Rob Gutteridge

Rob Gutteridge

Rob-Gutteridge-in-studio

Rob Gutteridge was the Australian Artist for the Malaysia-Australia Visual Arts Residency 2011. In addition to pursuing his own practice, he spent some time during his residency conducting figure drawing classes for interested staff members at Hijjas Kasturi Associates Sdn.

Biography

Born in England in 1954, Rob Gutteridge is now based in South Australia. With a Diploma in Fine Art (Painting) and a Graduate Diploma in adult education, Rob teaches in tertiary education throughout South Australia. His work has been featured in Adelaide Central Gallery, are included in the Art Gallery of South Australia, South Australian Museum and Artbank, as well as in private collections in France, Germany, Norway, Switzerland, England and the U.S.A.

Artist’s Statement

“Coming from Adelaide, South Australia, with its sharp, hard, bright Mediterranean light, my first impression of Malaysia seen through the windows of KLIA, was of a pale milky wash over the landscape, softening the contrasts and bringing distant colours closer together. In paintings and drawings made at Rimbun Dahan, these close values provide challenging technical problems to explore, as the modulation of colour, tone, saturation and temperature is finely tuned. I have travelled to paint and study art, in New York, and Provence in southern France, and similarly, my initial understanding of place registered at a fundamental, pre-cognitive visual level. It happens long before particularities come into focus. If one is alert, the ambient has a character, providing a starting point and a foundation. Works flowing from such a sensibility inevitably display a kind of environmental portraiture.

Iconographically, I continue a long-standing investigation of the human figure, and clouds. Each represents a fascinating visual topography of the effects of forces acting on matter in space. The human body’s anatomy of skeleton and muscle, conditioned by gravity, reimagines hinge and joint, lever and pulley in slippery darkness beneath the skin. Clouds of vapor deceptively solid from our earthly standpoint, change, grow and collapse, providing a ready metaphor of the human condition.

In anthropomorphic cloud paintings, reflecting on what connects rather than divides, I have become interested in what constitutes the conditions for visual suggestion, or resemblance. In painting, what is the threshold of recognition for an image to be recognized as a cloud or a body? If an image were to suggest a cloud and a body, would it look like both, or for a moment, would it look like itself?”

In-Process Update

I have recently been in the process of completing the 4 largest paintings I will do during my residency. The paintings are 180cm x 220cm and continue the cloud and figure theme I have been exploring during my time here. Each painting is a response to the one that has gone before, and so they form a dialogue of interests and a conversation between issues. They alternately respond and react to each other – complexity in one provokes simplicity in another, subtle colour values give way to strong contrasts. Doing a simple thing on a large scale is deceptively difficult, but the enjoyment is in the challenge of going where you haven’t been before. Its a bit like coming to live at Rimbun Dahan from Australia.

— Rob Gutteridge, November 2011

Daniel Jaber

Daniel Jaber

danieljaberAustralian choreographer Daniel Jaber undertook an Asialink residency at Rimbun Dahan in 2010, with Australian dancers Jessie Mckinlay and Madeline Edwards. He created two works during the residency: WG-Spiel, with Jessie and Madeline, and Poetic Structure, with Malaysian dancers Lau Beh Chin, Hii Ing Fung, Stephanie Lim and Darius Lim Chee Wei. The works were presented at Fonteyn Studio Theatre in Petaling Jaya, from 19-20 November 2010.

wg-spiel

WG-Spiel (50 minutes)

WG Spiel delves into the lives and living habits of 3 housemates coexisting in close living quarters. Set to a vibrant and energetic electronic soundtrack, the work charges forth through images of domestic duties, working life, claustrophobia and relationships.

Performed by: Daniel Jaber, Jessie Mckinlay and Madeline Edwards.

poeticPoetic Structure (20 minutes)

Poetic structure redefines traditional choreography in the context of a modern world. Cyberspace, chartrooms and MSN form the communicative dialogues of the performers as they engage in wickedly abstract choreography created by CSS and HTML coding formulas. Commenting on communication, technology and digital engulfment in the 21st century – Poetic Structure is a sophisticatedly structured short dance work created by Daniel Jaber and featuring four outstanding Malaysian dancers.

