Below is an example of a work I made earlier this year, using an artistically tweaked widely accessible communication platform (Zoom in this case). I wanted to creatively subvert the everyday pragmatic intended usage of this platform and inhabit it as an artist. Lockdowns forced us to migrate to digital spaces out of necessity, largely unprepared. When my collaborators and I couldn’t be physically present together in the same physical space, we moved into new virtual studios and environments, and discovered new ways to play. These platforms have unexpectedly enabled the realisation of creative transmission potential which would have been much more difficult to realise just a few years ago.
Artist residency & creative development, with Parvin Saljoughi. Co-commissioned by Beursschouwburg, Brussels, 2021.
Artist residency & creative development, with Parvin Saljoughi. Co-commissioned by Beursschouwburg, Brussels, 2021.
After we were selected as part the Live Works Performance Award at the 2019 Drodesera Festival in Italy, my collaborator and I were invited by Flash Art Magazine to show work for the exhibition Rooze Mabada in Milan. Below is a video of what was a live performance in that same space.
With Parvin Saljoughi. Giardino Segreto gallery, Milan, 2019. Supported by Centrale Fies Art Work Space; ITC Ethical Fashion Initiative; Flash Art.
Below is a short excerpt of POST REALITY VISION, a work performed alongside my long-term collaborators, Geoffrey Watson and Milo Love, as part of the 2019 Dance Massive Festival. The full length video of this work has gone a bit viral during the pandemia - at time of writing it's been viewed by an audience of over 2.2. million people on youtube. It's an example of experimenting with various methods of performative documentation deeply integrated into the live performance experience itself. I want/need to create works that are organically pandemic-ready; meaning that they can exist from the outset simultaneously both as live works and virtual works, and exist in both cases as uncompromised and self-standing art works. Pursuing this kind of virtual international reach via easily accessible online platforms makes sense.
Dancehouse, 2019. The 25 minute prelude to this piece was a finalist in the 2018 Keir Choreographic Award, presented by Dancehouse Melbourne and Carriageworks Sydney; supported by The Keir Foundation; and the Australian Government through the Australia Council for the Arts. This work has also received further support from Dance Massive Festival; Dancehouse; and the Victorian Government through Creative Victoria.
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