Containment 2 is the second work from a series of sculptural installations drawn from my time working across many disciplines and departments at the Australian Museum. During this time I worked closely with taxidermy and the conservation of the bird collections which gave me an acute appreciation of the art of imbueing life and the complexities of infrastructure, and the time involved in preservation and display.
Containment 2 embraces the fragility of working with these hollow boned wonders while reaching out to broader themes on evolution, extinction, ecological management, climate change and control.
The work addresses species preservation beyond museology to the task of maintaining ecosystem diversity through farming endangered species in artificial climate controlled environments and genetic preservation for future cloning.
Containment 2 also strives to create a metaphorical warning beacon, a graft of ecology and 20th Century industry and commerce, a prison of malfeasance contained and never forgotten.
I would like to acknowledge the contribution of artist Damian Castaldi for the Aduino build and programming.
Initially trained in graphic design, Allen-Waters is a self-taught multi-disciplinary artist working mainly with sculptural and light forms. Allen-Waters’ low-voltage sculptural lamps, one of which was exhibited in Perspecta ’91, received global attention. He has exhibited in both independent and major galleries including Roslyn Oxley. His work is in a number of private collections and the National Gallery of Australia. Allen-Waters has worked with MAP projects and is now co-owner and co-director of artist-run initiative The SLAB in the Blue Mountains. He kinetic sound sculptures featured at Linden Observatory and Kingsford Smith Park in The Altitude Project.