Performed by: Beh Chin, Hii Ing Fung, Stephanie Lim and Darius Lim Chee Wei.

This program was made possible through an Asialink – performing arts residency and funded by The Government of South Australia through Arts SA, The Australia – Malaysia Institute, Carclew Youth Arts and Rimbun Dahan.

Yumi Umiumare

Yumi Umiumare

Australian-based Japanese choreographer/performer Yumi Umiumare undertook a short residency at Rimbun Dahan in 2010, working with and mentoring performer Natalie Kim Kyungmi, towards a solo work for the Melaka Art+Performance Festival. Yumi also conducted a workshop on 21 November 2010 at The Annexe Central Market. 

Yumi is at the forefront of Butoh fusion in Australia, with work across genres, including ‘Butoh Cabaret’. She works internationally and performed first in  Australia in the early 90’s with Tokyo Butoh company DaiRakudakan. She has had  a commitment to teaching and mentoring for over a decade, initiating with Tony Yap the Beyond Butoh series of annual showings in Melbourne.

Go to the artist’s website: www.yumi.com.au

Anthony Pelchen

Anthony Pelchen

Asialink Resident Artist, 2010

Australian visual artist Anthony Pelchen spent three months at Rimbun Dahan on an Asialink residency in 2010. During his stay he contributed works to the 2010 Art for Nature exhibition, and helped to produce the Melaka Art & Performance Festival 2010. In 2013 he presented the exhibition Kuang Road Prayer at the Horsham Regional Arts Gallery in Horsham, Australia, with works inspired and begun during his time at Rimbun Dahan.

Anthony Pelchen in his studio at Rimbun Dahan, photographing Shima, who lives and works at Rimbun Dahan.

Anthony Pelchen in his studio at Rimbun Dahan, photographing Shima, who lives and works at Rimbun Dahan.

Kuang Road Prayer

Kuang Road Prayer - work in progress, Malaysia, July 2010 C type print, 29.9 x 42cm.

Kuang Road Prayer – work in progress, Malaysia, July 2010 C type print, 29.9 x 42cm.

In 2010 on an Asialink artist residency at Rimbun Dahan, Malaysia, Pelchen witnessed life in the balance and produced the foundation of a body of work titled Kuang Road Prayer.

Through reflection and continued artistic engagement with Malaysia, Pelchen has expanded this evocative body of work. Issues of change, vulnerability and resilience, at the core of  Kuang Road Prayer, are explored in this exhibition through drawing, photography, video and sculpture.

The exhibition entitled Kuang Road Prayer was opened by Angela Hijjas at the Horsham Regional Arts Gallery on 18 August 2013 — read the opening speech here. For more about Kuang Road Prayer, see Anthony Pelchen’s website.

Biography

Born 1960 in Horsham in North West Victoria, Anthony Pelchen studied Economics at Monash University and a decade later painting at the Victorian College of the Arts.

Common to all his work is an overriding interest in the fine lines and shifts between physical and psychological states and how a dominance of one inevitably points to the absence and potential of another. This has involved work across media – painting, drawing, photography, video, sculpture and installation – all incorporating elements of repetition, austerity and subtle change within set structures.

Throughout the 1990s he lived in Melbourne and exhibited widely in artist-run, institutional and alternative spaces. He has exhibited twice in Osaka and has been represented in various surveys of painting and drawing over the past twelve years. He has had numerous residencies in Australia and Japan and has been the recipient of Arts Victoria grants for new work, presentation and international cultural exchange.

Since 1998 he has periodically collaborated with Melbourne-based performers Yumi Umiumare and Tony Yap in gallery, church, landscape and performance environments in Australia, Japan and Denmark. Between 1999 and 2007, he jointly conducted Butoh/drawing workshops at his base on the Wimmera River, west of Horsham. In 2007 he continued a biennial use of the local Natimuk Lutheran Church as an installation space, collaborating with 222 local and Japanese children.

