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EDUCATION

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Doctor of Philosophy (by publication), Flinders University (current)
Doctor of Philosophy (by project), University of Tasmania

Bachelor of Fine Arts (hons) with distinction, Monash University

Bachelor of Fine Arts with distinction, RMIT University

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PROFESSIONAL MEMBERSHIP

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Australia Academy of Cinema and Television Arts (member: 84413)

Australian Director's Guild (member: 61560240)

National Association of the Visual Arts (NAVA)

AHRC Metamodernism Research Network

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PROFESSIONAL EMPLOYMENT

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Current: Senior Lecturer in Digital Media, School of Design, RMIT University (2012-17) Senior Lecturer in Digital Media, School of Media and Communication, RMIT University (2009-12) Senior Lecturer in Digital Video, School of Media and Communication, RMIT University (2006-07) Higher Degrees by Research Manager, School of Creative, RMIT University (2006) Visiting Professor, University of Media, Stuttgart (2005-07) Lecturer in Digital Video, School of Creative Media, RMIT University (2004) Casual Lecturer, School of Visual and Performing Arts, University of Tasmania (2000-01) Casual Lecturer, Department of Visual Arts, Swinburne TAFE (2000-01) Casual Lecturer, Department of Visual Arts, Box Hill Institute (1999) Visual Arts Coordinator, Melbourne Fringe Festival, Melbourne (1996-2000) Co-Director, Indigo Art Studios, Melbourne.

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SOLO EXHIBITIONS AND SCREENINGS

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(2022) 'The Black Period', Federation Square, Melbourne, 'Wreck: a social media special operations blockchain for misanthropists', GBiennale 22, Australia, 'Beautiful Thought Coins', NFT art, OpenSea, Kunst Matrix, virtual exhibition (2021) 'In The Journey of Midnight', EFM, Berlin International Film Festival, Berlin, Germany, 'Winter Orbit', Federation Square, Melbourne, 'Uber Memoria XXII, Part I', Adelaide Festival Centre Digital Media Screens, Adelaide (2020) 'Winter Orbit', MARS Gallery, Melbourne, Venice Production Bridge, 77th Venice Film Festival, Venice, Italy, 'Black Garden', Cinemalab, Colombia, 'Black Garden', Geelong International Film Festival GIFF20 (2019) 'Indigo Rising Proto', Venice Contemporary 2019, Palazzo Ca'Zanardi, Venice, Italy, 'Black Garden', Venice Production Bridge, 76th Venice International Film Festival, Venice, Italy, 'Indigo Rising', Dallas Medienale, MAC, Dallas Videofest, Dallas, USA, 'Black Garden', Palais, Marche du Film, 72nd Cannes Film Festival, Cannes, France, 'Uber Memoria VI & IX', Adelaide Festival Centre Digital Media Screens, Adelaide, Australia, 'Uber Memoria L Part I', Venice Contemporary Art Fair, Venice, Italy  (2018) 'Indigo Rising', curated by M Bywaters, Sawtooth ARI, Launceston, Australia, 'Video Contemporary', curated by K Gellatly, Ian Potter Museum of Art, Sydney Contemporary, Carriageworks, Sydney, Australia, 'Uber Memoria L' Cube 37, Frankston Art Centre, Victoria, Australia, 'Uber Memoria X', curated by M Bywaters, Adelaide College of the Arts, Adelaide, Australia, 'Wunderkammer', NOIR Darkroom, Melbourne, Australia, 'Failed Design Experiments of Climate Change Denial Machines', National Gallery of Victoria Melbourne Design Week 2018, MARS Gallery, Melbourne, Australia, 'Uber Memoria L Part 1', Mars Gallery, Melbourne,  Australia, (2016) 'Uber Memoria XIX Part VI', Melbourne Central Loop Screens, Melbourne Central, Melbourne, Australia, 'Uber Memoria', The Body Language, Bogota Arte Contemporaneo, Colombia (2015) 'Uber Memoria XIX Part IX', curated by Brie Trenerry, MARS Gallery, Melbourne Australia, (2014) '51 Paintings', San Paulo, Brazil, 'Uber Memoria XIX: Part IV', XIV International Image Festival, Colombia, FKI Research Centre for Art, Berlin; Parer Place, Brisbane; Bolgatty International Film Festival, Kochi, India; (2013) 'Uber Memoria XXII', Z-Bar, Berlin, Germany; 'Uber Memoria XXI', Academy Gallery, Launceston Australia,  (2011) ‘A Far Cry From Nowhere’, Meinblu House, Berlin, Germany. (2010) ‘Uber Memoria X’, Meinblu House, Berlin, Germany. (2009) ‘Uber Nocturnus Acts II-IV’, Scala Theatre, Berlin, Germany. (2008) ‘Uber Nocturnus Act I’, Scala Theatre, Berlin, Germany. (2005) ‘The Memory Palace’, Academy Gallery, University of Tasmania, Launceston, Australia, ‘Filmic Memorials II’, Memory Grid, Australian Centre of the Moving Image, Melbourne, Australia, ‘Filmic Memorials’, Perth Institute of Contemporary Art, Perth,  Australia, ‘Footballism’, PITSpace, Melbourne, Australia, ‘Ride-In Movies’, Melbourne International Arts Festival’, Federation Square, Melbourne, Australia,  (2004) ‘Modern Topographies’, 24hr Art: NT Centre for Contemporary Art, Darwin,  Australia, ‘The Empire of Small’, Academy Gallery, University of Tasmania, Launceston, Australia, ‘Menmonica’, curated by L. Bisset, Small Black Box, Institute of Modern Art, Brisbane, Australia,  (2003) 'Nextworlds’, Switchback Gallery, Monash University, Victoria, ‘Small Worlds’, curated by S. Kelly, CAST, Hobart. (2002)  ‘Next-worlds’, Canberra Contemporary Art Space Cube, Canberra, Australia, ‘Nextworlds’, The George Paton Gallery, Melbourne University, Melbourne, Australia, ‘Hidden Worlds’, Entrepôt Gallery, Centre for the Arts, Hobart, Australia, (2001) ‘Eurobliss’, Indigo Studios, Melbourne,  Australia, (2000) ‘Popscapes’, The Jackman Gallery, Melbourne, Australia,  (1999) ‘Outside Looking In’, Access Gallery, The Jewish Museum of Australia, Melbourne,  Australia, ‘Whispers and Memories’, Indigo Studios, Melbourne, Australia, ‘Popscaping’, Stop 22, Melbourne, Australia,  (1998)  ‘Friendly Fire Part 2’, Open Space Gallery, Melbourne, Australia,  ‘Self Imposed Dignity’, Transport Shelters, Flinders Way Arcade, Melbourne, Australia,  (1997)  ‘Recent Drawings’, Indigo Studios, Melbourne, Australia, ‘Toy Soldiers, Bugs and Other Things That Suck’ Indigo Studios, Melbourne, Australia,  (1996)  ‘Friendly Fire’, Kirkcaldy Davies Gallery, Melbourne, Australia,  ‘Untitled’, McKillop Street Gallery, Melbourne, Australia. (1995) ‘Three Colours Nuke’, Grand Central Gallery, Melbourne, Australia, ‘Recent Works’, Vertigo, Melbourne, Australia, (1994) ‘Shaun Wilson Recent Works’, Sambuca Bar, Melbourne. (1993)  ‘Fatcat’s Revenge’, Sambuca Bar, Melbourne, Australia.

