MDO 230. ETERNITY 1 from the Eternity Project

FOYER OF 153-169 Bayswater Road Rushcutters Bay.

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MDO 231. ETERNITY 3 from the Eternity Project

CORRIDOR LEADING TO THE FOYER OF 153-169 Bayswater Road Rushcutters Bay.

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MDO 232. ETERNITY 4 from the Eternity Project

CORRIDOR LEADING TO THE FOYER OF153-169 Bayswater Road Rushcutters Bay.

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MDO 233. ETERNITY 2 from the Eternity Project

CORRIDOR LEADING TO 3rd Floor Residence at 153-169 Bayswater Road Rushcutters Bay.

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MDO 228. THE FAIRY'S WINNG

"Each night he added . . . . to the pattern of his fancies . . . . until drowsiness closed down . . . . upon some vivid scene . . . . with an oblivious embrace. . . . . . For a while these reveries . . . . provided an outlet . . . . for his imagination; . . . . they were a satisfactory hint . . . . of the unreality of reality, . . . . a promise that . . . . the rock of the world . . . . was founded securely . . . . . on a fairy's wing.” F. Scott Fitzgerald, The Great Gatsby

YOU ARE HERE

M C A

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MDO 227. TREADING WATER

“He was so immersed in himself and had isolated himself so much from everyone that he was afraid not only of meeting his landlady but of meeting anyone at all. He was crushed by poverty; but even his strained circumstances had lately ceased to burden him.” Crime and Punishment Dostoevsky

Treading water . . . . is what a swimmer can do . . . . . while in a vertical position . . . . . . to keep their head above the surface of the water, . . . . . . while not providing sufficient directional thrust . . . . . . to overcome inertia and propel the swimmer . . . . . in any specific direction.

you have stolen my dream

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MDO 226. THE CRIME

"Every night . . . . I was oppressed by a slow fever, . . . . and I became nervous . . . .to a most painful degree; . . . . the fall of a leaf startled me, . . . . and I shunned my fellow creatures . . . . as if I had been guilty of a crime. . . . . I, . . . . who had ever been surrounded . . . . by amiable companions, . . . . continually engaged . . . . in endeavoring to bestow . . . . mutual pleasure. . . . . . I was now alone. Frakenstein Mary Shelley

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nobody wants your dance

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MDO 216. THE SOLITARY CHAMBER

“In a solitary chamber, . . . . or rather a cell, . . . . at the top of the house, . . . . and separated from . . . . all the other apartments . . . . by a gallery and staircase, . . . . I kept my workshop . . . . of filthy creation: . . . . my eye-balls were starting . . . . from their sockets . . . . in attending to the details . . . . of my employment.” Frakenstein Mary Shelley

M C A

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MDO 221. A SUDDEN EMPTINESS

“A sudden emptiness . . . . seemed to flow now . . . . from the windows . . . . and the great doors, . . . . endowing with complete isolation  . . . . the figure of the host . . . . who stood on the porch, . . . . his hand up . . . . in a formal gesture of farewell.” Great Gatsby F. Scott Fitzgerald

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MDO 220. "FUCK YOU."

That’s the whole trouble. . . . . You can’t ever find a place . . . . that’s nice and peaceful, . . . . because there isn’t any. . . . . You may think there is, . . . . but once you get there, . . . . when you’re not looking, . . . . somebody’ll sneak up and write “Fuck you” . . . . right under your nose... . . . . I think, even, if I ever die, . . . . and they stick me in a cemetery, . . . . and I have a tombstone and all, . . . . it’ll say “Holden Caulfield” on it, . . . . then what year I was born . . . . and what year I died, . . . . and then right under that it’ll say . . . . “Fuck you.” The Catcher in the Rye J. D. Salinger

Cockatoo Island

nobodywantsyourstrangeglitter

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MDO 218. THE METAMORPHOSIS ISOLATION

But the empty high-ceilinged room . . . . in which he was forced . . . . to lie flat on the floor . . . . made him nervous, . . . . without his being able to tell why. . . . . Since it was, after all, . . . . the room in which he had lived . . . . for the past five years. . . . . And turning half unconsciously . . . . and not without a slight feeling of shame, . . . . he scuttled under the couch. Metamorphosis Franz Kafka

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MDO 217. ANTISOCIAL

“Why aren't you in school? . . . . I see you every day wandering around." . . . .
"Oh, they don't miss me," she said. . . . . "I'm antisocial, they say. . . . . I don't mix. It's so strange. . . . . I'm very social indeed. . . . . It all depends on what you mean by social, doesn't it? . . . . . .Social to me means talking to you about things like this." . . . . She rattled some chestnuts . . . . that had fallen off the tree in the front yard. . . . . "Or talking about how strange the world is. . . . . Being with people is nice. . . . . But I don't think it's social . . . . to get a bunch of people together . . . . and then not let them talk, . . . . do you?" Fahrenheit 451 Ray Bradbury

Cockatoo Island

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MDO 219. MELANCHOLY FOLLOWED

″Melancholy followed, . . . . but by degrees . . . . I gained a clear conception . . . . of my miseries and situation . . . . and was then released . . . . from my prison. . . . . For they had called me mad, . . . . and during many months, . . . . as I understood, . . . . a solitary cell . . . . had been my habituation.” Frakenstein Mary Shelley

TREADING WATER

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MDO 222. THE LONELINESS OF CLERKS

At the enchanted metropolitan twilight . . . . I felt a haunting loneliness sometimes, . . .. and felt it in others . . . . poor young clerks . . . . who loitered in front of windows . . . . waiting until it was time . . . . for a solitary restaurant dinner . . . . young clerks in the dusk, . . . . wasting the most poignant moments . . . . of night . . . and life. Great Gatsby F. Scott Fitzgerald

Cockatoo Island

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MDO 203. SELF PORTRAIT ISO. Anyone out there . . .

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MDO 205. CL AND BA IN THE SAME ROOM ISO, Christopher Lawrie and Belinda Allen in the Same Room ' ' '

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Insular Australia 1999-2002 Detail