Welcome:) 趁热吃吧
I’m a hybrid visual artist preoccupied with body, tech, (para)text, and spatial magik/rituals. My speculative multi-lingual~multi-lore practice is bookended by an evolving philosophy of slow working~slow living~pleasure.
I make work under a primary alias Derrick Duan.
As a migrant settler, I work and live on what always was and always will be the land of the Boonwurrung and Woiworung people of the Kulin nation. Indigenous sovereignty has never been ceded.
I’m a hybrid visual artist preoccupied with body, tech, (para)text, and spatial magik/rituals. My speculative multi-lingual~multi-lore practice is bookended by an evolving philosophy of slow working~slow living~pleasure.
I make work under a primary alias Derrick Duan.
As a migrant settler, I work and live on what always was and always will be the land of the Boonwurrung and Woiworung people of the Kulin nation. Indigenous sovereignty has never been ceded.
ou must enjoy the process / we cannot be satisfied with the recognition generated by the very system that denies our ability to find each other / you generate your own magic / the act of living intentionally is a creative process in itself / shame is not sustainable / y
Scroll down for a selection of my recent works.
Click each to unfold.
Maxim of the day:
1.You are what you eat
2.Time is not linear
3.过犹不及
Maxim of the day:
1.You are what you eat
2.Time is not linear
3.过犹不及
Rising Damp, w/ Audley Anderson & Haz Lugsdin
Performance / Nov 2022
Rising Damp: A Sporepunk unearthing of a queer utopia is fun, is silly, is psychedelic, is the end of time... You’re here, in the Garbosphere, ready for a new day of non-binary, non-human, decentralised, multispecies becoming-with. The Anthropocentric Apocalypse is over, the urban jungles of non-urban legend are but the sediment for the swamp we call home. Who’s ‘we’? ‘We’ who survived through collaborating with the moulds that thrived in the after-time, where our insipid minds were intercepted by cordyceps and our binary bullshit replaced by shittake.
This project, writ large, is all about world building. What does a fungi-dominant, non-binary, un-human-centric world (inside-a-once-burnt-down-theatre) look like? The answer: 2 M3 of eucalyptus mulch, colossal set pieces that are mould-inspired (one such set piece weighed ~2kg and hung directly above the seating bank), along with trippy visuals from 2 simultaneous projections.
The tech op was a chanllenge in itself -- as pictured, I had 3 computers in front of me + the ETC desk. In hindsight I really should have set up OSC-triggers for the ETC lighting cues alas I wasn't aware of such a thing. So I manually synced the cues for lighting & the projections, which were run from two separate Touch Designer instances, switching between multiple live generative visuals, plus some video playback layering. The 3rd laptop was for audio, running from QLab, and our fabulous producer Millie really helped out wit the ops on that one.
This project, writ large, is all about world building. What does a fungi-dominant, non-binary, un-human-centric world (inside-a-once-burnt-down-theatre) look like? The answer: 2 M
The tech op was a chanllenge in itself -- as pictured, I had 3 computers in front of me + the ETC desk. In hindsight I really should have set up OSC-triggers for the ETC lighting cues alas I wasn't aware of such a thing. So I manually synced the cues for lighting & the projections, which were run from two separate Touch Designer instances, switching between multiple live generative visuals, plus some video playback layering. The 3rd laptop was for audio, running from QLab, and our fabulous producer Millie really helped out wit the ops on that one.
La Mama Theatre.
Performance by Audley Anderson & Haz Lugsdin.
Set, Lighting and Projection Design by D Duan.
Sounds by Ashleigh Drury.
Produced by Amelia Newman.
Photos by Kate Cameron.
Performance by Audley Anderson & Haz Lugsdin.
Set, Lighting and Projection Design by D Duan.
Sounds by Ashleigh Drury.
Produced by Amelia Newman.
Photos by Kate Cameron.