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SELECTED TWO-PERSON EXHIBITIONS

 

(2001) ‘Tall Stories’, with T. Honey, Gasworks Arts Park, Melbourne, Australia (1997) ‘Inaugural exhibition’, with M. Adams, Indigo Studios, Melbourne, Australia, (1995)  ‘Vandemonian’, with F. Halse, Little Adam Gallery, Melbourne, Australia.

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SELECTED COLLABORATIVE 

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(2022) [as Area 32 with Tammy Honey], 'Digital Combines', curated by S Beyer, Box Gallery, Melbourne(2007) Tammy Honey 'iLandscape', Figuring Landscapes, devised by Steven Ball and Catherine Elwes, touring TATE Modern, London, GOMA, Brisbane, Dundee Arts Centre, FACT Liverpool, Vivid, Birmingham, Showroom, Sheffield, Hull International Short Film Festival, Chapter Arts Centre, Cardiff, Mermaid Arts Centre, Wicklow, ACMI, Melbourne.

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GROUP EXHIBITIONS AND SCREENINGS

 

(2022) 'Digital Combines', curated by S Beyer, Box Gallery, Melbourne (2021) 'Carried landscapes', curated by K. Collmer, Q18 Galerie, Quartier am Hafern, Cologne, Germany, 'Uber Memoria XXII Part I', Venice Contemporary, The Room, Venice, Italy (2019) 'MARS Gallery 15th Birthday', MARS Gallery, Melbourne, 'Museum of Aphorisms and Platitudes', curated by P Edwards, C3, Melbourne Australia and Rubicon, Melbourne, Australia (2018) 'Creativity Persists', Seattle Centre on Contemporary Art, Seattle, USA, 'Super Awful Meta War Machines', curated by Shaun Wilson, NOIR Darkroom, Melbourne, Australia, (2017) '21st Century Nonsense Machine', curated by Shaun Wilson, Noir Darkroom, Melbourne, Australia, 'Uber Memoria XIX Part XI', curated by Shaun Wilson, Sublime/Internal/Subliminal', NeMe Arts Centre, Limassol, Cyprus, 'Museum of Lost Public Notice project', coordinated by David Dellafiora & Phil Edwards, George Paton Gallery, Melbourne, Australia, 'Gothic Memoria suite', curated by Kieran Boland, Five Walls projects, Melbourne,  Australia, (2016) FILE15, 'Uber Memoria XIX Part VII, Electronic Language International Festival, Sao Paulo, Brazil 'Uber Memoria XXI', Navigating the Internal Landscape: an artistic interpretation of disease', curated by Malcom Bywaters, Academy Gallery, Launceston, Australia, Design/Play, Design Hub Gallery, Melbourne, Australia, (2015) 'Uber Memoria XIX Part IX', Experimental Superstars, Novi Sad, Serbia, FILE15, 'The Tailor of Autumn', Electronic Language International Festival, Sao Paulo, Brazil, 'Uber Memoria XIX Part III', Biedeodromo International Experimental Film and Video Festival, Bilbao, Spain, 'Uber Memoria XIX Part IV', Festival Internacional De La Imagen, Colombia, 'Uber Memoria XIX Part IV', Fringe Film, 2015 Melbourne Fringe Festival, Melbourne, Australia, (2014)  'Uber Memoria XIX: Part III', International Experimental Video Art Festival, Museum of Art Ameria, Spain,  'Uber Memoria XIX: Part I/II' House and Home', curated by M. Bywaters, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne and the Academy Gallery, University of Tasmania, Launceston, Australia, 'Make Believe its Nothing', curated by B Ternary, K Boland, MARS Gallery, Melbourne,  Australia, Beacons Art Music Festival, Yorkshire, United Kingdom, X Media Art Monographic Show, XIII International Festival of the Image, Manizales, Columbia, Venice Experimental Cinema and Performance Art Festival, Palazzo Ca' Zandardi, Venice, Italy, Hamilton Music and Film Festival, Ontario, Canada, Biedeodromo Experimental Film and Video Festival, Bilbao, Spain,  (2013) 'XII International Image Festival, Manizales, Colombia; 'Now you see it... now you don't', Miden Videoart Festival 2012 Screening in Chios, Calliope Artspace, Chios, Greece (2012) ‘Hits and Memories’, curated by M. Bywaters, Academy Gallery, Launceston, Australia; ‘Uber Memoria XXI #01’, 'Placeness', curated by S. Wilson, Naherholung Sternchen, Berlin, Germany.  ‘Uber Memoria XXI #01’, Miden Video Art Festival, Miden, Greece, ‘Uber Memoria XXI #01/03/04', Electronic Language International Festival, Ruth Cardoso Cultural Centre, Sao Paulo, Brazil, ‘Uber Memoria XXI #01’, VIII Media Art Monographic Show, 9th International Imagen Festival, Manizales, Columbia.(2011) ‘Boom, Boom, Knowledge, Knowledge’, curated by P. Edwards, ARS Upstairs, Melbourne, Australia, ‘Footnote’, curated by M. Bywaters, Academy Gallery, Launceston, Australia,  (2009)  ‘Gothic Memoria 1-30’, curated by Souvenirs From Earth, IMM Cologne, Germany, ‘Gothic Memoria 1-30B’, curated by Souvenirs From Earth, FNAC Digitale, Paris, France, ‘Gothic Memoria 1-30’, SFE, Freebox 129, cable TV (ongoing), Mildura Palimpsest, Wentworth Prison, Mildura, Victoria, Australia, 'Uber Memoria 1-30’, PAM, University of Georgia Art Galleries, Athens, Georgia, USA, (2008)  ‘Uber Memoria 1-30’, PAM, Scope Art Fair, Basel, Switzerland, ‘Gothic Memoria 1-30’, The Cologne Art Fair XXI, Cologne, Germany, ‘Gothic Memoria 1-30’, CO POP, Cologne, Germany, ‘Transcentric’, curated by S. Ball & I. Barberis, Lethaby Gallery, London, United Kingdom, ‘In-Transition’, curated by H. Black, Museum of Fine Arts, Moscow, Russian Federation, ‘In-Transition’, curated by H. Black, National Centre of Contemporary Art, Kekateringburg, Russian Federation, ‘Australian Gothic’, curated by S. Wilson, Perth Institute of Contemporary Art, Perth, Australia, ‘Float’, curated by M. Gates; D. Hobson, Lake Macquarie City Art Gallery, Boolaroo, Australia, ‘Other Cinema’, Scala Theatre, Directors Lounge, Berlin, Germany, ‘Uber Memoria 1-30’, PAM, Utsikten Art Center, Norway; Charlotte and Phillip Hanes Art Gallery, Winston-Salem, USA, SCOPE Art Fair, Basel, Switzerland. (2007) ‘Uber Memoria Series 3’, Mov-In Gallery, Santa Fe, New Mexico, USA, ‘Athens Video Art Festival’, Athens, Greece, ‘The Mirror Stage’, curated by H. Black, Latinos Foundation, Limassol, Cyprus, ‘Pixel International’, curated by D. Quigley, Academy Gallery, Launceston, Australia, ‘Neo Goth: Back in Black’, curated by A. Kubler, UQ Art Museum, Brisbane, Australia, ‘A Very Cinematic Effect’, curated by B. Lee, LA NAU, University of Valencia, Spain. ‘Optica07’, Cervantes Institute, Paris, France, ‘Artwave Radio’, Athens Biennial, Athens, Greece, ‘Artwave