2017 STUDIO RESIDENTS
During 2017 Lucy Guerin Inc housed five full-time studio residents and three part-time studio residents, who each received up to two weeks in-kind studio space at the Lucy Guerin Inc studio.
Below is a little information about what all of our residents did with their time and space.
Luke will develop a new work PUBLIC SERVANT. This new creation explores service and servitude as a departure point, to probe the shifting power dynamics between people in groups, between artist and public, and the value given or taken from bodies.
Raised in Tasmania and based out of Melbourne, Luke George creates new performance work borne out of experimental creative processes with collaborating artists. George takes daring and at times unorthodox methods to explore new intimacies and connections between audience and performers. He wishes to offer a space of creative rupture to provoke thought and action around how we can be in the world and be with each other. Luke George and Collaborators (LG&Co) create and perform work locally and internationally/culturally through residencies, collaborations and performances. LG&Co have performed their work extensively throughout Australia, and internationally in France, Germany, Netherlands, Norway, U.S.A., Japan and Singapore. In 2017 LG&Co will perform in Spain, Finland and Canada. George was recipient of Melbourne Fringe Awards (1999, 2013), Asialink Residency (2005), Russell Page Fellowship (2007), Greenroom Award for Best Male Dancer (2011), and commissions: Sydney Opera House (2006), Keir Foundation (2008), Lucy Guerin Inc (2010), Phantom Limbs (2013), Chocolate Factory Theatre (2014), Phillip Adams Balletlab (2015) and Campbelltown Arts Centre (2016). Since receiving his B.A. from the Victorian College of the Arts, George has collaborated and performed in the works of many acclaimed artists and dance companies in Australia and internationally. George collaborates across disciplines and contexts including theatre, music, visual art, film & TV, queer clubs and social justice projects; with Bec Reid he was Co-Artistic Director of Stompin in Tasmania 2002-08. He has been teaching classes and workshops internationally since 2003. With Brooke Stamp, George has co-curated “First Run” at LGI 2009-13.
Rebecca will utilise the residency to extend her short piece Explorer (2016) into a full length work. Explorer critiques the danger of privilege and uninhibited access, investigating the relationship between the influence of our digital reliance on our physical form.
Rebecca is a Melbourne based Choreographer, Dancer and teacher at Chunky Move and VCA, Melbourne University. She graduated from the Victorian College of the Arts, Melbourne (BA Dance 2009). Her choreography has been presented at Next Wave Festival and Dance Massive with Sarah Aiken (OVERWORLD 2014); Gertrude Contemporary at Spring 1883, Room 301 Windsor Hotel (Making a dance for room 301 at the Windsor Hotel for Spring 1883); Kier Choreographic Award 2016 Finalist (Explorer); Melbourne Fringe Festival (POSE BAND 2015); Lucy Guerin’s Pieces for Small Spaces (Within An Inner 2011). She is a founding member of Deep Soulful Sweats (Brisbane Festival, Festival Of Live Art Artshouse Dark MOFO, Tiny Stadiums, Chunky Move, Next Wave Festival). Rebecca was a receipent of DanceWEB Europe scholarship 2015, Next Wave Kickstart 2013 in collaboration with Sarah Aiken, PACT Vacant Room residency Sydney 2014, Australia Council Art Start and Motherboard Australia Korea cultural exchange. Rebecca is currently developing collaborative work Underworld with Sarah Aiken & musician Art Wilson and her new dance Deep Sea Dances to premiere in Dance Massive at Artshouse.
Stephanie will undertake a second stage creative development of a new work with four dancers. The work will be performed as part of Arts House Season II in August 2017.
