Friday, October 05, 2018

LEGS ON THE WALL

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 Festival 2019 and others TBC
Review: https://theconversation.com/man-with-the-iron-neck-is-gripping-confronting-physical-theatre-103994

Monday, October 01, 2018

LIGHT FOR THE FIRST TIME

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.