Rood 2022

We Come From the Sea, We Seek Higher Ground

We Come From the Sea, We Seek Higher Ground | Brydee Rood 2017 | Installation at Artweek Auckland with Heart of the City. We Come From the Sea, We Seek Higher Ground in Durham Street East suggests a vessel washed up by a surging wave, dumped at the feet of city dwellers at a point 200m inland from the city’s original shoreline and quiescent beneath a skyline of stormy fragments. The work contemplates issues of climate change, rising tides, changing environments and survival. Materials: Bear Grylls Survival Blankets, Bells, Kayak, Oyster Shells. Funded by Auckland Council and Heart of the City, delivered in partnership with Artweek Auckland. 

 Images: Brydee Rood 2017

What is perceived today may not exist tomorrow…

What is perceived today may not exist tomorrow… | Performance, video and installation project at Asia:NZ Foundation and Cemeti Art House Residency Pasang Air #2 Yogyakarta Indonesia 2016

Indonesian Art Researcher Stanislaus Yangni writes: Rood’s intimate works evolve from an enduring personal passion with the natural world and ecological issues. During the residency, she choose water as an element to speak about human alienation with nature, and created a live bathing project in Sendang Kasihan, Bantul Village; her work was an encounter between mysticism, tradition, environmental change and peoples everyday habits relating with water. What is perceived today may not exist tomorrow… is the title of Rood’s installation containing 6 video works within a multi channel video and sound project. The Rainmaker (2 videos), Bodies of Water (3 videos) and Rain Keeps Falling (1 video) offer us a meditative perception.

Composite Image - 4x Video Stills: Bodies of Water

Bodies of Water Ritual Bathing Action |  Photographer: Mella Jaarsma

Materials: Natural Indigo dyed Batik drawings combining DIY homemade cassava paste resist and Shibori tie-dye processes worn as ritual bathing cloth for the live performance action in the Sendang Kasihan.

The Rainmaker - a 2channel video installation has also been exhibited in Auckland's Malcolm Smith Gallery Uxbridge Arts and Culture in the exhibition Sacred Economies curated by Balamohan Shingade - reviewed by John Hurrel on Eye Contact with images of the exhibition on Arts Diary

2channel Video Stills: The Rainmaker

Video Still: Rain Keeps Falling

Images: Brydee Rood 2016

Trigongle

Trigongle tri-gong-glee [tráj-gɔ́ŋ-glí] | Exhibition collaboration between Brydee Rood and Karin Hofko at the Blue Oyster Art Project Space Dunedin, New Zealand | 22 October 2014 - 15 November 2014

Trigongle tri-gong-glee [tráj-gɔ́ŋ-glí] envelopes concepts around traveller and messenger, locating the triangle as a vehicle for our expression and passage. 

Within a language of process, performance and video, isolation and togetherness are pairing up and coming alive in various corners and dimensions. Trigongle conveys the feeling of what a long journey might have been in the past and how it could play out in the future. 

Trigongle is a continuation of an ongoing collaboration between Karin Hokfo and Brydee Rood; performance is a recurring medium in both of their practices and features in Trigongle as a shaping of collective experience, ritual and knowledge in their quest for earthly wellbeing and survival.

 Trigongle tri-gong-glee [tráj-gɔ́ŋ-glí] | Brydee Rood  | Installation

Materials: Bunting prayer flags made from emergency survival blankets, tape and rainbow string.

 Tribongong | Brydee Rood and Karin Hofko  | Video demonstration & Installation View

 Tribongong | Brydee Rood and Karin Hofko  | Video demonstration | Still

  Tribongong | Brydee Rood and Karin Hofko  | Video demonstration | Still

 Trigongle tri-gong-glee [tráj-gɔ́ŋ-glí] | Brydee Rood  | Installation

Materials: Bunting prayer flags made from emergency survival blankets, tape and rainbow string.

 Trigongle tri-gong-glee [tráj-gɔ́ŋ-glí] | Brydee Rood  | Installation

Materials: Bunting prayer flags made from emergency survival blankets, tape and rainbow string.

 Tribongong, Gong | Brydee Rood | Artifact | Materials: Rubbish bin lid, bells, rainbow string, tape and spoon with tape.