In 2008/9 he participated in Drought – Cross Cultural Collaborations. Curated by Lella Cariddi,  it resulted in new solo and collaborative work being presented in 2008 in Melbourne at the National Gallery of Victoria, Australian Centre for the Moving Image and Federation Square. In 2009, installation work was commissioned for the Murray Darling Palimpsest #7, Mildura, and the Gold Mining Exchange Building in Ballarat.

His work is represented in collections including the National Gallery of Victoria, John McBride Collection, Australian Print Workshop and Artbank.

Since 2000, he has lived back on land on the Wimmera River in NW Victoria.

Bodies Across Boundaries

Bodies Across Boundaries

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From 22 to 24 April 2010, the Dance Programme at Rimbun Dahan presented Bodies across Boundaries: two dance works by Malaysian choreographers & performed by Australian dancers, plus two dance works by Australian choreographers & performed by Malaysian dancers.

In the studio and on stage, we reached across the seas, building bridges with our bodies, and showing that differences of language, background, and home are no barrier to moving together.

‘Bodies Across Boundaries’ presented two new contemporary dance works by acclaimed Malaysian choreographers Amy Len and Suhaili Ahmad Kamil, performed by a group of powerful young Australian dancers. The show also included two contemporary dance works performed by talented Malaysian dancers including Hii Ing Fung, Stephanie Lim, An Nur Azhar, and Bilqis Hijjas, and created by Australian artists who have been in residence at Rimbun Dahan.

8.30pm Friday 22 April, Saturday 23 April 2010
3pm Sunday 24 April 2010
The Actors Studio, Rooftop at Lot 10 Shopping Centre, Jalan Sultan Ismail

Presented by the Dance Programme at Rimbun Dahan
Supported by the Australia Malaysia Institute and the Australian High Commission

Works in the Program

STRINGS is a multidisciplinary work involving Australian visual artist Rochelle Haley, who will be making live drawings in response to the movements of dancers on stage. The dancers themselves will respond to the projection of the drawings as they develop, creating an intricate web of causal connections between the two dimensions of the paper and the three dimensions of the bodies on stage.

SHUTTLING is a dance work choreographed by award-winning Malaysian choreographer Amy Len and performed by the three Australian dancers currently resident at Rimbun Dahan, as well as three of Amy’s dancers from Kwang Tung Dance Company. The work is about the unconscious memories that are aroused when people from different backgrounds meet.

DAZZLE was created by Australian choreographer Angela Goh for three Malaysian dancers — Hii Ing Fung, Stephanie Lim and Jojo Wong, two of whom she worked with when she was first in residence at Rimbun Dahan in 2009. The work explores the idea of camouflage and deception, being seen and not seen, and how hiding the face makes someone inhuman.

WONDERWHATTALAND has been created by hit Malaysian choreographer Suhaili Micheline with the three Malaysian dancers. A crazy trip inspired by Alice in Wonderland, it includes rap songs made of the names of Malaysian food: gulp, slurp, chomp! Pulling out the bizarre in the most everyday things, Wonderwhattaland will be a work that sends the audience out giggling but thinking.

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Mosaic Artists

As the first artist project at Hotel Penaga in Penang, four mosaic artists from around the world spent almost a month in Penang creating a stunning work entitled ‘The Shyness of the Trees’ for the new boutique hotel.

Helen Bodycomb of Castlemaine, Australia, had had a residency at Rimbun Dahan in 2006 and organized this collaborative exercise with two other Australian mosaic artists, Dominic Johns and Glenn Romanis, and George Fishman from Miami Beach, USA. They stayed in the Lebuh Clarke houses for almost a month to create a piece for the verandah at the back of the four terraces on Jalan Transfer.

The fifteen shophouses of Hotel Penaga, in the buffer zone of the Georgetown heritage district, were developed as a luxury boutique hotel which will help to support ongoing activities at Rimbun Dahan. The images below show the development and final work of ‘The Shyness of Trees’, on the back verandah of the four terrace houses on Jalan Transfer.