Radio’, 1st Athens Biennial, Athens, Greece, ‘Optica07: International Video Art Festival’, Barcelona, Spain, ‘Revelation’ curated by L. Marvell, Spectrum Project Space, Perth, ‘Voyeur One’, 69 Smith Street, Melbourne, ‘Australian Gothic’, curated by S. Wilson, Project Space/Spare Room, Melbourne, Australia, ‘U-Turn’, curated by L. Hjorth & K. Shaw, Glendale Art Gallery, Los Angeles, USA. ‘Float’, curated by M. Gates & D Hobson, Lake Macquarie City Art Gallery, Boolaroo, NSW. (2006)  The Basement ARI, Friskas, Finland, ‘NEW06’, curated by J. Enberg, Australian Centre of Contemporary Art, Melbourne ‘Boundless’, curated by J. Christensen, Stavanger Kunstforening Stavanger, Norway, ‘Art Media Tech 06’, touring Spain: Presidency Government of the Canary Islands, Tenerife; Museum of Contemporary Art Fenosa Union (MACUF); Basque Museum Atrium, Victoria; Da2 Museum, Salamanca; Párraga Centre, Murcia; Bilbao Arte, Bilbao; Asia House, Barcelona; CCCB, Barcelona; National Museum Centre of Art Reina Sofía. ‘1st International Conference on Film and Memorialisation’, Schwaebisch Hall, Germany. ‘1st International Video Art Festival Valencia’, Spain, ‘International Festival of Video Art Don Benito’, Spain, ‘Buzz’, curated by W. Hudson, Academy Gallery University of Tasmania, Launceston, Australia,  ‘Boundless’, curated by J. Christensen, touring Norway: Stenersenmuseet, Oslo; Bodø Kunstforening, Bodø; Sogn og Fjordane Kunstmuseum-Eikaasgalleriet, Jølster; Trondarnes Distriktsmuseum Harstad,  Eidsberg Kommune, Eidsberg; Kirkenes, Grenselandmuseet, Kulturkontoret, Norway. (2005) ‘Memory, Identity and Place’, curated by A. Bouch, Hera Gallery, Rhode Island, USA, ‘People Doing Strange Things with Electricity Too’, curated by K. Seekings, Centre on Contemporary Art, Seattle, USA: CD launch, Comfortstand Records, ‘Australia-Where?’, Electro Fringe, Princess Theatre, Newcastle, Australia, ‘New Media Arts Festival (MAF05), Bed SuperClub, Bangkok, Thailand. (2004)  ‘Off the Wall’, Ian Potter Gallery, Queen Victoria Museum and Art Gallery, Launceston, Australia, ‘An Architecture of Hope’, curated by M. Copley, Gallery 101, Melbourne, Australia, ‘Recent Acquisitions’, Icon Museum of Art, Deakin University, Melbourne, Australia, ‘Compendium’, curated by M. Copley, Icon Museum of Art, Deakin University, Melbourne, Australia, ‘Boogie, Jive, and Bop’, curated by M. Bywaters, Plimsol Gallery, Hobart, Australia, ‘White Line Fever’, curated by M. Bywaters, Academy Gallery, Launceston, Australia, ‘Dare to Look’, coordinated by V. McGrath, Tasmanian Living Artists Week, Launceston,  Australia, (2003)  ‘Little Things Count’, Centre on Contemporary Art, Seattle, USA, ‘Research 2’, coordinated by V McGrath, Academy Gallery, University of Tasmania, Launceston, Australia, ‘Compendium’, curated by M. Copley, Platform, Melbourne, Australia, ‘Boogie, Jive, and Bop', curated by M. Bywaters, Academy Gallery, Launceston,  Australia, Devonport Gallery and Arts Centre, Devonport, North West Centre, Burnie, Australia, ‘A4 Art show 2003 Westspace, Melbourne, Australia, ‘Global House Project 1’, curated by B. Beukelman, Monaghan Design, Seattle, USA. (2002)  ‘Miniatures Show’, Entrepôt Gallery, Centre for the Arts, Hobart, Australia, ‘Squeeze’, Fine Arts Gallery, University of Tasmania, Hobart, Australia, ‘Relief’, Entrepôt Gallery, Centre for the Arts, Hobart, Australia, ‘Transcribe’, curated by A. King, Entrepôt Gallery, Centre for the Arts, Hobart Australia,  ‘Celebrating the Exquisite Corpse’, curated by A. Bell, Ararat Art Gallery, Victoria, Australia, (2001)  ‘Staff Exhibition’, Gallery 369, Swinburne TAFE, Wantirna Campus, Melbourne, Australia, ‘Work: Cut Paste Burn Paste’, curated by M. Bywaters, The Faculty Gallery, Melbourne,  Australia,  ‘Gallery Artists Show’, The Jackman Gallery, Melbourne, Australia, ‘Group Show’, NG Art, Sydney, Australia, ‘Celebrating the Exquisite Corpse’, by A. Bell, Monash Gallery of Art, Melbourne, Australia, (2000)  ‘@ Global City’, The Public Office, Melbourne, Australia, ‘Summer Salon Show’, Helen Gory Gallerie, Melbourne, Australia, ‘The Official Artists Olympic Games 2000’, Indigo Studios, Melbourne, Australia, ‘New Painting from Melbourne’, The Jackman Gallery, Melbourne, Australia, ‘D.I.Y’, curated By Malcom Bywaters, The Faculty Gallery, Melbourne, Australia, ‘Memory’, Switchback Gallery, Monash University, Churchill, Australia, ‘Life’, The Public Office, Transport Shelters, Melbourne, Australia, ‘Celebrating the Exquisite Corpse’, curated by A. Bell, Bendigo Art Gallery, Victoria. ‘Staff Exhibition’, Student Gallery, Swinburne TAFE, Wantirna Campus, Melbourne. ‘Different Views’, curated by T Honey, The Universal, Melbourne. ‘Modern Masters’, Box Hill Community Arts Centre, Melbourne. (1999)  ‘D.I.Y’, curated by M. Bywaters, Switchback Gallery, Churchill, Victoria, ‘Bigotscapes’, Bulle Galleries, Melbourne, ‘Momenta 99’, Emerging Artists Festival, Geelong, Australia, (1998)  ‘The First Slice’, Chichios, Melbourne, Australia, (1997)  ‘Artist on Line’, The Jackman Gallery, Melbourne, Australia, ‘Metal as Anything’, The Jackman Gallery, Melbourne, Australia, ‘Review’, Kirkcaldy Davies Gallery, Melbourne, Australia, ‘Eggasipation’, Albert Park Library, Melbourne, ‘9 x 5’, Indigo Studios, Melbourne, Australia,  (1996)  ‘Shamocracy’, Lyall Burton Gallery, Melbourne, Australia, ‘The Post Card Show’, Linden Gallery, Melbourne, Australia, (1995)  ‘World in a Matchbox Show’, curated by M. McCormack, Grand Central Gallery, Melbourne, Australia, ‘Oberwyn Panels’, Albert Park, Melbourne, Australia, ‘Arial Art’, coordinated by Andrew Sibley, rooftop installations, Albert Park, Melbourne, Australia,  ‘Artline 1995’, curated by M. Bywaters, Foy and Gibson Gallery, Melbourne, Australia, ‘Monash Graduate Show’, Monash University, Caulfield Campus, Melbourne, Australia, ‘C.D exhibition’, D Block, Monash University, Caulfield Campus, Melbourne, Australia,  (1994)  ‘Graduate Exhibition’, RMIT University, Bundoora Campus, Melbourne, Australia, ‘Monash Kids Benefit Exhibition’, The Highway Gallery, Melbourne, Australia,  (1992)  ‘ISM2’, Brunswick Mechanics Institute, Melbourne, Australia, ‘ISM’, curated by S. Wilson, Clayton Theatre, Melbourne, Australia.

