Sarah Breen Lovett

en

SARAH BREEN LOVETT is the founding member of EXPANDED ARCHITECTURE and a PhD candidate at the Faculty of Architecture Design and Planning, University of Sydney. The working title of her research is EXPANDED ARCHITECTURE: Occupations of architecture re-framed through moving image installation. Sarah has a particular interest in the Filmic and Light Play Experiments of the 1920s Bauhaus as well as the 1960s-70s Expanded Cinema movement.

Sarah has been a practicing artist and architectural designer since 1998. She has completed a B.Des, B.Arts + M.Arch . Sarah’s installations and moving images have been exhibited widely in Sydney, Melbourne, Brisbane, London, Dublin and Rome in galleries, public art installations and film festivals.

research

research expositions

  • Expanded Architecture 01-06 (2011) author(s): Sarah Breen Lovett published in: Journal for Artistic Research
    The exposition of practice-based research is focused on using moving image installation to reflect upon our relationship to architecture. Through a site-specific practice, existing architectural elements are re-framed, re-focused and projected back onto themselves — either through the content of the moving image, or the construction of the installation. The exposition considers what this series of works have revealed about the use of moving image installation to reflect upon our relationship to architecture; particularly the possibility of creating tension between the architecture and the image, as well as the self in space.
     open exposition comments (3)

comments

Exposition: Mapping a Modern Diegesis: Terre des Hommes and Robert Altman's Quintet (01/01/2013) by Paul Landon
Sarah Breen Lovett 16/12/2013 at 11:27
The subject of the derelict Expo 67 site, as used for the Quintent film is historically fascinating. The method of walking / mapping project through the various forms of documentation, writing, drawing, photography and film is interesting as an approach to practice as research. The ability of this project to portray a specific atmosphereabout the site is explored through a mixture of image, moving image and text. The arrangement of spatial mapping, and the disjunctures between them convey the palpable emptiness of the site.
 
The text creates an appetite for visual and sensory information of the site, and while this being pared with sparse visual documentation means that the experiential nature of the site is conveyed somewhat, it could have been pushed further with recorded sounds from the site, drawings, sections and more images.
 
The exploration of site documentation, information on the film Quintet and imagery from Expo '67 asthree parallel streams is interesting, however it could be more visually interwoven with images from the Quintet film, rather than this section being wholly text based. An 'in-map' cross referencing between site documentation and notes/images on the film and Expo 67' would have helped build up comparisons between them in a more direct manner, but doing this too frequently could mean the appealing desolate nature of the work could be lost.