Jessica Watson

Jessica Watson

Exhibition of Jessica Watson’s Work

Gecko on My Shoulder
The 16th Rimbun Dahan Residency Exhibition
6th to 20th March 2011 in the Underground Gallery at Rimbun Dahan

'Penang Cloud', 2010, fabric ink & silk embroidery thread on cotton, 56 x 142 cm.

‘Penang Cloud’, 2010, fabric ink & silk embroidery thread on cotton, 56 x 142 cm.

Acknowledgements: Hijjas Kasturi and Angela Hijjas, my partner Alex, my daughter
Jacqui, my parents Sue and Geoff, Marianne Erikson, and the Swedish Arts Grants Committee.

Textile Art with glowing colours, growing in Jessica B Watson’s concepts

“…Into the future I would like to continue working with costume, sculptural textiles and art as a profession. I’d like to continue developing and exploring – methods and paths may change along the way but I’m sure that something shall glow and grow…”

These were the words Jessica wrote ten years ago, concluding the report of her Masters’ Degree in 2000. Her project then was called “Flickers” — a colourful swarm of mushroom-like figures, entering trams and spreading out in Gothenburg City, Sweden, as homage to spring, blowing into the gloomy infrastructure after a long winter. — What is this? Confused people asked. This playful group in Jessica’s designed outfits also took part in the Gothenburg Dance and Theatre Festival, which led to further engagements in the international field.

Nature seems to influence Jessica wherever she goes in this world: The structure of the squiggly bark of the eucalyptus trees in her native Australia, the bright red mushrooms with white dots in Swedish forests, the vivid yellow lichens of the grey rocks at the Scandinavian coast and here the tropic vegetation of Malaysia. What inspiration do they bring out in an artists’ mind?

Her motifs are, however, not only aesthetic or decorative, they also reveal a concept. That is what makes them soimaginative. They deal with different phases of human relationships. Some phenomena in nature take a long time to grow; sensitive textile art is indeed time-consuming and sincere relationships between people need time to build up. All to be handled with care!

Characteristic for Jessica are bright colours which vibrate through layers of different materials and are accentuated through light and a number of techniques. Embroidered simple lines or sketchy, but dramatic stitches show an expressive movement in her pictures such as the ambulating salesmen with their dangling goods on the beaches of Rio or heavily falling rain where she is now. Motifs are emphasized, being worked in series and different scales. Her three-dimensional forms show connection to wearable art and costume design.

For an observant and aware artist like Jessica the environment of Rimbun Dahan ought to be stimulating. Her residence is in an old traditional Malay house, surrounded by a large garden. The multicultural society, where Muslim arabesques and lattice screens meet ancient Chinese symbols and Indian kolam applications are incorporated in Malaysian daily life. Here the skilled handicraft is the base of a fascinating blend. The blue sky holds changing dragon-clouds, bringing cosmic energy to people on the earth. Look up and you will see!

Jessica’s titles are often subtexts. “Good things happen in threes” is among her recent works. The three fertilefig trees, supported by the screen, are individuals, each carrying an ethnic issue. Delicate embroidered lines, like nerves in a leaf, shape shou — the sign of long life, still beloved by the Chinese. The polychrome segmented leaves are influenced by the colourful Indian kolam floor decorations. The third plant with translucent, fluorescent flowers is like an attractive part of Malaysian songket (weaving with gold or silver thread). It is a piece of beauty, but it also points at some global complications. People from different regions and religions live together and have to face the problems of coping with each other. Hopefully they will grow together, glow side by side, like the art of Jessica. Intentionally she uses a combination of frottage, songket, screen-printing, hand painting and embroidery to achieve a richness more expressive than in a painting. Being open-minded the spiritual fire will be maintained, developed by concentrated work to multifarious flowering.

Marianne Erikson
Textile historian, Head of the Textile collections at the Röhsska
Museum of Arts & Crafts and Design, Gothenburg Sweden
between 1974-1999.

Jessica Watson embroidering 'Rain Falling on Butterflies', a work for Art for Nature 2010 'SURVIVAL'. Photo by Noor Mahnun Mohamed.