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SELECTED BIBLIOGRAPHY

 

(2021) 'FAC Online Artist in Residence Shaun Wilson, Fremantle Arts Centre, 22 October, 2021 https://www.fac.org.au/2021/10/qa-fac-online-artist-in-residence-shaun-wilson/?fbclid=IwAR0cCYFzKoysUsD4lFOmrsc6bbPhW-G1cb4uT4zXXVGykZ9YKOxvY4S0QOc (2020) 'Shaun Wilson: Winter Orbit', Art Collector [online], 23 September, last accessed 28 September 2020 <https://artcollector.net.au/gallery-event/shaun-wilson-winter-orbit/> (2019) Noonan, J 'Black Garden', Festivals, Filmink Magazine online, November 11 (2018) Bywaters, M 'Uber Memoria X, exhibition catalogue, Adelaide College of the Arts, Adelaide, Australia, Schwientek, J 'Wunderkammer', exhibition catalogue, NOIR Darkroom, Melbourne, Australia, (2017) Wilson, S 'Emerging and Established Australian Video Art', NeMe Arts Centre, last accessed 4 June, 2017 <http://news.neme.org/1813/sublime-internal-subliminal> (2015) Dean, A 'Projecting the Future: Shaun Wilson', Artview magazine, Joomag publishing, pp 31-35 (2014) 'Independent Cinema: Shaun Wilson', Video Focus, 9th Biennial edition, Stigmart Press, Clift, T (2012). 'Experimental Expression', News, FilmInk Magazine online, August 27, Chuy, G (ed.) (2011). ‘Shaun Wilson’, Reimagine: New Contemporary Art, ArtNow International, Miami, pp. 92-93, Sant, T (2010), 'Reviews: Save As... Digital Memories', in Digital Icons: Studies in Russian, Eurasian and Central European New Media Journal, Issue 4, University of Leeds, pp. 181-184, 'Clarke, S (2008). ‘The Art of Darkness sees the Light of Day’, The Courier-Mail, Brisbane, 19-20 July, p.6, Press, C (2008). ‘Dark Times Ahead’, Scene, Vogue Magazine, August Issue, Sydney, p.68, Sorensen, R (2008). ‘How Death Becomes You’, Arts & Entertainment, The Australian, 1 August, p.10, Alderon, S (2008). ‘Back in Black – Goths are Back’, Artspeak, Northern Star, Lismore, p.50, Crawford, A (2008). ‘Gothic Candour’, Australian Art Monthly, No. 216, Summer, pp.45-49, Douglas, C (2008). ‘Neo-Goth: Back in Black’, Artlink, Vol 28, No. 4, p.18, Jones, L (2008). ‘Uber Memoria X’, The Monash Journal, 20 July, p.20, Christmass, P (2008). ‘Australian Gothic’, Today Section, The West Australian, 30 July, p.10, Stowell, J (2008). ‘The Shippings News’, The Newcastle Herald Weekender, 12 January, p.30, Jones, J (2008). ‘Top Art Galleries’, The Newcastle Herald, 5 January, p.22, Rainforth, D (2008). ‘Rear Window or Front Projection’, Un Magazine, Vol.2, No. 1, Melbourne, pp.19-21, Lee, B (2007). ‘More Video Art Please’, Artlink, Vol 27, No.3, Henley Beach, pp. 28-31, Engberg, J (2006). ‘NEW06’, NEW06, ACCA, Melbourne, p.7, Bywaters, M (2006). ‘The Memory Palace: Family History and 1975’, NEW06, ACCA, Melbourne, pp.40-47, Benedictus, L (2006). ‘A Shot of the New’, Preview, The Sunday Age, March 26, pp.6-7, Green, C (2006). ‘New06’, Artforum.com, http://artforum.com/picks/place=Melbourne#picks10704, Marvell, L (2005). ‘Brendan Lee, Shaun Wilson, Alexandra Gillespie’, Photofile, ACP, Sydney, p.77, Malpas, J (2005). On Location: Memory, Place, and the Moving Image, ‘Filmic Memorials’ exhibition catalogue, PICA, Perth, Mueke, S (2004). Ancient and Modern: Time, Culture and Indigenous Philosophy, UNSWP, Sydney, p.10, Bywaters, M (2004). ‘The Empire of Small’, exhibition catalogue essay, Academy Gallery, Launceston, Klaosen, D (2004). Seductive Talents, Real Time, No. 61, Sydney, p.41, Lee Downes, B (2004). ‘Boogie, Jive and Bop’, Artlink, Vol 24, No. 2, Henley Beach, pp.83–84, Copley, M (2004). ‘Compendium’ exhibition catalogue, Icon Museum of Art, Deakin University, Melbourne, Copley, M (2004). ‘An Architecture of Hope’, exhibition catalogue, Gallery 101, Melbourne, Corsini, M (2003). ‘The Memory Palace of Shaun Wilson’, Vehicle, Issue 9, Singapore, pp.26-27, McIntyre, J (2003). ‘Cutting Edge of Bop’, The Examiner, Launceston, September 27, p.31, Andersch, J (2003). ‘Suggestive Shapes’, Gallery Watch, The Examiner, Launceston, Sept. 27, p.25, Copley, M (2003). ‘Compendium’, exhibition catalogue, Platform, Melbourne, Bywaters, M (2003). ‘Boogie, Jive, and Bop.’ exhibition catalogue, Academy Gallery, Launceston, Curtis, A (2002). ‘Squeeze’, Arts Review, Togatus, Vol 73, #8, TUU, University of Tasmania, Hobart, p.40, Bywaters, M (2001). ‘Work: Cut Paste Create Burn’, catalogue essay, The Faculty Gallery, Melbourne, Corsini, M (2000). ‘Popscapes’, exhibition catalogue essay, The Jackman Gallery, Melbourne, Kirkman, T (2000). ‘Art-Notes’, Australian Art Monthly, Adelaide: March, p.35, Bell, A (2000). ‘Celebrating the Exquisite Corpse’, exhibition catalogue essay, Bendigo Art Gallery, Bendigo, Duncan, J (2000). forward, D.I.Y exhibition catalogue, Faculty Gallery, Melbourne, Longstaff, M (2000). ‘DIY: Do It Yourself’, exhibition catalogue essay, The Faculty Gallery, Melbourne, Church, D (1999). ‘Popscaping’, exhibition catalogue essay, Stop 22 Gallery, Melbourne