 I am Grateful | Karin Hofko | Angled Video, HD Loop 6:00 with sound

 I am Grateful | Karin Hofko | Angled Video, HD Loop 6:00 with sound

Sun Passage | Brydee Rood | Projection, HD Loop 5:33 with sound | Kaliyanwala Village, Uttarakhand, India 
Sun Passage | Brydee Rood | Projection, HD Loop 5:33 with sound | Kaliyanwala Village, Uttarakhand, India 

Images courtesy of Brydee Rood & Karin Hofko 2014

Golden Dung Cave

Golden Dung Cave | Brydee Rood 2014 Installation in natural rock formation on the roadside to Dilwara Temple, Mt Abu Rajasthan India. My participation in the NiV Mt Abu Residency was sponsored by the Asia:NZ Foundation Arts Grant program. Materials: Cow Dung and Gold Leaf

All images courtesy of Brydee Rood 2014

Survival Yoga

Survival Yoga | Brydee Rood and Chiman Dangi 2014 Site specific performance and video installation at NiV Art Centre Mt Abu Artist in Residence Program. My travel to India and the artwork created during the NiV Mt Abu Residency was sponsored by the Asia:NZ Foundation Arts Grant program

Artist Text: We began thinking a lot about clean environments - wild and domestic, relating to topics of health and survival and the tasks of daily life. Survival Yoga involves the revival of an old, rusty, and broken Jhula (love seat, swing) which we found discarded on the rooftop of the NiV residency. We were drawn to its sculptural qualities and its functionality,  finding value and promise in this object, we also noted that there were quite  a few Jhula in the homes and gardens of Mt Abu residents.

Inspired by our many visits to Mt Abu's numerous and diverse temples, we wished to combine ritual with creative play using a variety of material ephemera to communicate something of our experience. The playful action of swinging to and fro and the delicate wrapping of Mali (foil papers) over the rusted iron limbs come together with dangling recycled drip bottles collected from the local hospital, sweeper brooms bought in the market, fallen flowers and survival blankets. The performance swings into life as each artist takes a turn to sit in the meditative rocking seat.

Images: Brydee Rood & Chiman Dangi 2014

Take My Breath Away

Take My Breath Away / Brydee Rood 2013 / Site Specific Installation and Video at 30Upstairs Art Project Space Wellington NZ

Materials: Jaan flags, buff bin liners, disposable picnic covers and tape

Above: Installation | Below: Video Stills

Images courtesy of Brydee Rood 2013

Installation shots photographed by Shaun Waugh

The Fruit of the Crows

The Fruit of the Crows / Brydee Rood 2012 / Installation / Last Ship Mumbai India

An eclectic offering; an altar drawn across the floor in the delicate accumulations of waste material gathered during a collection exercise in the local Mangrove Swamp in Carter Road, Bandra. A series of micro habitats rest upon the bow of Last Ship reflecting fragments of our temporary and disposable existence, searching for a place between sea and sky, hovering on the cusp of action, beckoning change and vulnerable to the sharp eye of the crow. 

 

All images courtesy of Brydee Rood

To be with you, to be free...

To be with you, to be free… / Installation / Brydee Rood 2012 The Waste Whisperer Series / Headlands Centre For The Arts San Francisco USA / Materials: Compostable and degradable rubbish bags, air, yarn, tape, rubber bands / This work was made possible with the generousity of Fulbright NZ and The Wallace Arts Trust / Bio Star rubbish bags kindly donated by Pitt Plastics USA

Across 3 weeks and 1 day, using 6400 strands of yarn, 800 pieces of tape and an uncertain quantity of rubbish bags and rubber bands in equal measure, I created this site-specific installation at the Headlands Centre For The Arts during the Spring Artist in Residence program. Spinning and catching the air I inflated each rubbish bag, up and down ladders drizzling the falling yarn in a neutral palette and subtly changing each section to reflect physical nuances (pale old mint greenish paint peeling over the wall in the corner, generations of brown stains trod into the wooden floor, pinkish tones fading across the patchy wall surfaces...) within the site and the wider headlands environment. To be with you, to be free… was spatially aligned to channel the setting sun as it flowed in the west facing windows. To end this installation I opened all the sash windows in the room to let the wild Headlands wind blow through, gracefully disheveling my work. The precarious nature of ideas balanced within a delicate structure, articulating something fragile and unknown, blown free by the elements. It was air that filled the inflated rubbish bag balloons and air that buffeted and billowed the installation to its end. Perhaps To be with you, to be free… also speaks to the complex nature of human relationships, our materiality and our habitat. The final punctuation of the work - a single tangled mass of yarn, like a large full-stop at my feet.

Images courtesy of Brydee Rood