Jessica Watson embroidering ‘Rain Falling on Butterflies’, a work for Art for Nature 2010 ‘SURVIVAL’. Photo by Noor Mahnun Mohamed.

About Jessica Watson

Jessica Watsons’ work is a fusion of 2-dimensional textile art and wearable art. Her interest in the human body, both covering and depicting it, has taken her into the fields of art, costume design and fashion.

Surface, identity and contact are reoccuring themes in her artwork and as a textile artist she subconsciously investigates the boundaries imposed upon textile art from the fine art world. Working predominantly in series, Watson develops and enhances her ideas through repetition and scale.

In 2003 Watson spent three months in the Australian Snowy Mountains where she developed embroidered screenprints based on the squiggly bark eucalyptus for the joint exhibition wouldwork. In 2006 and 2007 she travelled to Rio de Janeiro, Brazil, dividing her time between ritzy Ipanema and the Rio slums developing the embroidered series Sketches from Rio based on the salespeople of Rio de Janeiro’s beaches and the traditional ‘plein-air’ sketch.

Her interest in textiles, the human body, clothing and movement has also led her into costume design where she has worked with childrens productions, musicals and provocative political drama/dance with Swedish, African and Iraqi choreografers.

Watson started her visual art studies at Newcastle University in 1995 and in 1996 travelled to Sweden as an exchange student. In 2000 she graduated with a Masters Degree in Textile Art from Gothenburg University, School for Design and Crafts in Sweden (HDK). Since graduating she has been exhibiting in Australia and internationally.

She has been teaching fashion drawing and screenprinting for the past seven years and is represented at the Gothenburg City Arts Council, in private art collections and has received the Swedish Artists Associations (KRO) One Year Artists Working Grant and the Gothenburg City Arts Grant among other grants and prizes for her work.

The patterns, colours and textures of plants inspire me; enlarging these to create compositions I move the identity of the plant into another context. I have previously worked with cold climate plants and am now interested in looking at the tropical plants of Rimbun Dahan and what they reveal. I aim to continue exploring the themes of identity, surface and contact using the garden plants of Rimbun Dahan and Malaysian butterflies as sources of inspiration.