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SELECTED EXHIBITION CATALOGUES WITH ESSAY

 

(2020) Winter Orbit, MARS Gallery, Melbourne, (2018) Uber Memoria X, Adelaide College of the Arts, Adelaide, Australia, Wunderkammer, NOIR Darkroom, Melbourne, Australia, (2008) Neo-Goth: Back in Black, University of Queensland Art Museum, Brisbane, Australia, (2008)  In Transition Russia, National Centre of Contemporary Art, Moscow, Russia, (2008)  The Mirror Stage, Lanitis Foundation, Limassol, Cyprus, (2008) Float, Lake Macquarie City Art Gallery, Booragul, Australia (2007)  Art Media Tech 06 , Centre for Contemporary Culture Barcelona, Spain, (2007) U-Turn, Glendale Art Gallery, Los Angeles, USA, (2007) Australian Gothic, Project Space/Spare Room, Melbourne, (2006)  New 06, Australian Centre of Contemporary Art, Melbourne, (2004)  Empire of Small, Academy Gallery, University of Tasmania, Launceston, (2003)  Research 2, Academy Gallery, University of Tasmania, Launceston, (2003)  Compendium, Icon Museum of Art, Melbourne, (2003)  Boogie, Jive and Bop, Academy Gallery, University of Tasmania, Launceston, (2000)  Celebrating the Exquisite Corpse, Bendigo Art Gallery, Bendigo, (2000)  Popscapes, Jackman Gallery, Melbourne, (2000)  Popscaping, Stop 22, Melbourne, Australia, (1999)  Momenta Emerging Arts Festival, Geelong Art Gallery, Melbourne. (2000) DIY: Do it Yourself, Faculty Gallery, Monash University, Melbourne.

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GRANTS, SCHOLARSHIPS AND AWARDS [TOTAL $254,540)

 

(2021) Regional Arts Fund: Artist Quick Response Grant, Regional Arts Victoria, [$450] (2010)  Arts Creation Grant (Established Artists), Arts Victoria, [$9000] (2010)  School of Media & Communication Research Grant, RMIT University, [$500] (2009)  New Work Grant (Established Artists), Australia Council for the Arts, [$20,000] (2008)  Arts Creation Grant (Established Artists), Arts Victoria, [$7000] (2008)  School of Creative Media Professoriate Research Grant, RMIT University, [$800] (2007)  Acquisition Artist Grant, ERGAS Collection, [$6000] (2006)  Early Career Research Grant, RMIT University, [$7000] (2004)  Graduate Research Support Scheme (GRSS), University of Tasmania, [$1800] (2005) Department of Sustainability and Environment, Victorian State Government, Australia [$110,000] (2003)  Graduate Research Support Scheme (GRSS), University of Tasmania, [$1000] (2002)  Graduate Research Support Scheme (GRSS), University of Tasmania, [$1000] (2002)  Australian Post Graduate Award (APA), Australian Research Council, [$97,000] (2001)  The Julian Burnside Artists Trust Grant, [$2500] (2000)  Pat Corrigan Artist Grant, National Association for the Visual Arts [$500]

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COMMITTEES, BOARDS, AND REPRESENTATION

 

(2022) Academic Board, full 3-year term, RMIT University (2011) University Academic Council Board (Acting), RMIT University, Place Research Network, School of Media; Communication, RMIT University (ongoing), Technology Committee, School of Media and Communication, RMIT University, (2010) - Centre for Memory Studies, University of Gloucestershire, UK (ongoing), (2006-09) Research Committee, School of Creative Media, RMIT University, (2007) Project Space/Spare Room Gallery Committee, RMIT University, (2006-07) Research Committee, DSC college, RMIT University

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CHAIRED CONFERENCES AND SYMPOSIUMS
 

(2022) GBiennale GB22 Art Symposium, Heidi Museum of Modern Art, Melbourne (2017) 1st North Bellarine Film Festival Symposium, Portarlington (2015) Expanding Slow Cinema in Digital Media Symposium, RMIT University, Digital Media After Web 2.0, RMIT University, The Future of Narrative Symposium, RMIT University (2012) Digital Cinema Symposium, RMIT University, Slow Media Symposium, RMIT University; (2006) International Conference on Film and Memorialisation, RMIT University/Hochshule der Medien, Germany

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FORTHCOMING PUBLICATIONS
 

Wilson, S '(in press) 'Plague, allegory, and metamodernism as contemporary studio practice in 'The Black Period', International Journal of Practice-Based Humanities, Vol.5 ISSN 2207-3086, Wilson, S (in press) 'Tokenising Aesthetics: From Screen to Crypto Art', Screen Thought Journal, Vol.6, ISSN 2206-6225

