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Russell Milledge - Glen O’Malley - Michael Whiticker - Rebecca Youdell
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Russell Milledge <www.ozemail.com.au/~end> |
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 My creative work focuses on motivation and desire. Alternatively seeking a way out of the romanticism of the ‘landscape’ and a definitive sense of cultural identity. Using the tensions between the built and ecological environments, I weave a practice through performance, sculpture and digital media. Curatorial and performance projects include 'Distance Between Worlds' 1994 investigation into cultural identity, displacement, postcolonialism. And the 1996 ' Linkage Leakage' Asia Pacific artists exchange exploring cultural leakage and currency for the Kick Arts Collective in association with The Second Asia Pacific Triennial of Contemporary Art, Cairns Regional Gallery & IMA. My experience places emphasis on the performative nature of collaboration. A principle artist for the project urge. The colonisation of gestures, transgressing into new realms of expression at the 1990 and 1999 Body Weather Farm's Hakushu Festival run by Min Tanaka.Collaboration becomes a basis for gestural language informing lifestyle and communication developed through a residency at Umbrella Studios in Townsville with Singaporean artist Lee Wen in association with APT3 . Developments occured at theChoreographic Centre in Canberra during a fellowship with Bonemap. |
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Glen O’Malley <www.znet.net.au/~deepnth> |
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 The Listening to Skin collaboration allowed me to pursue the concern of the figure in/as the landscape, which has been constant throughout my career. This has always played on elements of decontextualisation and surrealism. Further the input of other artists from different mediums, forces me to rethink my traditional approach, in light of other creative input. This development is valuable for me, and I enjoy watching the process work in reverse. Bonemap is to develop further with the added complexity of two performers, Youdell and Milledge. As well it will enable me to explore the area of photography in a digital era, working on the premise that people have begun to react differently to photography, and the body, since the advent of digital imaging in the late 1980s. A shift is happening in the ongoing western obsession with ‘reality’, through the questions digital imagery raises. Photo-imagery becoming such a strong part of our everyday collision with still and moving pictures. |
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Silent Beat. Michael Whiticker + Paul Lawrence |
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 The sound seeks to explore Bonemap through manipulation of non, electronic and musical instruments, beyond their designed soundworld. Extended technique promotes elements of reinvention and innovation. This comments on stereotypes, conformity and compliance to embedded belief systems. The flux in these reinvented instruments, echoes rebirth of the natural environment amongst remnants of European transience and decay. The sound exploration and development of new music technology for live performance context. Expanding and questioning the capacity for humans to interact in "real time" with new and emerging technologies. Sound resonates through the body, this element bears a metaphoric and physical relationship with humanity's interaction. Highlighting the separation of our internal and external environments - natural and 'created'. Bonemap is an important opportunity to develop in broader artistic frameworks. Improvisation in the score allows my involvement to be a spontaneous, collaborative and reactive one.
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Rebecca Youdell <www.altnews.com.au/becki> |
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 The environment is a stimulating force in my mind. Immersion into the landscape echoes the transience of the body and cultural resonance. Investigation of body, movement and environment through projects: Garden of the Gods, Listening To Skin, Eden Flesh Against Earth (film) and Bonemap explores metaphoric and semiotic understandings and how to translate them through interdisciplinary and collaborative site-specific performance. As a choreographer, the accessible nature of creating through mixed media emphasises the ephemeral via landmarking social and natural history. The present collaboration with these artist's came about by wanting to build on performance and choreographic techniques acquired through exploring form and essence. Participation in the 1999 Body Weather Workshop with Min Tanaka in Japan, and the Asia Pacific Triennial in Brisbane provides insight into the identity of the Asia Pacific region in which we reside. The fellowship at the Choreographic Centre in Canberra continues the research process as does the Asian dialogue through participation in 'Choreography Today' World Dance Alliance 2000 Tokyo. |
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