november 2016 : the first period of filming capturing the museum’s model railway, ground floor public activity and behind the scenes looks at the stores and the social club used by the electricity board during their residency in the building, ending in the 1970’s

may  – september 2017 : the second tranche is filmed.  post production takes until january 18.

january 2018 : questions set in november 17 are answered and the second tranche is submitted to doc fest 18.

march 18 : filming in the nearly decanted museum.

july 18 : filming in the empty spaces of the building.

november 18 : present shimmering place to the mina symposium, melbourne, australia.

march 2019 : begin tranche 3 (t3) filming onsite and offsite.

august 2019 : first prototype.

september 2019 : first prototype with hardware shared in co production meeting.

january 2020 : editing begins.

april 2020 : arts and heritage volunteers zoom meeting catch up (during covid-19 lockdown)

september 2020 : prototype 4 for arts and heritage volunteer catch up meeting and creative team sign off of interface.

december 2020 : final visit to site under main contractor control.  (laterly through delays caused by materials supply etc the main contractor hand over was delayed)

february 2021 : the hardware for the work arrives on site.

april 2021 : second draft of content installed

may 21 2021 : museum opens to the public with visitor number restrictions in place.  installation complete.

june 2021 : a content update and time to reflect.



there was a period of time with this project where it did feel like it might not ever end.  it is now complete and i’m in a place where i can take a moment to look back over the project to reflect.

i’ve needed some time to be able to do this, the final weeks leading up to the opening became incredibly intense.

throughout my time on site i was aware of how something ‘shifted’ from time to time.  for example at a personal level when first going on site with the construction team it was how i looked at the bare spaces.  to start with i looked at them through the lens of what i knew them to be – when the museum was open.  in one of the very early edits i placed into the project i found myself telling the workman i was being shown around by what the space used to be.  what we were looking at was the space laid bare – back to the bricks and beams that hold up the roof.

i can remember how over time i adjusted to seeing the building as it was at that moment.

looking back i’m not sure if it was a plan or if it was simply easier to not go too deeply into what the building work would entail.  working with the site manager – mark garratt, i knew a few weeks in advance of what large works would be coming up.  in speaking with him near to the end of his time on site i learnt how it was for him during the project.  how the ipi process influenced his working process.  what aspects of the project gave him sleepless nights.

now i’ve had to to reflect, like mark, i can say this project got under my skin.

mark was just one of the many people who made me feel welcome and safe on site.   this friendliness and welcoming made my early weeks on site so much easier.  i’ll be honest with you, i’ve not worked on a building site like this before and it took me quite a time to find my feet.  what also fed into this was the uncertainty that the nature of working non linearly presents.

working non linearly by its very nature takes away a narrative structure that might otherwise be in place.  since completing the project i’ve been to a series of conversation webinars about storey telling and augmented reality technology.  in those i heard artists speak of working with community and presenting their work in a non linear way – as their preferred option.

so in other words for a long time of this project i didn’t know how it might look.  for a lot of the project i filmed and listened, explored stories that interested me and researched how the work might look.

and then there’s the pandemic.  during the break needed by this i created another non linear work that had been my intention to do after finishing the museum project.  in making walking through the pandemic i gained experience that i fed into the museum project.

throughout the process there were the arts and heritage volunteers meetings chaired by the arts and heritage producer sue ball.  working with sue was a complete joy. to be honest with you attempting to sum up the time i worked with sue into words is a challenge as we went through so much in getting the project onto the wall of the museum.   briefly referencing my conversation with mark, he spoke of the problems the project threw up and how he worked to solve them.  with sue we had a lot of conversations that orbited around problems.  no matter what they were we always were able to find a solution and always with good humour and integrity.

i’ve already touched upon how over the course of the project there were ‘shifts’.  what surprised me was the shift as the construction work wound down and the museum ness of the building wound up.  i felt it again as the museum moved from a museum in preparation to a museum opening to the public.   i never anticipated how emotional i would become as the building moved towards opening.  to some extent the emotion was fuelled by the experience of looking at the building through the lens of building work phase.

in the work are some of the memories i have of conversations with the people on site.  across the board of those involved.  there are some people who i’ve not been able to include and this is the biggest learning i take with me into the next project i do involving a community.

when i take a step back and look at the installation as it is in the museum, i sense how much has been achieved by every one involved and how i played my part in that.  i remember talking way back when about wanting to represent the voices of those doing the work on site and this being commented upon by one of the architect team.   i feel i did ok in this respect.  i feel pleased with what i have achieved.