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PUBLICATIONS

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Wilson, S (2023) 'Magic and Metamodernism', Piatti-Farnell, L, Nairn, A (eds.) MC Journal, Vol. 26, No. 5, ISSN: 1441-2616 Wilson, S (2022) 'The Affordances of Digital Aesthetics', Digital Combines, exhibition catalogue, Box Gallery, Melbourne, Wilson, S '(2022) 'Plague, allegory, and metamodernism as contemporary studio practice in 'Placing the Decameron', International Journal of Contemporary Humanities, Vol 6 ISSN 2207-2837, Wilson, S (2022) 'The Black Period', Bakers Road Entertainment ISBN: 978-0-6489553-4-4 Wilson, S (2022) 'Situating Conceptuality in Non-Fungible Token Art', MC Journal, Vol. 24, No. 2 ISSN: 1441-2616 'Beautiful Thought Coins', Bakers Road Entertainment ISBN: 978-0-6489553-5-1, Wilson, S (2021) 'Fear Mapping Place and the Art of Contagion in Wither They Say', International Journal of Practice Based Humanities, Vol. 4, No, 1 ISSN 2207-3086,  (2021) Wilson, S 'Reconsidering Place in Honda's Kaiju Eiga 1961-1969, Screen Thought Journal, Vol.5, No.1, ISSN 2206-6225, Wilson, S (2021) 'A Fear of Place: an Ontology of Symbiosis in Pandemic Times', International Journal of Contemporary Humanities, Vol 5 No. 2 ISSN 2207-2837, Wilson, S (2021), 'Creative Practice through Teleconferencing in the Era of COVID-19, Zoom issue, MC Journal, Vol.24, No. 3. ISSN: 1441-2616 , Wilson, S (2020) 'The Good, the Bad, and the Grumpy: Online Cat Pictures as Design Enigma in Digital Media', Screen Thought Journal, Vol.4, No.1, ISSN 2206-6225, Wilson, S (2020) 'Winter Orbit', MARS Gallery, Bakers Road Entertainment, ISBN 978-0-6489553-0-6 Wilson, S (2020), 'Representing Climate Activism through Digital Media before and during COVID-19', International Journal of Contemporary Humanities, Vol 4, No. 1 ISSN 2207-2837 Wilson, S (2019) 'The Long Take as a Metamodernist Framework in the Age of Perpetual Distraction', Screen Thought Journal, Vol.3, No.1, ISSN 2206-6225, Wilson. S (2019) 'Bullshit Bingo: Designing a Response to climate change denialism in critical studio practice, International Journal of Practice-Based Humanities, Vol. 3, No, 1 ISSN 2207-3086, Wilson, S (2018). 'On Digital Otherness: Being 'of Art' in the Age of the Internet', International Journal of Contemporary Humanities, Vol.3, No.1 ISSN 2207-2837, Wilson, S (2017) 'Towards the Simulation of Sensor Networks [Authenticity and Untruthful Practice], International Journal of Contemporary Humanities, Vol.2, No.1, 'Wilson, S (2017). 'Modelling Meta-Immersion in Cinematic New Narrative', Screen Thought Journal, Vol.2, No.1, Wilson, S (2017). 'Scaling Home in Critical Studio Practice', International Journal of Practice-Based Humanities, Vol. 2, No, 1, Wilson, S (2017). 'Designing Meta-Immersion for Cinematic Narrative', Screen Thought Journal, Vol.2, No.1, Wilson, S (2017). 'Designing Meta-Inclusion for Screen-Based Agents', International Journal of Contemporary Humanities, Vol.2, No.1, Wilson, S (2016) 'Building a Memory Palace from the Ars Memoria Tradition through Video Installation', International Journal of Practice-Based Humanities, Vol. 1, No, 1, Wilson, S (2016). 'What is Post-neomodernism?: Absolute, Multiplicity, Post-Truth, Disruption, International Journal of Contemporary Humanities, Vol.1, No.1, Wilson, S (2016). 'Alternative Characterisation Strategies in Contemporary mainstream Zombie Cinema', Screen Thought (Journal), Vol.1, No. 1, Wilson, S (2015). 'Slow Motion as a Condition for the Moving Image', Evers, C, Berry, M, Wilson, S (Eds.) Altitude Journal, University of Nottingham Ningbo, China, Wilson, S (2014) The Gothic Memorium, Windsor Bentley Press, Melbourne, iTunes ISBN: 978-0-09873753-0-8, Wilson S (2014) The 51 Paintings Suite: Images from the Film Vol 1, iTunes, Wilson, S (2014). Wilson, S (2012).  Wilson, S (2011). ‘Searching for Memory in Home Movies’, in Screen Memories, Teressa Forde (ed), Image and Narrative Journal, Open Humanities Press, Issue 11, Wilson, S (2009). ‘Remixing Memory in Digital Media’, in Save As... Digital Memory, Jo Garde-Hansen (ed.), Palgrave McMillan, London Wilson, S (2007). ‘Give me a Hard Copy Right There’, catalogue essay, Post-Cinema exhibition, Project Space/Spare Room, Melbourne, Wilson, S (2007). ‘Australian Gothic’, Australian Gothic exhibition, Project Space/Spare Room, RMIT University, Melbourne, Wilson, S (2007). ‘Time Out’, Time Out: Malcom Bywaters, SPACE Gallery, Launceston, Wilson, S (2006). ‘Remixing Memory: the Copied Image in Australian Photography’, Photofile, Issue 77, Autumn, Australian Centre of Photography, Sydney, pp.34-37, Wilson, S (2006). ‘Digital Communities, Locational Illusions: Place and Current New Media Practice’, Places and Lenses Conference, University of Tasmania, Hobart, Wilson, S (2006). ‘Filmic Memorials’, 1st International Conference on Film and Memorialisation, University of Applied Sciences, Schwaebisch Hall, Germany, Wilson, S (2005). ‘The New New: Video Art in the Twenty-First Century’, Vital Signs Conference, Australian Centre for the Moving Image, Informit, RMIT University, Melbourne, Wilson, S (2004). ‘The History of the Memory Palace’, University of the Third Age (U3A), Hobart, Wilson, S (2004). ‘The Journey of Grandad Barbone: A Mnemonic Safari’, School of Philosophy, University of Tasmania, Hobart, Wilson, S (2003). ‘Secret Worlds: The Structure of Imaginal Place in Children’s Fiction’, 9th Annual Australasian Postgraduate Philosophy Conference, University of Tasmania, Hobart, Wilson, S (2003). ‘Reverie and the Home Movie’, School of Philosophy, University of Tasmania, Hobart, Wilson, S (2003). ‘The Memory Palace’, November 10, McCulloch House Palliative Care Unit, McCulloch House, Monash Medical Centre, Melbourne, Wilson, S (2004). ‘Revere: The Relationship Between Objects and Memory’, Scotch Oakburn College, Launceston, Tasmania, Wilson, S (2004). ‘Modern Topographies’ exhibition catalogue, 24hr Art: NT Centre of Contemporary Art, Wilson, S (2003). ‘The Philosophy Sweet’, Togatus, Vol. 74, No. 8, University of Tasmania, pp.26-27, Wilson, S (2003). ‘In Defence of Philosophy’, Togatus, Vol. 74, No. 6, University of Tasmania, pp. 24- 25, Wilson, S (2003). ‘Reinventing Glover’, Queen Victoria Museum and Art Gallery, Launceston, Wilson, S (2003). ‘Art on Holiday / Reinvented Spaces’, exhibition catalogue essay, Arts @ Work, Hobart, Wilson, S (2002). ‘Curatorial Symposium 2002’, catalogue essay, Entrepôt Gallery, Hobart, Wilson, S (1999). ‘Yellow Houses and Plastic trees’, Artly, Vol. 4, Issue 3, Indigo Studios, Melbourne, p.4, Wilson, S (1999). ‘The Problem with Art’, Artly, Vol. 4, Issue 5, Indigo Studios, Melbourne, p.6, Wilson, S (1998). ‘Is Painting Dead?’ Artly, Vol. 3, Issue 1, Indigo Studios, Melbourne, p.4, Wilson, S (1997). ‘White Cubes’, Artly, Vol. 2, Number 4, Indigo Studios, Melbourne, p.7, Wilson, S (1996). ‘The Great Divide’, Artly, Vol. 2, Number 4, Indigo Studios, Melbourne, p.9, Wilson, S (1998). ‘Is Painting Dead?’ Artly, Vol. 3, Issue 1, Indigo Studios, Melbourne, p.4, Wilson, S (1997). ‘White Cubes’, Artly, Vol. 2, Number 4, Indigo Studios, Melbourne, p.7,, Wilson, S (1996). ‘The Great Divide’, Artly, Vol. 2, Number 4, Indigo Studios, Melbourne, p.9.