Curriculum Vitae

2000
1998
1996-97
1995-96
Education
Master of Fine Arts and Applied Crafts HDK, Göteborgs Universitet
Bachelor of Textiles, HDK, Göteborg Universitet
Undergraduate Student, HDK, Göteborg Universitet
Undergraduate Student, Newcastle University Australia
2009
2008
2008
2006
2005
2004
2003
2001
2001
2000
2000
2000
2000
1999
1999
1999
1998
1998
1996
Exhibitions
Sketches from Rio, Art in Motion, Frank & Ernest
Sketches from Rio, Galleri mitt i centrum, Gothenburg, Sweden
Sketches from Rio, Galleri Mosebacke, Stockholm, Sweden
Broderia Fantasia, Floras Rike Gallery, Botanical Gardens, Gothenburg
Butterfly Stomach & Hunter, Gothenburg City Library
Hunter, Galleri D Lyx, Malmö, Sweden
wouldwork, Knot Gallery, Sydney, Australia
Watt Space, Newcastle, Australia
Omfång, 25m2 Stockholm, Formargruppen Malmö, Galleri 5 Visby
flickers, Gothenburg, Sweden
Talente, Munich, Germany
Omfång, Galleri Koch, Stenungsund, Sweden
Masters Exhibition, Rohsska Museét, Gothenburg, Sweden
Under det blå tacket, Magnus & Magnus, Gothenburg, Sweden
Centrum, Frölunda Kulturhuset, Frölunda, Sweden
HDK 150 år, Rohsska Muséet, Gothenburg
Karin and Carl Larsson, Nordiska Museét, Stockholm, Sweden
Suecos, Centro Cultural La Santa, Barcelona, Spain
Den Lilla Svarta, Rohsska Muséet, Gothenburg
2006-09
2004-09
2005
2005
2004
2004
2003
2003
2002
2002
2001
2001
2000
2000
2000
2000
2000
Employment/Productions
Teaching, Fashion Drawing, Art & Design, Tillskarakademin in Gothenburg, Sweden
Teaching, Fashion drawing, Screen Printing, Art Collage, Folkuniversitetet, Sweden
Downup & updowN, Costume Design & Makeup, Tortosa Theatre Festival, Spain
’Objector’, Bachelor Examination, Borås school of Textiles, Sweden
Screenprinting workshop, Stenebyskolan, Sweden
Costume for the stage, Assistent, Lindköpings University & Vadstena Akademin
Drömmar (Dreams), GöteborgsOperan, Costume Design, Costumer & Makeup
The Lion King, Beading, Anthony Philips Costumes, Sydney, Australia
Howard Katz & Holy Day, Breaking Down, Sydney Theater Company
Downup & updowN, Dance production, Costume Design
Infra Exhibition, Installation, The Gothenburg Museum, Sweden
pillow room, ’Noll Vision’, Trollhättan, Roads and Trafic Authority, Sweden
The Merry Widow, Costume Design & Millinary, Arbisteatern, Norrköping
Gående bord (Walking Table), Dance production, Costume Design, Göteborg
Lethe-The Urban mytoplay, Costume Design, Gothenburg Culture night
flickers, Costume Design & Production Management
flickers, Gothenburg Dance and Theater Festival & Hedens Lustgård Opening Ceremony
2009
2008
2005
2002
2000
2000
2000
2000
1999
1999
1999
1999
1996
Grants
Konstnärsnämnden (Swedish Artists’ Committee) One year Artists’ Working Grant
Företagarna (Association for small businesses in Sweden)
Konstnärsnämnden (Swedish Artists’ Committee)
Gothenburg City Arts Grant
Markarna Lindeqvists Scholarship
Estrid Ericsons Scholarship – group
Slöjdskolans Scholarship
Anna Ahrenbergs Scholarship
Goteborg&Co sponsorship
Stiftelsen Erik och Lily Philipsons Minnesfonds’ Scholarship
Theodor och Hanne Mannheimers fund
Slöjdskolans Scholarship
University of Newcastle Student Exchange Scholarship
2008 Represented
Gothenburg City Arts council
2007
2000
1999
1998
1996
Prizes
Golden needle, Täcklebo Embroidery Academy, Sweden, silver needle prize
World Wide Wool, Australia
Near Distance, Lochem, The Netherlands, 2nd prize
Fashion Design Competition, Barcelona, Spain, 1st prize
Hunter Institute of Technology, Mardi Gras Costume Design, 3rd prize

Felicity Fenner

Felicity Fenner

felicityFelicity Fenner is an Australian curator of contemporary exhibitions including Primavera 2005 at Sydney’s Museum of Contemporary Art, the 2008 Adelaide Biennial of Australian Art and Once Removed, Australia’s group exhibition at the 2009Venice Biennale. She is a contributing editor of Art Asia Pacific and publishes regularly in a variety of journals including Art in America and Art and Australia.

Felicity is Senior Curator at the College of Fine Arts, University of New South Wales and Deputy Director of UNSW’s Centre for Contemporary Art and Politics. She is completing a PhD on curatorial strategies in major international exhibitions. During her time at Rimbun Dahan, Felicity is continuing her ongoing research into contemporary Asian art in preparation for a major exhibition exploring how artists and designers envisage our future urban and social environments in the context of global warming and climate change.

Rochelle Haley

Rochelle Haley drawing during a rehearsal of 'Strings' in the dance studio at Rimbun Dahan.

Rochelle Haley drawing during a rehearsal of ‘Strings’ in the dance studio at Rimbun Dahan.

Rochelle Haley was one of the Australian resident artists of the year-long Malaysia-Australia Visual Arts Residence at Rimbun Dahan in 2009. In addition to her practice creating works for the joint exhibition with Australian artist Monika Behrens and Malaysian artist Shamsudin Wahab which was presented in the Underground Gallery at Rimbun Dahan from 28 February to 14 March 2010, Rochelle also participated in the contemporary dance performance Strings at The Actors Studio Theatre in January 2010.

high_teaThe exhibition at Rimbun Dahan included the ancillary event, ‘High Tea at the Pleasure Garden’, a discussion moderated by the managing editors of online arts writing platform ARTERI (Eva McGovern, Simon Soon & Sharon Chin) based on the site-specific installation Pleasure Garden by Monika Behrens and Rochelle Haley in the newly constructed Penang House at Rimbun Dahan.