i feel pleased with how the installation looks and can be interacted with.  there are some aspects of the environment i would have set up differently and over time this evolution might yet happen.  the museum of making is some respects remains a work in progress and this is what makes this place truly unique.

it’s still sinking in how i’m a part of that uniqueness and it might take some time – as we all emerge from the restrictions needed because of the pandemic.

and with those restrictions going will come the one thing i’m missing – the celebration of what we’ve all achieved !




nearing the completion of both the work in the museum and the non linear project, i’m sitting with an emerging sense of capturing the last throws of the building / recant phase – ahead of the opening.  when i say capturing, its more recording – here, the feelings and happenings on site and within the non linear project.



jimmy is one of the people on site with whom i’ve talked with alot and edited his contributions for the project.  he’d been chatting for weeks about not knowing exactly when he was going to finish on site.  when i saw this tweet, i have to confess i got emotional at the thought of jimmy’s time on the project coming to an end.  no more time on site with him. : (



as i continue to work towards completing the non linear project i’m now managing the emotions that appear connected to the journey and the people i’m on it with – how that journey is nearing a destination.

i think in a previous post i spoke of the feelings of there being too much to do (to complete the non linear project).  some weeks on and i’m not feeling so overwhelmed.  i can sense how the completing of the project plays out.  i can now start to imagine the installed work and visitors interacting with it – fingers crossed for the future.

in recent weeks, my time on site has had a different energy about it.  now with the objects returning en-mass the collections teams are replacing the trades people i’ve previously shared the place with.

i think i’ve been through a period of mourning for the passing of the building phase.

i’ve heard one of the collections team speaking of how the non linear work will have a reflective quality about it.  hearing this, i found myself taking a momentary step back to consider it.

i like that the work has been seen like this, even before we fully get to see it on site.  i like how the work might facilitate a small period of reflection within  it.  i like how already the work is being received.

to be honest i’m finding this phase of the creation of the work much more emotionally challenging than in the previous phases.  at a personal level i’m sitting with this and giving myself time to process it.

from a practice perspective it manifests as uncomfortableness.  yes i feel the fear and yes i’m going to do it anyway.  i acknowledge the uncomfortableness and a feeling of courage to be within this – to be authentic with myself and my response to being onsite during the recant.

i take a moment to reflect.

i’m mindful of how the completion of the project is now so close and at the same time am preparing myself for when the project is complete, as i sense it’s going to be an emotional/uncertain time.

for now i look forward to work still to do

  • filming around the recant
  • editing
  • add these edits to the non linear programming
  • finish the install at the museum.


… time for a coffee !



so it’s now february and the internals of the museum have taken shape and the recant of the collections is well underway.  the non linear work now has a presence on site with the installation of the hardware.



this week saw a special day in the arts and heritage programme, red’s work was installed and both myself and toni buckby were on site with our respective works.  it was the first time all three works had been in the museum at the same time.  i was so pleased for sue ball of maap.  she’s worked tirelessly to support all three of us to realise the three works included in the museum of making.  both toni and i are still finishing of the respective works.  this week we’ve had a first look at the non linear work in situ.


following on from these initial on site tests i have an idea of what i need to do to further optimise the content of the work.  for example i hadn’t anticipated how the surround material might influence the sound through resonance etc.  again with this work i’m in a period of learning and applying that new knowledge.


the pandemic is still with us and my thoughts go out to those effected by it.  there’s a plan for a soft opening of the museum and i continue to work with this in mind.




in december the large array of site offices were removed – i was there to capture the process for the project and to have a look inside the museum.  the heating was on !!

i’m looking forward to returning to site in the new year, to film more, to see the installed hardware and to work towards completing the project.




happy new year everyone.  here’s to opening the museum of making in 2021.


in the original plan, december 2020 was to have been the first open festive period for the museum of making.   following the impact of the covid-19 pandemic this year, we’re a little behind where we thought we would be and as unsettled as i am – i am ok about this.

work on site has been progressing and i was able to see this for myself in october.  while on site i filmed once again.  soon will be my last visit to the museum while its classed as a building site.



the above screenshot is from the work’s still developing human interface.  i’m pleased with how that’s going and to share with you further screenshots from ‘initialisation’ and ‘run’






work on installing the hardware is progressing well and it’s getting closer to when this will happen.

lately i’ve been reflecting on the self inflicted stress of “have i enough voices in this work?”  and you know what, i think there is and i’ve not fully processed all the content i have yet.

i guess part of the process is to wonder – continually !!