Daniel Kotsimbos


Artist working in transitory media. 



Forthcoming

2021 Yarra Anthroposphere, Data Sonification, Lung Health Research Centre, City of Yarra, Melbourne




Education

2018 BFA (Visual Art), Victorian College of the Arts, Melbourne


Solo Exhibitions

2019 Instruments of Life, No Vacancy Gallery, Melbourne


Public Art Projects

2020 Peak Frequency, Flinders St Billboard, Fivex Foundation

2018 Heart Imprint Brick, Swanston St Billboard, Next Wave



Group Exhibitions

2019 You Are Here, Melbourne’s Living Museum of the West, Footscray

2018 Seven Paintings, Sutton Gallery, Fitzroy, Melbourne


Performance / Set Design

2019 Precipitations, Grant Street Theatre, Southbank, Melbourne

2019 Dark Points, Mycelium Studios, Melbourne Fringe Festival, Coburg



Curatorial Projects

2017 Drawing in 3D, VCA Artspace, Melbourne



Projections / Screenings

2019 Ropeworks Projections, Kinnears Ropeworks Factory, Due West Festival, Footscray

2019 Band Stage Projections, Strawberry Fields Festival, Tocumwal

2019 Gordon Koang Projections, Meredith Music Festival, Meredith

2019 Gordon Koang Projections, Melbourne Recital Centre

2015 Kangaroo, Precipitation & Enlightenment, White Night, Melbourne/Ballarat



Awards

2020 Winner of the Fivex Art Prize

2018 Winner of the Next Wave Art Prize

2018 Recipient of the Fiona Myer Award

2018 Finalist of the Majlis Prize




Contact for projects and collaboration

danielkotsimbos@gmail.com



︎

@dankdv


Peak Frequency
digital billboards
1540 x 370 cm (horizontal wrap spectrogram)
330 x 1240 cm (vertical podium key)

Digital billboard visualisation of site-specific sonic patterns, displayed on the corner of Flinders Street and Elizabeth Street for the Fivex Art Prize, Melbourne, December 2020 - January 2021.


Peak Frequency is a hypnotic representation of our urban space, reflecting and distributing what is already there in pursuit of encouraging critical awareness of the systematic and routine foundations of our public lives. The work is a spectrogram, time is represented on the x-axis, sonic frequency on the y-axis, and decibel intensity is colour.



Instruments of Life
Two kinetic objects that interact with each other, solo exhibition at No Vacancy Gallery, Melbourne, 2019.

Lamp (counteracting lamp)
ultraviolet bug light, anti-insect yellow light, steel, motor, cable
dimensions variable


Pickup (electromagnetic microphone)
inductor, cable
dimensions variable



Instruments of Life is an investigation into our primal familiarity with technology. This installation is made up of two key components. Lamp incorporates two distinctly different frequencies of light in motion: one that attracts organic life, while the other repels it. Pickup is a custom made microphone synthesizer array that detects and translates electromagnetic waves (emitted by Lamp and any electrical device in its vicinity) to sound.



Black Box
mixed media
75 x 55 x 55 cm

Feedback machine commisioned for ‘You Are Here’ group exhibition curated by Matthew Davis at Melbourne’s Living Museum of the West, 2019.



Rotating PA System that uses feedback as a means of addressing and responding to the specificities of site. Affected by the proximity of listeners and changes in atmospheric conditions, the sculpture amplifies the multiple resonances of the site's architecture, social conditions and environment.


Precipitations
steel, pixel map led, quadraphonic audio
dimensions variable


Interactive audiovisual performance incorporating light, sound, and viewer proximity, collaboration with Mitchell Mackintosh at Grant Street Theatre, Melbourne, 2019.



Stemming from John Luther Adams’ ideas on ‘Sonic Geography’, Precipitations is an immersive installation that uses light and sound to explore the interconnectivity of our ‘internal’ psychological space and ‘external’ constructed environments.




Dark Points
pvc piping, pvc wheels, rubber
dimensions variable


Set design for contemporary dance perfomance Dark Points by Die Angle at Melbourne Fringe Festival, Mycelium Studios, 2019.



The set was designed for dancer interaction and consisted of six moving walls that shifted through a backlit space in choreographed formations. The six walls were designed for the dimensions of the site; an industrial basement with gridded structural pillars. In doing this, the lighting of the performance was determined by the walls and their formations.