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FEATURE LENGTH SCREENPLAYS

 

Wilson, S (2017). Australian Gothic, Honeyhouse Films, Melbourne, Wilson, S (2016). The Plains, Honeyhouse Films, Melbourne, Wilson.S (2016), The Black Garden, Honeyhouse Films, Melbourne, Wilson, S (2014), The Last Man in Vegas, Honeyhouse Films, Melbourne, Wilson, S (2009-12). The Darklands,  Honeyhouse Films, Melbourne, Wilson, S (2011). Wilson, S (2011). The Curse of the Mysterious Dark Vampire, Honeyhouse Films, Melbourne, Wilson, S (2011). Pineapple,  Honeyhouse Films, Melbourne, Wilson, S (2010). Saturn Rising, Honeyhouse Films, Melbourne, Wilson, S (2009). Nocturnus, Honeyhouse Films, Melbourne, Wilson, S (2009). Night Dwellers, Honeyhouse Films, , Honeyhouse Films, Melbourne Wilson, S (2009). At Midnight, Honeyhouse Films, , Honeyhouse Films, Melbourne, Wilson, S (2009). Gothic Memoria, Honeyhouse Films,  Melbourne, Wilson, S (2008). Epic Memoria,  Honeyhouse Films, Melbourne.

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SHORT FILM SCREENPLAYS

 

Wilson, S (2017). The Last Salute, Honeyhouse Films, Melbourne. Wilson, S (2010). Ear, Honeyhouse Films, Honeyhouse Films, Melbourne Wilson, S (2010). Stake, Honeyhouse Films, Honeyhouse Films, Melbourne, Wilson, S (2010). The Vampire Monologues, Honeyhouse Films, Melbourne.

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EPISODIC SCREENPLAYS

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Wilson, S (2020), Dark Garden, Series 1, Episodes 1-9, Bakers Road Entertainment, Melbourne, 

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KEYNOTES, GUEST LECTURERS AND PRESENTATIONS

 

(2023) Keynote, 'The Complexities of Epistemology Beyond Metamodernism in a Structure of Reason.', Metamodernism Conference Melbourne, AHRC Metamodernism Network (2022) Speaker and chair, GB22 Symposium, GBiennale, Heide Museum of Modern Art, Melbourne (2018) Wilson, S ( 'Uber Memoria X', Adelaide College of the Arts, Adelaide, Wilson, S (2017) 'Meta-Immersion and Slow Cinema', 1st North Bellarine Film Festival Symposium, Portarlington, Wilson, S (2015) Scriptwriting: from idea to screen, Mid Winter Words Literary Festival, Portarlington, Victoria; Wilson, S (2015), 'How to Screen a Memory Palace: Exploring Memory and the Moving Image', Terrains of Memory Symposium, Castlemaine Festival, Castlemaine, Victoria, Wilson, S (2013) 'Independent Film Producing and Online Distribution', RMIT University, Wilson, S (2012), 'Slowness in the Cinematic Image', Beyond Slowness in the Cinematic Image Symposium, RMIT University,  Wilson, S (2012) 'Can Science Fiction Cinema Survive without Physics?', Colliding Ideas Symposium, RMIT University, Wilson, S (2011). ‘Teaching and Learning Seminar, School of Media & Communication, RMIT University, Wilson, S (2010). ‘New Approaches to Creative Research’, School of Media & Communication, RMIT University, Wilson, S (2009). National Gallery of Victoria, Federation Square, Melbourne, Wilson, S (2008). ‘Beyond Gothic Memoria’, School of Creative Media, RMIT University, Melbourne, Wilson, S (2008). ‘Art and Cinema’, DLUX, Sydney, Wilson, S (2008). ‘Gothic Film’, University of Queensland Art Museum, Brisbane, Wilson, S (2007). ‘Uber Nocturnus’, for FLOAT, Lake Macquarie City Art Gallery, Booragul, NSW, Wilson, S (2006). ‘1975 at NEW06’, Look Who’s Talking, ACCA, Melbourne, Wilson, S (2006). ‘Film and Memorialisation’, University of Applied Sciences, Schwaebisch Hall, Germany, Wilson, S (2005). ‘Recent Work’, School of Creative Media, RMIT University, Melbourne, Wilson, S (2004). ‘Work in Progress 2’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2004). ‘The Memory Palace’, School of Philosophy, University of Tasmania, Hobart, Wilson, S (2004). ‘The Artist-Run Space’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2004). ‘Reinventing Place’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2003). ‘Current Research’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2003). ‘Work in Progress’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2003). ‘Nextworlds’, Switchback Gallery, Monash University, Churchill, Victoria, Wilson, S (2003). ‘Life after Art School’, School of Visual and Performing Arts, University of Tasmania, Wilson, S (2002). ‘Emerging Sculpture in Melbourne, Tasmanian School of Art’, University of Tasmania, Wilson, S (2002). ‘Current Work’, Tasmanian School of Art, University of Tasmania, Wilson, S (2002). ‘Current Work’, Sculpture seminar, Tasmanian School of Art, University of Tasmania, Wilson, S (2001). ‘Recent Work’, Swinburne University TAFE, Wantirna Campus, Melbourne, Wilson, S (2001). ‘10 sculptors’, Gasworks Theatre, Gasworks Arts Park, Melbourne, Wilson, S (2001). ‘The Artist Run Space’, Faculty of Art and Design, Monash University, Melbourne, Wilson, S (2001). ‘Contemporary Australian Sculpture’, Box Hill Institute, Melbourne, Wilson, S (2001). ‘Contemporary Australian Sculpture’, Swinburne University TAFE, Melbourne, Wilson, S (2000). ‘EIM Project’, Switchback Gallery, Monash University, Churchill, Victoria, Wilson, S (2000). ‘The Artist Run Space’, Faculty of Art and Design, Monash University, Melbourne, Wilson, S (2000). ‘Recent Work’, Swinburne TAFE, Wantirna Campus, Melbourne, Wilson, S (1999). ‘How to Survive Art School’, Faculty of Art and Design, Monash University, Melbourne, Wilson, S (1998). ‘How to Survive Art School’, Faculty of Art and Design, Monash University, Melbourne, Wilson, S (1997). ‘Recent Work’, Casey Institute, Dandenong Campus, Melbourne, Wilson, S (1996). ‘How to Survive Art School’, Faculty of Art and Design, Monash University, Melbourne, Wilson, S (1996). ‘New Painting from the UK’, Faculty of Art and Design, Monash University, Melbourne

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PRIZES

 

(2016) Winner, Melbourne Central Art Loop Prize, (2014) Winner, BigCI Artist in Residency Prize, BigCi, NSW, Australia. (2011) L.A Screenwriting Prize, (finalist), Roosevelt Hotel, Los Angeles, USA, 2006 Tertiary Art Prize 2006 (winner), Poimena Gallery, Launceston, (1999) Moet Chandon, Short-listed, Moet Chandon Foundation & the National Gallery of Victoria, Melbourne, (1995) Lucardo Peace Prize, Finalist, Monash University, Caulfield Campus, Melbourne

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RESIDENCY

 

(2022) Placing the Decameron', online residency, Fremantle Arts Centre, Fremantle WA (2021) 'Revisiting the Decameron', online residency, Fremantle Arts Centre, Fremantle, WA, Researcher in Resident, ACMI-x, School of Design, RMIT and Australian Centre for the Moving Image, Melbourne (2015) BiCI Wollemi National Park, Australia, (2003) Devonport Gallery and Art Centre, Devonport, Tasmania, Queen Victoria Museum and Art Gallery, Launceston, Tasmania, (2002) Indigo Studios, Melbourne, (1997)  Caulfield Grammar, Wheelers Hill Campus, Melbourne.