Stephanie is a multi award-winning Australian choreographer, dancer and director of Stephanie Lake Company. Her major works including Double Blind, DUAL, A Small Prometheus, AORTA and Mix Tape have been presented by Melbourne International Arts Festival, Sydney Festival, Dance Massive, Arts House, Sydney Opera House, Theatre National de Chaillot (Paris), Theater im Pfalzbau (Germany), Dublin Dance Festival, Tramway (Glasgow), Singapore and Aarhus Festival (Denmark) among others. In 2014 Stephanie was awarded both the Helpmann Award ( A Small Prometheus ) and Australian Dance Award (AORTA) for Outstanding Choreography. She also won the Green Room Award for Mix Tape in 2011. In 2013 Stephanie was appointed inaugural Resident Director of Lucy Guerin Inc, which included working as Guerin’s choreographic assistant at Lyon Opera Ballet. Stephanie received a prestigious Sidney Myer Creative Fellowship in the same year and the Dame Peggy Van Praagh Choreographic Fellowship in 2012. She collaborates across theatre, film and TV, visual art and music video and has directed several large-scale public works involving over 1000 participants.
Carly will redevelop her work Nah Nuthin (working title), which was first developed for Pieces For Small Spaces 2015, to be presented as a further development for Yirramboi Festival in May 2017. This process will include reworking and expanding on choreography and use of projection.
Carly Sheppard is an emerging cross-disciplinary performance artist whose work negotiates across dance and theatre performance, sculpture, drawing, voice and installation. Often these forms feature interchangeably within a single work, housed within the foundation of the body moving. Carly’s work predominantly explores the experience of being a part of the Indigenous diaspora of Australia. Some of Carly’s work thus far include ‘White Face’ for Next Wave Festival 2014; ‘Moving House’ for Brown Cabs Scratch Series at Footscray Community Arts Centre 2015 and Womenjeka Festival at Footscray Community Arts Centre 2016; ‘Nah Nuthin’ for Pieces For Small Spaces at Lucy Guerin Inc, 2015; Dancer in ‘Pulse’ 2013 and Articulating Landscapes 2014, for Ochre Contemporary Dance Company; lead character ‘Nella’ and Choreographer for North West of Nowhere 2015 tour for Ilbijerri Theatre Company. Carly is an Alumni of the British Council’s Accelerate Program, 2015. Carly is currently a dancer in Sand Song with Insite Arts. Carly studied Bachelor of Dance at the Victorian College of the Arts, VIC, Diploma of Careers In Dance at National Aboriginal and Islander Skills Development Association, NSW, and Bachelor of Creative Arts at The University of Melbourne, VIC.
Lilian will begin a new project in which she will explore the mysterious point of interaction between the ‘essence’ of spirituality – consciousness, and its often-neglected lover – un/subconsciousness. Lilian will attempt to ‘materialise’ this enigmatic relationship via a complex dialogue between 5 performers and their diverse practices across dance, experimental sound (trumpet and electronic) and multimedia performance.
Lilian Steiner is a Melbourne-based dancer and choreographer, and graduate of the Victorian College of the Arts, Bachelor of Dance program. She works across independent and company environments within dance and performance, experimental sound and the visual arts. Lilian has been a dancer with Lucy Guerin Inc, Phillip Adams’ Balletlab, Rennie McDougall, Ash Keating, Brook Andrew, Mikala Dwyer (Goldene Bender, ACCA, 2013) and Alicia Frankovic and Public Movement. Lilian was nominated for the Green Room Award – Best Female Dancer in 2013 and 2016. As a choreographer, Lilian’s practice utilises the inherent intelligence of the active body as the primary tool for creating wholly encompassing visual, sonic and kinesthetic experiences. Lilian’s major choreographic projects include The Call to Connect – Voyager Recordings (Lucy Guerin Inc.’s Pieces for Small Spaces, 2012), Meditation (Melbourne Now, NGV, 2014), Noise Quartet Meditation (The Substation, Melbourne Fringe Festival, 2014), BUNKER (Melbourne Fringe Festival, 2015) and Admission into the Everyday Sublime (Next Wave Festival, 2016). Noise Quartet Meditation and BUNKER both received Green Room nominations with Noise Quartet Meditation also being nominated for the Shirley McKechnie Award for Choreography.
