Thursday, December 20, 2018

Low Lux Czech Republic

Friends of Oneself (4K video still 2018)
DEPO2015, Pilsen Artist in Residence, Czech Republic. A one month submersion into heavy materials and distorted ideas, manifested by traces of videographic light residues forming patterns of an autistic pathos. Foreign dissolution, entropy sunken in deep salty voices, an autumn blend of cubist chimney stacks and melting electrical currents. Nightmarish awakenings interleaved by light pollution, old lamps buzzing and flickering, cutting fluorescent orange shafts through my kitchen window: lead decays Into water then washes over a not-real sleep. Waking pushes through grey smears of handmade glass light, entering the digital low-lux where colour becomes a soft solid of living noise. In the centre is the individual, drawing out essential paths.

Development of Video Drawings, single channel screening and artist talk 
23rd November 2015, Klempirna DEPO2015 Air, Pilsen 
23 minute video sequence

Detention Protest (4K video still 2018)

Friday, October 05, 2018


My first project with Legs on the Wall is a big one: Man with the Iron Neck, a project about indigenous suicide, developed over 2 years in four stages. The projections are split over an 18m x 5m curved projection cyclorama in 4K, using shadow acting, aerial choreography and puppetry, drone footage, photographic collage and water animation.  The collaboration with set designer Joey Ruigrok van der Verven incorporates a 7 metre gum tree and a flying hills hoist which is used to propel aerial performers from and adding dynamic three dimensionality to the space.  It is a complete theatre work written by Ursula Yovich based on a concept by co-director, Josh Bond who has been working on the idea for over four years.  It is fantastic to be working on something well supported and developed - I had eight weeks to make the projections, with extra time on the tour for technical installation and adjustments.  It is a great example of theatre that brings all the elements together, including hyper visual choreography by Gavin Robins and exquisite lighting by Matt Marshall.

Brisbane Festival, Powerhouse Theatre, 22-28 October 2018
Sydney and Adelaide Festival 2019

Monday, October 01, 2018


A second music video for Ensemble Offspring's Offspring Bites with Bree Van Reyk. This piece attempts to depict the pre-cognitive state of a child in utero, seeing “light for the first time”.  The stages of being before self-reflexivity,  perceiving colours and movement as a unified (non-Cartesian) experience, perhaps ultimately phenomenological without distinction of one's own body from the stimuli, pure, sensory immersion. I worked on developing stages of cognition after the very first optical receptions, proposing that once we see, we then start to perceive, and sense becomes ‘feeling’.  Made only with a Leica M digital camera, physical lens distortions and real time movement. I have known Bree from Synergy Percussion (Earth Cry and 40 under 40) as a down to earth collaborator and composer. This is probably the most subtle and sensitive piece I have made, thanks to Bree.

Friday, June 08, 2018

The Obscene Madame D

This labyrinthine work is based on the book The Obscene Madame D by Brazilian author Hilda Hilst and adapted by Carlos Gomes (Theatre Kantanka) performed by Katia Molino. Madame D stands in the centre of an audience and fragments outwards in projections on broken walls. We are one moment inside her body, then with her hiding under the stairs, then in a caffeine induced reverie of her dead husband, scenes being led by his voice inside her head. The memory simulacra is implanted into our heads via headphones (binaural audio recordings by Gail Priest). A meta-performance shifting between her introverted presence underneath tables and behind curtains and chaotic aggression behind nightmare masks, the performance is delivered in the round, making us question how much we exist in-and-to the world, when we are consumed by loneliness and insanity. Animated Projections and video shadow play in collaboration with Carlos Gomes.

Parramatta Riverside Lennox Theatre 16-22nd April
107 Projects, Redfern 21-27th May

Saturday, May 19, 2018

The Listening Project

If we think of ourselves as trees, we would generally behave better towards each other. Without the faculty of sight the botanical world grows and lives alongside us with an unheard voice. Annette Tesoriero directs the multi-dimensional performance of ten participants over the age of 60 in a work centred on listening and allowing space for acoustic relations with ourselves and each other.  The character of a variety of trees in the Shoalhaven River area metaphorically held this knowing silence. Some participants had a favourite tree, some had a favourite forest to walk in and others used trees to remember, or to gift as new beginnings.  The associative environment and the uniqueness of the human mind amongst its labyrinth was a joy to project, with pre-made films 7 metres high on a square format cyclorama, to observe the rhythmic visual forms interrelating with performers' brief vignettes of voice and simple movement.

Produced by Bundanon Trust

Friday, May 04, 2018

The Sound of Waiting

photo credit: Phil Erbacher
Heavy material, performed with unrelenting emotion, the Sound of Waiting was a poignant, magic-realist work on refugee experience, evoking the terror of homeland and the battle against the odds on a fatal approach to Australia. Written by Mary-Anne Butler and directed by Suzanne Periera this work explored  the strength of the will to survive and how far the human spirit will extend when there is no alternative option. It was a privilege to be part of a work of such political importance which reached large audiences with great reviews.  It was my first endeavour with Darlinghurst Theatre in their process of intense psychological questioning of the line between the actor and reality particularly for lead actor and child refugee, Reza Momenzada.
The projection design was a single front projection onto a semi-circular, retracting tule curtain with floating panels of grey gauze behind.

Darlinghurst Theatre, Eternity Playhouse
31st March - 22nd April 2018