Frederick began his exploration of performance and media as a musician in the underground experimental music/punk/activist scene of Sydney in the late 1990’s. Out of a need to access the infrastructure of media production, and a logical extension of his tinkering Frederick studied audio engineering to sharpen his technical skills. To further these skills and to attempt to identify the “they” referred to in punk songs that were manipulating our media, Frederick began work in film and television production. This experience gave him an excellent set of skills in collaborative structures and communication, and a deep understanding of production techniques. The “they” remained un-identified, but the structures and desires that let our media behave like it does began to show themselves. From this position Frederick was able to access the machinery of media production for his own creative work and that of the artists and musicians around him. Concurrent with his award wining work in conventional post production, Frederick produced many collaborations in this corporate setting, usually out of bounds to your average artist.
With a strong background in extreme/experimental music Fredericks earlier works focused on music performances with a variety of integrated technology and audience interaction. Needing a more refined skill set and having a healthy disrespect for institutions, Frederick quit his jobs and began a year of self study, electronics, software programming, web coding, generative media and interaction all focused on artistic outcomes, were the focus. Throughout this year Frederick continued to create and collaborate with a variety of artists and projects. After this period of self-study, wanting to formalize his education, Frederick was accepted to the Masters of Media Arts and Production program at UTS, based on the projects, learning and research he had completed himself. During this time he continued to create and collaborate as well as study in a more formal environment. Frederick developed his technical skills further still and began to work with the web for some socially analytic projects as well as innovative experimental music projects. Frederick’s line of research began to delve into the languages of machines, letting machines communicate their states and commands between systems that were never designed to talk.
Whilst continuing with this work, and of course his constant collaboration, Frederick also worked in a number of Artists run initiatives, working to create sustainable artists communities outside of institutions. These organizations sat well with some of his research into cities/spaces and creativity as commodities and the stacked nature of the economic systems we live in. Namely the most important projects were; Serial Space, an artist run gallery and in Sydney’s center, offering performances, talks, debates and residencies; Anyplace projects, then one of the first offshoots of the infrastructure gathered by the Renew Newcastle program utilizing empty space for art projects and studios; Triumphant – an organization running film making workshops for new refugees and survivors of trauma and torture as well as the annual Refugee Film Festival in Sydney.
After meeting PIPS:lab, a Dutch multimedia art collective, Frederick was awarded an artist initiated residency from the Australia Council. Frederick travelled to the Netherlands to work with PIPS:lab for this program, to further his skills and to develop new work. Before his short residency was up Fredrick had joined the collective full time. Over the next three or so years, Frederick was in full time collaboration creating large scale interactive works with a huge variety of technology and artistic techniques- both from his work inside PIPS:lab and form other opportunities. In these years Frederick honed his skills further, using cutting edge technology and continuing to collaborate on a variety of projects outside of PIPS:lab, presenting work at a scale and frequency he could not have done in Australia. The collaboration with PIPS:lab led him to Sudan and Brazil, and the first experience of art in a more complicated setting than wealthy western society. It is at this time that Fredrick began to work wit Iranian choreographer Setareh Fatehi Irani. This partnership led him to take several trips to Iran, each time he would lead workshops on creative technology, as well as investigating the art scene and presenting work at a variety of scales. Fredrick took the opportunity of an open door to Iran and began to collaborate with a number of Iranian artists inside and outside of Iran.
After 3 years of being a member of PIPS:lab, Frederick choose to leave the collective to pursue his own collaborations and solo work again, particularly to focus on working more in Iran and creating a dialogue between artists there and in Europe. The aim work between Iran and Europe, as both a continuation of his media work and as a form of engagement as activism.
Frederick is currently in the midst of several international collaborations and projects spanning Iran, Europe and Australia. His own work focuses on embodying the political lessons he learnt in the context of multi media work, he does this both with the structure of his work and with his life and body- creating creative exchange in Iran through workshops and festivals as well as informal artists meetings and forums. Fredericks own work is evolving back to encompass the activism and politics of the western world he shaped his views in, whilst utilizing all his skills of media, computer programming electronics and the internet. In the punk scene of the 1990’s of Sydney there was a destructive edge to the creative output he was involved in, now, for the same ends it is all-constructive, building new realities with people and technology.