2017 OUT OF TIME STUDIO RESIDENTS
In addition to our main residents we are again for the second year runing offering a new program called Out of Time Residencies – which provides studio space outside of normal Company hours, at weekends and evenings, for emerging artists to work on a new development. In 2017 our Out of Time Residents are:
Harrison Ritchie – Jones
Ellen will begin a new project about creating an alternative future where humans come to life and exist within the imaginative and materialised realm of performance.
Ellen Davies is a dancer working with different choreographic artists. Ellen has worked with artists including Shelley Lasica, Phillip Adams, Atlanta Eke, Rebecca Jensen, Brooke Stamp, Chloe Chignell, Alice Heyward, Justene Williams, Rebecca Hilton, and Shian Law. Ellen has performed in the Keir Choreographic Award, Awaji Art Circus (Japan), Adhocracy at Vitalstatistix, Experimenta Recharge Biennial of Media Art, Murray White Room, Heide Museum of Modern Art, Athenaeum Theatre, RMIT Design Hub, Lucy Guerin Inc, and Arts Centre Melbourne. Ellen has also worked with Kaldor Public Art Projects as a facilitator for Project 30 –Marina Abramović. In 2015 Ellen was recipient of an ArtStart grant from the Australia Council for the Arts. Ellen has presented her own work at hillscene LIVE festival, collaborative work with Megan Payne at Studio 202 and the Festival of Form 2015. In her own work Ellen is interested in affectation and the embodiment of different emotional, sensual, and spiritual moods. The expression of her work forms with a curiosity and desire in spectacle as a place for mystery, fluidity, and testing of her subject and objectification.
Ashley will collaborate with Harrison Hall to explore ideas surrounding purely, deeply crafted movement, structured improvisation scores and partnered movement. Ashley and Harrison will work towards a presentation of these ideas and research in 2017.
Ashley was born in Cairns and began dancing at the age of 7. Ashley graduated from the West Australian Academy of Performing Arts (WAAPA), with an Advanced Diploma of Performing Arts (Dance) in 2010, where she was awarded the, Dance Theatre of WA Award 2008, Leinster Award for Dance 2008, and the Hawaiian Award for Ballet 2010. During and after her training, Ashley spent four years performing with the West Australian Ballet. She received the award for, Outstanding Performance by a Female in Melbourne’s Short and Sweet Festival for her self-choreographed solo, Other in 2013, and was granted a successful recipient of the Australia Council’s ArtStart Grant 2014, during which time she danced in workshops and festivals across Europe and Asia. Upon returning to Australia, Ashley choreographed and performed Pearl for Lucy Guerin Inc.’s season of Pieces for Small Spaces. In 2015 Ashley performed in Melanie Lane’s work, Merge for Melbourne’s Dance Massive festival and began dancing full time with Dancenorth Australia. Her personal choreographic interests examine the infinite possibilities of the living/breathing/thinking body in relation to time, space, object and viewer.
Harrison is excited to the use the platform and space of the residency to research and explore without limit.
Harrison Ritchie-Jones graduated from the Victorian College of the Arts with a Bachelor of Fine Arts (Dance) in 2014. In 2013, he was awarded a Victorian College of the Arts Undergraduate Most Outstanding Creative Scholarship. He has worked with, and performed in creations by Stephanie Lake, Graeme Murphy, Rebecca Hilton, Lucy Guerin, Phillip Adams, Prue Lang, Shian Law, Rebecca Jenson and Alice Heyward, in commissions by Chunky Move, Tasdance, Lucy Guerin Inc. and The Australian Conservatoire of Ballet. He has also performed in the frame of Ludwigshafen Pfalzbau (Germany), Pieces For Small Spaces at Lucy Guerin Inc. (Melbourne), and Murray White Room Gallery, (Melbourne)
2016 STUDIO RESIDENTS
During 2015 Lucy Guerin Inc housed four studio residents and two Out of Time residents – below is a little information about what they did with the time and space.
