"Through the fellowship of the George Mora Foundation and in conjunction with the State Library of Victoria, Ross undertook a multi-camera video and still photographic performance that involved the release of 10,000 paper planes into the Domed Reading Room of the State Library of Victoria. On the 14th of March 2011, 165 people launched 10,000 paper planes in a choreographed event that was recorded by 9 video cameras.
The Domed Reading Room is a place of reflective contemplation. It is also a space for action in the form of reading, writing and thinking. His experience as a patron and former library staff member had caused him to reflect on the space and the thoughts that might occupy the reading room. This thinking coalesced into the idea for the project. The flight paths of the paper planes into the Domed Reading Room could be seen as the movement of information through space and time. The video was a visual represent thought patterns that may have occurred in the Domed Reading Room. The space of the Domed Reading Room itself echoes the shape of a cranium.
This project is concerned with using the physical presence of the collection and the space of the State Library itself. The fellowship and subsequent video artworks and photographs explore the interplay between the architectural structure and the space that it inhabits. The artwork sought brings a visual articulation to the notion that a rebellious act can also be one of beauty and poetry.”
"Issei Suda began his career in 1967 as a stage photographer and documentarist of the avant-garde theatre group "Tenjo Sajiki," a theatrical troupe directed by poet-playwright Terayama Shuji. In the early ’70s, his travels through Japan brought about the series "Fûshi Kaden". This title was taken by Suda from the textbook of Japanese Noh Theatre written in the beginning of the 15th C by the Noh master Zeami. The Noh Theatre is a synthesis of the arts of word, music and dance.
An approximate translation of “Fûshi Kaden” is “the transmission of the flower of acting style.” The “flower” referred to in the title is central to the concept of Zeami. For him, the flower is the symbol of beauty, and in the sphere of Noh, it describes the creation of a new apparition. This new image arises through the expression of an individual’s innate nature fused to the exact perception of the surrounding environment. Issei Suda refers to Zami’s world of thinking with the use of this title. The photographs made by the artist on many travels concentrate on street scenes, on the beauty of patters and textures, and above all on people at traditional celebrations. In his images, Suda shows people as unconscious actors in the area of tension between the ordinary and the extraordinary. The people portrayed are seen in mysterious scenes, in part bound to dreamlike landscapes; however, they are also often seen as isolated and lonely. This dual perspective of everyday life provokes us to feel what is described by Zeami as “futei,” or “artistry.”” [Priska Pasquer]