Art, Laneways Blogged by: Melbourne Central 16 Mar 2016 View comments
Jesse Delmo's '40 / 40'
Blogged by: Melbourne Central 16 Mar 2016 View comments
Jesse Delmo
 

Formally trained in architecture, Jesse Delmo’s major artistic focus is illustrating inner cognitive mechanics, translating them into the physical world. Using sensory triggers while applying physical reactions, his work is an attempt to produce a fluid production of mental activity extrapolated in a visible medium for an audience.
 
Alongside working in design, art and installations, Delmo also works as a long-distance sailor transferring vessels across the oceans. These voyages enable him to pursue deep explorations of space, the nature of physical interactions and internal fragmenting, which in turn influence his creative avenues on land.


Jesse Delmo
'40 / 40'

2015–16. Single channel video, sound, 5:05 minutes.
Camera: Edward Jennings, Vittorio Maj.
 
“With no weather data, a dying engine, and barely reliable equipment, we were taking a risk and we knew it. Five other vessels had left before us and those five had been caught and sunk on the path we were to take.”
 
In 4000 metres of water, three souls sit on a sailing vessel caught between America and Europe. Suspended in an anti-cyclone in the middle of the notoriously dangerous North Atlantic Ocean, the wait for deadly winds could have been interpreted as torture.
 
In awe of the big blue – or grey, green or whichever the mood it felt like reflecting – 40 days and 40 nights is a window into the meditative journey of attempting to sail across the North Atlantic Ocean.
 
Jesse Delmo
‘Sky and Sand’
2012. Single channel video, sound, 5:42 minutes.
Camera: Declan Sands. Soundtrack: Paul Kalkbrenner.
 
Sky and Sand explores the desire to reconnect to a geographical location, using sensory engagement as a tool to illustrate a process by which a past memory is diffracted into present form. The work deflects audio penetration into a physical reaction in order to display the relationship between the entities. It fluidly extrapolates from cognitive mapping to a linear motion in an attempt to produce an abstract yet recognisable language. The audionic makeup dictates how vibrations are interpreted, while also influencing the physical navigation.
 
Using the pen as a conceptual seismographic tool, the work’s objective is to trace a relation between audio, tempo, memory and physical output. This film is my first ever attempt at a major scientific experiment: to draw a connection between cognitive valleys and the direct translation to illustrating derived from observing, and streaming the internal landscape.

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