This residency will provide space for initial stages of Sarah’s new work. Leading on from investigating the impact of objects on how the body is read, framed and valued, she is looking at relationships with space, size and scale; finding ways of extending or contracting physical size, personal expression or influence.
Sarah Aiken is a Melbourne based performer, choreographer and teacher originally from Bellingen, NSW. Sarah pursues an ongoing interest in how and what we value, utilizing dichotomies and clashes, aiming to create poignancy through absurdity. Through solo and collaborative practice, her work investigates the roles of audience, performer, subject and object. Performance credits include work by Maria Hassabi, Natalie Abbott, Jo Lloyd, Shian Law, Carlee Mellow, James Welsby, Brooke Stamp and Aphids, Deanne Butterworth/Linda Tegg , Ben Speth and Eliza Dybal. Sarah’s choreographic work includes SET (Dancehouse Housemate Residency 2015) Three Short Dances (Keir Choreographic Award, Dancehouse, Carriageworks 2014, Les Plateaux de la Briqueterie. Paris, 2015, Artshouse 10th Anniversary 2015), Set (Lucy Guerin Inc. Piece’s for Small Spaces, 2013, EDC Solo Festival of Dance 2014) Jurassic Arc (Dancehouse, Melbourne Fringe 2012, K77, Berlin 2012),) as well as a range of collaborative and interdisciplinary projects across music, live art, film, photography and visual arts. Together with Rebecca Jensen, Sarah has created OVERWORLD (Next Wave Festival 2014, Dance Massive 2015), Deep Soulful Sweats; a participatory, yogic, disco (Next Wave Festival/Speakeasy 2014, FOLA 2014, Dark MOFO 2014, Chunky Move (ongoing) and Upacara/Ritual (Dark MOFO 2015) and is in development for Underworld.
Chloe Chignell is using the LGI residency to develop her new work SOFT REALITY which will be exhibited at KINGS ARI in February 2016. She is using the residency as an opportunity to work with a large group of dancers focusing on choreography as a means of construction and habitation. SOFT REALITY aims to creates a landscape of vague images and porous bodies. It looks toward multiplicity and simulation as modes of producing relationships, inviting fiction to weave itself into the fibres of the real. Construction and habitation are two actions that lead the performance work; building environments, identities and things – a network of weak gestures, connecting and forming. In Soft Reality we make only one assertion; time does not pass, instead it rushes ahead, leaving us only with a network, spaces to move across and points of relation.
Chloe Chignell is a dance artist based in Melbourne. She has recently undertaken the DanceWEB scholarship at ImpulzTanz, Vienna. In early 2015 Chloe received an Ian Potter Travel Grant and Art Start enabling her to extend her choreographic practice through international travel and studio research. As a performer Chloe has worked for Marten Spangberg in ‘The Planet’ Performed at ImpulzTanz and Indigo Dance Festival, with Atlanta Eke on Miss Universal for Chunky Move’s Next Move and Gertrude Contemporary and performed in Aphids Forever Now at MONA. Chloe’s most recent work Towards Transparency premiered in The Melbourne Fringe Festival 2015. In 2014 she choreographed POST PHASE: The Summit is Blue presented by Dancehouse for Melbourne’s Fringe Festival and by The Canberra Theatre. The work was awarded a Space Grant at Dancehouse and a Curated Residency at QL2 dance in 2015. Chloe co-curates Dance Speaks a performance lecture program and she was apart of the 2015 Writers workshop for Dance Massive. Throughout 2014/2015 Chloe was also the Choreographic intern at Dancehouse supported by the Professional Pathways Scholarship.
