Some selected examples of previous work:
NOTHING TO SEE HERE (REMOVAL OF SYDNEY HARBOUR BRIDGE) (2013)
In August 2013, as part of the Underbelly Arts Festival, Amy with Catherine Ryan presented an installation on Cockatoo Island in Sydney, entitled Nothing to See Here (Removal of Sydney Harbour Bridge). The work consisted of a scenic lookout, complete with binoculars, located on the eastern side of the Island, from which the Sydney Harbour Bridge can usually be seen. Upon peering through the lookout’s viewfinder, visitors were presented with a live image of Sydney Harbour from which the Harbour Bridge had disappeared.
Amy is one of many young Tasmanians who relocated from Hobart to “the mainland”. Now based in Melbourne, she is frequently asked: “Would you go back?” In Dear Hobart, Regards, The Expats she posed the same question to fellow Hobart expatriates, inviting them to write a letter addressed to the city. Amy received more than sixty responses to her call-out for letters. During Salamanca Art Centre’s 35th Anniversary Celebrations in Hobart, these letters were clandestinely papered all over the streets of Tasmania’s capital city. Many letters posted up in North Hobart and at Salamanca Art Centre were torn down within 24 hours of being put up.
Lonely Hearts was presented at Platform, a public art gallery that constitutes 13 large glass cabinets that line a busy pedestrian underpass in the CBD of Melbourne. Responding to the former use of the cabinets as commercial advertising spaces, Amy Spiers, in collaboration with artist Lara Thoms, sought to exploit the very public nature of the cabinets to “advertise” single people looking for love. Interested in the way singles construct themselves in their online dating profiles in order to attract dates, Lara and Amy put out an open call-out looking for online daters who were willing to create in the cabinets a sort of offline, 3-D version of their dating profiles.
MEETING POINT (2011)
During the 2011 Tiny Stadiums Festival meetings of all kinds were invited to take place at the sign-posted Meeting Point. People could arrange new encounters at Meeting Point by leaving a description of people they wished to find there, and appointing a time to meet them.
Spit Chain was a participatory artwork installed at SASA Gallery in Adelaide where viewers were asked to chew gum that was freely available in the gallery. Participants were then instructed to place their piece of gum where it touched another piece on a temporary wall. Each piece of gum left an anonymous trace of a human presence, illustrating the flow of passing human traffic. The colourful wads of gum accumulated in a participatory drawing that was both appealing and repulsive, and amassed into a visualisation of a network of possible and missed connections.
The Dutch Courage Choir was an open invitation to cast aside inhibitions and sing with abandon to a popular song. Choir members were encouraged to drink alcohol to suppress their nerves, and then sing along to a song synced on their iPods in front of a large audience. There was only one rule: commit to the song and sing like no one was listening. So far we have appeared at Next Wave, This Is Not Art, Performance Space and the Emerging Writer’s Festival.
Sob Stories appeared as part of the 2010 Tiny Stadiums Festival held in the Sydney suburb of Erskenville. Roving the streets of Erskenville, I approached people in the street with a simple request: Recall a time you have cried in public and write the story down on a handkerchief.
Agents of Proximity, created in collaboration with writer Victoria Stead, was a project that saw us operating a local, artist-run travel service, based in the Melbourne suburb of Brunswick. We created new encounters in the suburb by joining Brunswick residents together to lead each other on tours of their own neighbourhood. The result was an exhibition of photographic/textual works and the launch of the Brunswick Travel Guide, in a coin laundry masquerading as a Travel Agency as part of the 2008 Next Wave Festival. We were also invited to develop work in Yogyakarta, Indonesia as part of The South Project Gathering in 2009.
The Photobooth Project, an art experience that combined performance, installation, public engagement and photography, first appeared at the 2006 Melbourne Fringe Festival where it won Best Special Event. The booth was a makeshift version of the traditional photo booth and offered participants a photographic souvenir, but with the catch that you had to have your photograph taken together with a stranger. Since 2006, the project has appeared at the Melbourne International Comedy Festival, The Falls Festival and The White Street Project in Frankston.