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CURATED PROJECTS

 

(2020) 'As You Look Away: Kim Collmer Retrospective', GIFF20 Geelong International Film Festival, Geelong, Australia. 'Proving Ground: Brendan lee Retrospective', GIFF20 Geelong International Film Festival, Australia, 'Euphony: Louise K Wilson Retrospective', GIFF20, Geelong International Film Festival, Geelong, Australia  (2018) 'Super Awful Meta War Machines', NOIR Darkroom, Melbourne, Australia, (2017) 'Artefacts for 21st Century Humans, Noir Gallery, Melbourne, Australia, 'Sublime, Internal, Subliminal', NeMe Arts Centre, Cyprus (2011) ‘Graduate Screening’, Australian Centre for the Moving Image, Melbourne, Australia, (2009)  ‘Killing Me Softly’, 5th International Berlin Directors Lounge, Berlin, (2008)  ‘Other Cinema’, 5th International Berlin Directors Lounge, Berlin, ‘Australian Gothic’, Perth Institute of Contemporary Art, Perth, Australia, ‘Post-Cinema’, Project Space/Spare Room, Melbourne, (2007)  ‘Australian Gothic’, Project Space/Spare Room, Melbourne, Australia, Directors Lounge, Berlin, 2006) ‘Ars Memoria’, Rhizome at the New Museum of Contemporary Art, New York, USA (2004)  ‘The Art Tourist Project’, with B. Beukelman and N. McMurray, Arts @ Work, Hobart,  Australia, (2002)  ‘Becton National Sculpture Biennial’, with Ken Wong, Gasworks Arts Park, Melbourne, Australia, ‘Intelligent Space: New Art from Hobart’, The Powerhouse Gallery, Launceston, Australia, ‘Curatorial Symposium 2002’, Entrepot Gallery, Centre for the Arts, Hobart, Australia, ‘Global House Project’, Monaghan and Company, Seattle, USA, (2001) ‘Gasworks Studio Artists exhibition’, Gasworks Theatre, Gasworks Arts Park, Melbourne, Australia, ‘Swinburne TAFE student exhibition’, Mira Fine Art, Melbourne, Australia, (2000) ‘Spark’, The Faculty Gallery, Monash University, Caulfield Campus, Melbourne, Australia, ‘Gasworks Studio Artists exhibition, Gasworks Theatre, Gasworks Arts Park, Melbourne, Australia, ‘Spark’, The Faculty Gallery, Monash University, Caulfield Campus, Melbourne, Australia, ‘New Painting from Melbourne’, The Jackman Gallery, Melbourne, Australia, ‘The Artists Olympic Games 2000’, Indigo Studios, Melbourne, Australia, ‘Life’, The Public Office, Melbourne, Australia, ‘New Directions: New Art from RMIT University I-3’, Indigo Studios, Melbourne, Australia, ‘Environment’, Switchback Gallery, Monash University, Churchill, Australia, ‘Invention’, Switchback Gallery, Monash University, Churchill, Australia, ‘Memory’, Switchback Gallery, Monash University, Churchill, Australia, ‘Diary’, Swinburne TAFE student exhibition, Open Space Gallery, Melbourne, Australia, (1999)   Melbourne Fringe Festival 1999 Visual Arts exhibitions (x 60),  ‘Fresh: New Emerging Art from Melbourne’, Indigo Studios, Melbourne, Australia, (1997)  ‘End of Year Group Show’, with Martin S. Pribble, Indigo Studios, Lyall Burton Gallery, Melbourne, Australia, ‘Lavazza Young Designer Award 1997’, Myer Gallery, Melbourne, Australia, (1996)  ‘9 x 5 Exhibition’, Indigo Studios Melbourne, ‘Shamocracy, Lyall Burton Gallery, Melbourne, Australia, (1992)  ‘ISM’, Brunswick Mechanics Institute, Melbourne, Australia.

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FILMS

(2024) The Last Man in Vegas, dir: Shaun Wilson, 100 mins, post-production, Honeyhouse Films, Melbourne Australia,  (2019-20) Black Garden, dir: Shaun Wilson, 90 mins, Honeyhouse Films, Bakers Road Entertainment, Melbourne, Australia (2017) In The Journey of Midnight, dir: Shaun Wilson, 58 mins, Honeyhouse Films, Melbourne, Australia, Indigo Rising, 49 mins, Honeyhouse Films, Bakers Road Entertainment, Melbourne,  Australia (2015) The Tailor of Autumn, dir: Shaun Wilson, 71 mins, Honeyhouse Films, Bakers Road Entertainment, Melbourne, Australia (2013)  51 Paintings, dir: Shaun Wilson, 71 mins, Honeyhouse Films, Bakers Road Entertainment, Melbourne,  Australia.

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REPRESENTATION IN FILM MARKETS

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(2021) EMF, Berlin International Film Festival/Berlinale, Berlin, Germany  (2020) TIFF Industry, Toronto International Film Festival, Toronto, Canada, Marche du Film, 73rd Cannes Film Festival, Cannes, France, Venice Production Bridge, 77th Venice Film Festival, Venice, Italy (2019) Canadian Film Market, Hamilton Film Festival, Hamilton, Canada, Venice Production Bridge, 76th Venice Film Festival, Venice, Italy, Marche du Film, 72nd Cannes Film Festival, Cannes, France.

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SOUNDTRACKS
 

(2023) as AREMSTAR, 'The Black Period Official Motion Picture Soundtrack', as AREMSTAR, 'Metamodernism the Lectures', Bakers Road Entertainment, (2022) as AREMSTAR, 'Beautiful Thought Coins official NFT soundtrack', CC4.0 release, Bakers Road Entertainment

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ALUMNI

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RMIT University

Monash University

University of Tasmania

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COLLECTIONS

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National Gallery of Victoria (Artists Books: Artline 95), Historical Archives of Contemporary Art, Venice Biennale, G Biennale Collection, State Library of Victoria, Libraries ACT, Canberra (National EDeposit), National Library of Australia, State Library of Queensland, State Library of Western Australia, State Library of South Australia, State Library of New South Wales, Libraries Tasmania, Library & Archives Northern Territory, Deakin University Art Collection, ERGAS Collection, Museum of Contemporary Art, Sydney, Initiative for Cultural Exchange and Computer Arts, Thailand, Lake Macquarie City Art Gallery Collection, Souvenirs from Earth, Germany, Victor Harbour Public Library, Tanunda Library, Stirling Library, Semaphore Library - City of PAE Libraries, Onkaparinga Libraries - Seaford Library, Port MacDonnell Library, Mount Gambier Library, Morgan Public Library, Mawson Lakes Library, Marion Libraries-Park Holme, Hindmarsh Library, Henley Beach Library, Glenelg Library, Gawler Library, Civic Library (Woodville) Alexandrina Libraries-Strathalbyn, Adelaide City Libraries - Hutt Street, Private Collections in Australia, Netherlands, France, UK, Germany, and USA.

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