Tim will begin development new work TAINTED TITLE, which looks at grey areas between what is thought, represented, felt, said and unsaid. The research for this work involves referencing and experimenting with texts and dialogues from the poetic, academic, theatrical, musical, physical, cinematic and mundane. From this process the group attempts to write ‘unknown languages’, apply principles of ‘translation’ between forms and expose ‘internal dialogues’ as performance.
Tim Darbyshire’s works employ physicality, choreography, sound, set and lighting design, visual installations and text, exploring ambiguities and paradox between performative states. Tim studied Dance at Queensland University of Technology (2003). His education has continued through programs including DanceWEB (Scholarship recipient in 2006 and 2009), Formation d’artiste Chorégraphique at Centre National de Danse Contemporaine (France 2006-2007) and Victoria University’s Solo Residency program (2008). He has worked with choreographers including Vera Mantero, Emmanuelle Huyhn, Nuno Bizarro, Meg Stuart, David Wampach, Marianne Baillot, Antonio Julio, Christine de Schmedt, Eszter Salamon, Shelley Lasica and Matthew Day. In 2012 he presented More or Less Concrete at Arts House, followed by a remount for Dance Massive in 2013 and a European premiere at Noorderzon Festival in the Netherlands. In 2014 he was commissioned to develop a short work for the Inaugural Keir Choreographic Awards as well as undertaking an IETM residency program in Europe and an exchange project between Campbelltown Arts Centre and Zodiac Centre for New Dance in Helsinki. His new work Stampede the Stampede premiered in Dance Massive 2015, after which he undertook an Australia Council Residency at La Cité internationale des Arts in Paris and is currently developing his next work TAINTED TITLE.
Prue will begin work on the STELLAR PROJECT, which will manifest as five distinct yet related choreographies drawn together under the governing principle of space + time via the body. Each part will explore a clearly articulated relationship to the governing principle and each will generate a unique physical language, theatrical state, mode of performance, aesthetic sensibility and ‘feel’. A hallmark of this project will be that each choreography will be created using all of the fives senses: SIGHT, TASTE, SOUND, SMELL and TOUCH.
After graduating from VCA, Prue joined Meryl Tankard’s Australian Dance Theatre. In 1996 she moved to France to work with Choreographic National Centre in Angers (Bouvier/Obadia), Compagnie Cre-Ange in Paris, as well as creating and facilitating her own independent projects. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett and The Forsythe Company. She created five original works for the company, some of which also toured independently. She is also a leading exponent of Forsythe’s improvisation technologies and a researcher with Motion Bank project. She has presented her work in international festivals, theatres and museums throughout the world including Theatre National de Chaillot Paris, Mousonturm Frankfurt, Tanzhaus NRW Düsseldorf, Tanzplatform Deutschland, HAU 3 Berlin, STUK Belguim, Festival Mettre-en-scene Rennes, Festival temps d’images Paris, Rencontres choregraphiques internationales de Seine-Saint-Denis, Mains d’oeuvres, Festival faits d’hiver Paris and TATE Modern London. She has been voted Most Innovative Production, Most Outstanding Choreographer and most Outstanding dancer by Europe’s Balletanz’s Annual Critics’ Survey, awarded in Hybrid Art by the Prix Ars Electronica, and won Green Room awards for her Design, Original Choreography and Best Ensemble in Australia. In 2014 she moved back to Melbourne to continue her work in Australia. She recently began the PLANT research lab from which to transmit, develop and create her work in Australia.
2016 OUT OF TIME STUDIO RESIDENTS
In addition to our main residents in 2016 Lucy Guerin Inc offered a new program called Out of Time Residencies – which provides studio space outside of normal Company hours, at weekends and evenings, for emerging artists to work on a new development. In 2016 our Out of Time Residents are Alice Heyward and Briarna Longville.
Alice will work on a new piece for her 2016 Keir Choreographic Award commission, which will be a collaboration between a dancer/choreographer, an illustrator and a sound designer. This will be the first development for a work that arises ‘from page to stage’, preceded by its choreographic notation. Alice is inspired by the written dances of the American choreographer, illustrator and author, Remy Charlip and wants to explore Pierre Bayard’s notion of ‘plagiat par anticipation’, the idea that choreography may be retrospectively influenced by its future articulation.