 

Bio

pendulous

‘Pendulous Heart’. 2009. Reflective film, metallic paint and etching on glass. 30 x 21 cm.

Rochelle Haley is a Sydney based artist working broadly within the fields of experimental drawing and installation. She has recently completed a PhD at the College of Fine Arts, University of New South Wales where she also holds a Bachelor of Fine Arts Honours degree. Haley has held several solo exhibitions of her work the most recent of which in February 2009 titled Land Incorporated at the Ivan Dougherty Gallery, Sydney. She has also shown extensively in group exhibitions in Australia and abroad including the Helen Lempriere Travelling Art Scholarship at Artspace, Sydney, CIGE, Exhibition Hall China World Trade Centre, Beijing, Fading Lines, Nomad Gallery, Islamabad and the 3rd International Triennial, Marmara University, Istanbul.

Central to Haley’s work is the exploration of the relationship between the human subject and their physical and social environment. Recently this concern has been expressed through a series of incised paper works investigating the relation between the land, the body and its representation. Imaging the landscape using unusual methods of ‘drawing’ with blades and carving into heavy white paper, Haley creates artworks that require a viewer to negotiate light and texture.  The appearance-disappearance of the landscape is dependant upon the proximity and changing position of the viewer as they attempt to achieve a clear view. The drawings create awareness in the viewer of the position and movement of their body in relation to the work. The subjects Haley primarily takes for her work are landmarks of great cultural value recognised by their inscription on the UNESCO World Heritage List.

Strings

In a collision between dance and drawing, the movements of a dancer are transformed into a series of lines drawn live by Rochelle Haley. Other dancers then use these visual cues to interpret their own movement. A unique performative process which changes every time it is performed, Strings gives us insight into new ways to produce art and movement.

Performed by Australian visual artist Rochelle Haley and dancers of Rimbun Dahan and ASWARA, at The Actors Studio Theatre at Lot 10, 23 January 2010.

Moves & Sorts is part of FUSED, a bi-monthly experimental series at The Actors Studio Lot 10, hoping to bring new audiences into theatres and to give emerging talents a chance to perform. Moves & Sorts is a joint production of The Actors Studio and MyDance Alliance.

Cathy Brooks

Recent work draws on the ideas of both physical and metaphorical ‘interiors’. I merge the flatness of wallpaper patterns with a view of a built interior, where a door or window may offer a view into an illusory space and operate as a metaphor for perception, memory and the body. This has led to new work that is influenced by organic imperfection; warped thinking processes and the idea that pattern is just one layer in a multi-dimensional world. There is also a sense of longing, of perhaps trying to find that ‘unthought-of’ thought.

My current research is in the area of pattern, script, pseudo-script and graphic symbols in traditional and contemporary Malaysian culture. I am developing ways to incorporate printmaking into my painting and stitching work. I am also currently working on a collaborative project with Mike Ladd involving still photography, video, sound and text, drawing on the pantun form.

About the Artist

Adelaide-based visual artist Cathy Brooks graduated with a B.A. in Fine Arts from the S.A. School of Art in Photography and Sculpture, followed by a Master of Visual Art and Design in Painting at UniSA in 2007. She has participated in numerous group exhibitions, and her solo exhibitions in Adelaide include IMAGINARIUM at the Prospect Gallery in 2008, Waves at Tin Cat Gallery in 2005 and High Road at Greenhill Gallery in 2002. Her work appears in collections at the Art Gallery of New South Wales, Mortlock Library in South Australia, Trades Hall in South Australia, Prospect Council, and Chroma Colour Photographics. Cathy has come to Malaysia as the recipient of a Professional Development Travel Grant from Arts SA. Her work combines media and techniques from photography, fabric design and printing, and drawing and painting.