Submerged and uplifted, the repetitive baptism is relentless. 

Witness investigates vain hope and the futile actions we perform. At 8 years old, I witnessed my Father’s transformative baptism. After, I observed religion become his “favourite” over me. I began obsessively performing a faux religiosity, praying, singing. Hoping to regain his love, despite knowing it wouldn't change his perspective. I could not see God the way he had. The work asks what vainly hopeful actions viewers have performed for others, motivated by self-serving ends. Emphasising just how exhaustive, violent and ultimately futile those actions can be. Palpable moments of fatigue breakdown the repetitive action, echoing the difficulty of maintaining actions in vain hope.

Witness was performed at The Pool of Siloam in Beachport, South Australia. A place where I learnt to swim, it also features in the Bible. Christ takes a blind man into the Pool of Siloam, miraculously restoring his sight. I located it here to underscore my futile attempt to ‘see’ God. My collaborating artists’ gaze intentionally looks out, a device used to make the witnessing viewer feel witnessed. The sampled and synthesiser sound composition builds with the action, commanding a firm and unrelenting grip that verges on madness.

Witness was debuted at The Art Gallery of South Australia as part of the Ramsay Art Prize, 2023 and was awarded as the winner. It is now held in their permanent collection.

Witness, 2022

HD Video, 4k

12 min, 12 seconds

A durational performance for video by Ida Sophia

Co-directed by Gemma Salamon

With Collaborating Artist, Michael Schaefer

Sound Composition by Joseph James Francis

D.O.P Claire Bishop, Camera Assistant Rebecca Taylor

Stills Photography by Thomas McCammon

Edited by Bryce Kraehenbuehl, Two Up Films

Special Thanks to Benjamin Gardner, Passel Media, Tim Carlier