Illuminous: performance 1

Improvised performance artwork, collaboration between creative writer and trumpet player. The work involved a live performance, duration 40 minutes, of projected, improvised creative writing and improvised trumpet playing. Use was also made of a sculptural piece, on the set, referring to ecological themes of the work.

Navigating control and illusion: functional interactivity versus ‘faux-interactivity’ in transmedia dance performance

Interactivity – a networked loop in which a performer’s live data feeds a digital system – can bridge the divide between live performance and digital entities in transmedia dance performances. In the ‘entanglement scene’ of Australian Dance Theatre’s Multiverse (2014), choreographer Garry Stewart and the creative coders and animators at the Deakin Motion.Lab utilise ‘faux-interactivity’, or a perceived relationship between the dancers and digital entities that exists only from the perspective of the audience. The spectre of ‘faux-interactivity’ challenges the spontaneity in live, embodied performance art because it both integrates live performance with prerendered digital content and offers a potential structure for a shared, dispersed creative and choreographic process across numerous and shared artistic and technological platforms. This paper investigates the concept of ‘faux-interactivity’, suggesting that its use can be a catalyst for moving beyond the limitations and values of ‘real’, or functional interactive systems within a theatrical context, and positing that definitions of ‘interactivity’ might be further expanded to accommodate the shifting timelines inherent in the disparate creative processes of human performance and coding.

Improvisation in visual art practice using a photographic process

In this article I discuss how I have come to understand embodied processes in my visual art practice using photography. I danced professionally for 25 years and performed in various contexts including classical ballet repertoire, contemporary dance, and commercial dance. I choreographed for various productions working with a group of dancers for seven years before studying visual art. I experienced a particular sense of embodiment as a live performer in which prescribed movements were learnt, performed and repeated as if second nature. Transitioning into a conceptually based visual art practice the creative process was flipped around. Using painting, sculpture, performance (in a different context) and photographic methods I explored ideas from which forms such as video/audio installations, photography, performance art and painting emerged mostly in a gallery context. Although I still think of forms of movement as content, in a visual art practise the idea or concept invokes form.

Serious play: the art of Kevin Mortensen

Kevin Mortensen came to prominence in Australia and internationally as an early and highly regarded practitioner of performance art. He represented Australia at an early Venice Biennale and was a major figure in the Mildura Sculpture Triennials, which helped establish contemporary sculpture in this country in the 1960s and 1970s after a long period in which the art form languished. The new sculpture of this time was strongly related to American performance art, Happenings and Earth Art, and in Australia took on environmental concerns and facets of Australia's landscape, flora and fauna. Mortensen's art is highly environmental. More recently Mortensen has practised as a sculptor and also made prints and drawings. He was Head of Sculpture at RMIT University in the 1980s and early 1990s but, today almost a recluse, continues to exhibit new work at Australian Galleries in Melbourne and Sydney. Author Rob Haysom provides a beautifully written and researched account of Mortensen's entire career and the book is lavishly illustrated.

Creatrix: artist in residence performance at birthing the mother 14

Digitally projected improvised creative writing performance art.

Culture clash : artistic production and the school environment

Artists-in-schools programs involving contemporary art practices can be transformational for the participants when environmental considerations are integral to the planning and structure of the project and both the form and content of the program are reflected upon critically.

Hedge-mony

Hedge-mony was a site-specific visual performance involving the creation of a human maze involving 400+ performers including a large number of Deakin University students and alumni. The Red Cabbage Collective developed the work with the support of Next Wave for Festival 2006, the cultural festival of the Commonwealth Games. The Red Cabbage 'Hedges' were featured internationally in the Games advertising campaign 'See The Games We Play'.

Collapse

Collapse was a visual performance installation presented at the Old Port of Melbourne in 2008. The audience travelled by boat across Port Phillip Bay to witness the performance begins at Sciencework’s Spotswood Jetty, where the audience travelled by ferry across the Port Phillip Bay to a remote location, where society has “collapsed”. The performance then becomes a walking tour around this new location, encountering and experiencing the world that Red Cabbage has created.

“At that point…the collapse of their morale, their will power and their patience was so abrupt that they felt they would never be able to climb back out of their hole…Hence, floundering halfway between the abyss and the peak, they drifted rather than lived, given up to aimless days and sterile memories, wandering shadows who could have only found strength by resigning themselves to taking root in the soil of their distress.”- Albert Camus The Plague

Floundering halfway between the abyss and the peak…exist those that have not yet fallen…in a state of recurring collapse. The girl in the yellow dress, the man in the grey suit, the old man in the brown pants, the woman in the blue shirt and the man in the red hat are suspected carriers of the white sickness. They have been removed from their homes to the edge of the city for standard assessment. Here they meet the others, processed…waiting…isolated. By boat…they travel across the bay to their final destination. Not another Hollywood style apocalyptic melodrama in which our heroes find grace, hope and redemption in the utter destruction of modern civilization…in the collapse of lived time the ruins of humanity are exposed as already existent…the limits of our ability to be graceful were discovered long ago…the trauma of the end of time a given…the plague is now.

Retrieval

Retrieval was a site-specific performance installation which transformed five floors of the National Library of Australia in Nov-Dec 2010. Devised in collaboration with a team of 30 young performers, the production lead the audience on a quest deep into the library to retrieve priceless cultural memories before all was lost. Louise Morris working in collaboration with co-designer Matthew Aberline and the artistic team created the installed environments for the production. The production won numerous awards including Best New Project- Express Media and Best Original Work- CAT awards.

Tuning fork: Drill Hall

Collaborative (commissioned 40 minute work ) installation-performance work

Tuning fork: Shopfront

The audience of this performance got to view actions and installations building and evolving over time, and a projected time-lapse video.
In this iteration of Tuning Fork, James Cunningham & Joncli Keane continue the development of their two pronged approach to finding the watering hole of stillness and action, collabora tion and orientation.Originating from a showing in the Bell Tower II series, in the Judy's new Shopfrontspaoe, Tuning Fork will Fuks accentuate the durational aspect of movement through time-lapse video, heighten the trans formative potential of objects using three-metre long carbon rods as instruments of sense, sound and support and alter the space through the numerous tape measures which take on a life of their own. James Cunningham and Jondi Keane inhabit the Shopfront from Friday 7 November, eJqJioring, measuring, filming and projecting, in order to fine tune their interactions for the performance season commencing 19 November.

Separating shadows

A series of performance investigations that negotiate site, body and shadow.

Story vessels

Twelve sculptors were chosen to research and create a story vessel to represent the stories of the twelve wards of The City of Greater Geelong. I organised the community meetings for nine of the sculptors including myself.  This involved facilitating 27 meetngs.  I then documented and curated the exhibition of the twelve story vessels at three locations (Geelong City Hall, Johnstone Park and Federation Square).  This was part of the project called Connecting Identities in which other artists consulted with other communities to record stories, write and compose songs, poetry and performance art.

Understanding science

Understanding Science is about breakdown of meaning, breakdown of relationship, trying to exist in that space between meaninglessness and understanding, at its cusp, its node, its no-man's land.. It is a melting pot of more than just fragments of images, there are clusters of things, ideas, sounds, words, that swim in and out of your attention. I wanted this film to be a dense multidimensional collage of automatic writing, sound poetry and abstracting strings of images.

Program notes: Scratch Film Festival. UWA. Perth 1997