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23 words
2019 Sawtooth ARI (Launceston) This work is partially a research project, part visual art, and part social histories, and explores the constructed, erased, and rewritten histories of Launceston through the most common and ubiquitous painting – that of an Australian bush landscape. Specifically, the under-heard and re-colonised narratives of indigenous history. The title of the work is a reference to the Wikipedia page for Launceston, which contains 7223 words, 23 of which speak to local first nations history. Even on a platform where truth and history are an act of collective consciousness, we only manage 23 words. |
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ICONS
2018 - present (ongoing) ICONS is an ongoing dance-video project, that attempts to recontextualise our understandings and relationships with place. Through the exploration of both filmic and embodied responses to mundane environments, ICONS situations our corporeal reality into the fictionalised possibilities of place. At its core, the work exists as embodied relationships between our corporeal selves, our immediate environment, connections to country and the shifting urban landscape of colonisation and urban development. |
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This Is All a Little Bit Queer Isn't It?
2017 (as part of Dance X) Yarra Ranges Regional Museum // 2017 National Dance Forum An immersive VR dance video, mediated through iPad technology. Comprised exclusively of things I have seen in real life, with my own two eyes, this filmic wonderland is a cornucopia of colour, metaphor, imagery and intent. As an artist, my choreoographic work continually tries to acknowledge the past, in crafting and reframing the present, to create new understandings of our unique lived history. This work is an auto-ethnographic response to the unbelievable. |
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Infinitum
2016 In collaboration: Rod Price (Amnion) TedX St Kilda // Melbourne Fringe Festival // PAVE Infinitum is performed within and throughout the back alleyways of the urban environment. Set against the fading evening light, the work explores the aural and textural relationships between body and environment. history. Featuring intricate improvised dance and live electronic audio looping, the work is a continuous feedback loop between body, sound and space, being constantly reborn within the context of its own immediate history See video excerpt here: https://vimeo.com/184623137 |
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Solo Archive Project
2016 TarraWarra Museum of Art // Dance Here In recognising the 9 major solo works from the past 11 years of my practice, I am struck by the recurrences of theme, internal dialogue, deep thought and a complexity that refuses to be explained through dance. An attempt to embody my entire living history through my predominant medium of choice: dance. |
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Excavate
2015 Adelaide Fringe Festival // You Are Here Festival Set high above the CBD, lit by the fading light of sunset, this intimate works seeks to dredge up the past in search of new meanings of our present-future. Featuring a cocoon of sound, intricate movement, archival footage and the horizon alight, excavate is a unique performance experience. Excavate is performed atop a 2-tonne mound of red earth, installed on a secret rooftop location |
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Precious Reductive Remnants
2015 In Collaboration: Justine Walsh Dandenong Ranges Open Studios // Oxford Art Factory Somewhere between live art, dance, installation and poetry, this performance piece delves deep into our innate need to collect. Reducing some of Hart and Walsh's most precious possessions to ash and charcoal, this durational performance imbues these items with gold, and explores the transformational nature of intent. |
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Symphony of Strange
2013 In collaboration: Edward Willoughby Adelaide Fringe Festival // Melbourne Fringe Festival An immersive dance performance set to a smouldering live score of over 50 instruments: the banal, broken, found and fascinating. Through an embodied series of scores, the work explores how the body, brain and perception are affected by the extremes of heat, fire and temperature. Symphony of Strange re-imagines decrepit, derelict and abandoned spaces as opulent performances spaces imbued with heightened theatricality. See video excerpt here: https://vimeo.com/63502053 |
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Ellipsis
2012 Adelaide Fringe Festival // Melbourne Fringe Festival // AvignonOFF Festival (France) Performed inside a delicately shifting web of filament, ‘Ellipsis’ evokes visceral responses across the senses. An engaging new dance work inhabiting the space between thoughts, time and light. Through wireless headphones and ultra-sensitive microphones, audiences are immersed within the microcosmic sounds of a dancing body, whilst a solo dancer is esconsed in a web of thought, string and movement. See video excerpt here: https://vimeo.com/65043953 |
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The Space Between
2011 Victorian College of the Arts (Created as part of my Masters of Choreography) ‘The space between’ began as a departure from a well-established practise as both performer and maker, and probes how the integrity and methodology of a solo practise can be maintained, whilst moving towards choreographic development on other bodies. Seeking to embrace the personalised idiosyncrasy inherent in a performer, the core of this research pays detailed attention to the surfacing of what is present in the moment of action. As such, the process is invested in the relationships between impulse, intuition, corporeality, space, presence, and the ephemeral nature of now. |
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Move Me Closer
2009 Guildford Lane Gallery ‘move me closer’ explores how the living body stores information when confronted with a chaotic, and sometimes confining environment. An engaging new dance work realised through the mediums of dance and photography. The initial outcome of this work was installed inside the Guildford Lane Gallery (Melbourne) inside a 5m x 5m x 10m cardboard cube. |
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Self, Sometimes other
2009 Chapel Off Chapel // Omeo Dance Self, sometimes other situates itself somewhere between the dichotomy of the known self, and the performed self. From both deeply kinaesthetic and highly imaginative places, the work explores the body’s relationship to space; constantly ebbing and flowing in a state of flux between confined and expansive. A dynamic solo dance work framed by a tunnel of light and a firm sense of self and other. |
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Conversational
2012-13 You Are Here Festival // Substation Newport // InYourPocket Festival (Bristol, UK) Conversational is a micro performance, a moment of dancing where nothing and everything occurs. It occurs between us. It is a shared moment in a chaotic environment (public park, train station, art fair, or car park) where one audience member at a time is invited to be transported away from the frenetic energy of the environment, and share a cup of tea, and a memory with a stranger. But a warm stranger. |
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It's warm inside these walls
2009 Federation Square // Australian Dance Awards Commissioned as part of the 2012 Dance Card program – Australian Dance Awards, ‘It’s warm inside these walls’ is a solo work installed within Federation Square. The work sits tentatively upon a fine line between the public and private, provoking thought around the question of what it is to be seen. |
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Fold me tight and don't let go
2008 National Gallery of Australia Fold me tight and don’t let go investigates our place within the world, and looks at how we arrange ourselves within strange environments. Set in the subterranean landscape of the sculpture gallery, NGA, dancers are dwarfed by images of things we once thought we knew. Choreographically, the work aims to provide as many individual experiences as possible, whilst exposing that which is normally hidden. |
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urban situations / human investigations
2007 Canberra Playhouse urban situations / human investigations is an in depth enquiry by twelve bodies to find kinaesthetic, aesthetic and rhythmic connections across both the time and space of the performance. The work is an ‘entry point’, a reference to a world we all know well, but seen from a new perspective. It is both a designed construction and the development of an impulse. |
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Collapse by 1/2
2006 In collaboration: Karina Smith and Adam Jackson Melbourne Fringe Festival An intricate work exploring the notions of fall, decay, collapse and entropy. The work follows the decay of three central characters and their collective seeking for a shared vocabulary. |
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I really want to be here
2003-2005 In collaboration: Gulsen Ozer, Dani-Ela Kayler 3D Fest // Malthouse Theatre I Really Want to be Here is a contemporary dance-theatre performance. Poignant and at times hilarious the work deals with themes of social contract theory, taboo, and fitting in. First performed at Victoria University 3D Fest showcase, 2004 and then at Malthouse Theatre during their Education Season, as well as the Arts Centre Melbourne during the Short and Sweet play festival, 2005. |
