Ross Manning

Spectra XIII 2017, fluroescent lights, fans, timber, acrylic paint, steel cable, Dimensions variable., Installation view, 'Dissonant Rhythms', Institute of Modern Art, Brisbane. Photo by Carl Warner.
Pixel Points 2019, LED lights, bolts, computer fan, glass bowl, tin, bamboo, aluminium pipe, steel rulers, tripod, and cables, Dimensions variable, Installation view, 'Material Sound', Plimsoll Gallery. Photo by Eden Meure.
Ambient Painting (Square) 2021, Acrylic, stainless steel and dichroic glass on canvas, 200 x 200 cm
Dichroic Filter Piece (extended projection) (detail) 2013, Dichroic filters, cut glass, DVD players and projectors, Variable, Perth Institute of Contemporary Arts
Wave Opus III 2017, Powder-coated aluminium, rope, motors, programming equipment, Dimensions variable, Installation view, 'Dissonant Rhythms', Institute of Modern Art. Commissioned by the Institute of Modern Art, Brisbane. Photo by Carl Warner.
Ambient Painting (Large) 2021, Acrylic, stainless steel and dichroic glass on canvas, 180 x 240 cm
Melody Lines 2016, Glass, laminate, fluorescent tubes, metal piping and conveyor motor, Variable, Carriageworks, Sydney. Image by Zan Wimberley.
Ambient Solar Piece 2019, Dichroic glass and powder-coated aluminium, Installation at Milani Gallery
Six Short Films 2016, Overhead projectors, theatre gel, motors, interval timers and rollers, Dimensions variable, Installation view, Govett-Brewster, Len Lye Centre, New Zealand. Photo by Sam Hartnett.
Hyperbola 2019, Plastic umbrellas, trace wire, paper-clips, abacus, motors, aluminium rod, timber, Dimensions variable, Installation view, Kyoto Art Centre.
Bricks and Blocks 2016, LCD TV colour reversing camera fluorescent lights, aluminium and mirror, 110 x 86 x 95 cm, Photo by Louis Lim.

Ross Manning is primarily known as a kinetic artist who explores light, physics, sound and the elements. Repurposing disused and broken electronics, he alters these existing components to create dynamic sculptures and atmospheric installations. By bringing these components into conversation with materials such as fluorescent tubing, fans, string and brown paper, he explores our ongoing relationship with technology, breaking apart machines as if to demystify their rarified position and experiment with their material capabilities. In this process of demystification he opens up the possibilities for sensory experience.

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