Alice Heyward’s choreographic investigations lie in the nexus between language and movement, posing kinaesthetic questions of perception and sensation. Her choreographies have been presented at Murray White Room Gallery (Melb), NAH DRAN (Berlin), PORCH Extended’ (Berlin), Sketch Gallery (London), MUDfest (Melb), First Run at Lucy Guerin Inc., ‘ORGI’ at Conduit Arts (Melb), ‘PAVE’ festival, and Melbourne Recital Centre. She was choreographic assistant to Judith Sanchez Ruiz in the creation of ‘Micro Revolution’ at ACUD MACHT NEU (Berlin). Alice has performed in works choreographed by Xavier Le Roy (FR), Alexandra Pirici (RO), Mia Lawrence (US), Simone Forti (IT/US), Maria Hassabi (CY/US), Stefan Dreher (GE), Hana Lee Erdman (GE/US), Alexa Wilson (NZ), Trisha Brown Dance Company (US), Becky Hilton (AU), Geoffrey Watson (AU), Chloe Chignell (AU), and Timothy Walsh (AU), among others, at The Venice Biennale ’15, Carriageworks (Syd), Berlin Art Week ’15, Meinblau Gallery (Berlin), Index Gallery (Stockholm), ‘Think Big’ festival (Munich), ‘DANCE 2015’ festival (Munich), Australian Centre for Contemporary Art (Melb), ‘Le Mouvement – Performing the City’ (Biel), Village Festival (Melb), Pieces for Small Spaces (LGI), Melbourne’s Short + Sweet Dance Festival, Next Wave Festival (Melb) ’16, and more.
During her time in the studio Bree will explore density, solidity and the elemental makeup of unnatural materials verses natural, living materials. She want’s these variations in objects and their composition to interrupt and explode the generation of movement, conjuring unique textures and modes of being to be harnessed throughout the creative process. She is interested in it being a textural experience for both performer and observer, with a sense of inclusion of the audience into the design and function of the performance space.
Briarna Longville is a Melbourne based dance artist. Graduating from the Victorian College of the Arts in 2011, Briarna received a professional Pathways Scholarship from the Victorian College of the Arts, providing a one year mentorship with Melbourne based dance company Lucy Guerin Inc. Since her mentorship year with Lucy Guerin Inc, Briarna has gone on to perform in Lilian Steiner’s Noise Quartet Meditation for Fringe Festival 2014, receiving a Green Room nomination for Best Female dancer. Throughout 2015 Briarna performed in Lucy Guerin Inc’s Motion Picture during Dance Massive 2015 and Kate Neill’s Semaphore, choreographed by Timothy Walsh. Briarna is currently working with Lilian Steiner on her new work for Next Wave festival 2016.
2015 STUDIO RESIDENTS
During 2015 Lucy Guerin Inc housed six studio residents – below is a little information about what they did with the time and space.
Matthew undertook a a one-week residency in May 2015 in order to develop research his new series of works tentatively titled Negotiations. He used the residency to develop a series of dances with objects. The mass, shape, and material of each thing determines the choreographies that become possible.
Matthew Day (1979) is interested in the potential of choreography to negotiate unorthodox relationships and propose new ways of being human. Utilising a minimalist approach Day often works with duration and repetition approaching the body as a site of infinite potential and choreography as a field of energetic intensity and exchange.
Raised in Sydney, Matthew was a teenage ballroom dancing champion. He studied Dance and Performance Studies in Sydney and Melbourne (2003-2005), and was an unofficial squatterstudent of the SNDO (2006-2009). Day has been artist in residence, and presented his work extensively in Australia and Europe. He is currently based between Melbourne and Amsterdam where he is undertaking his masters research at the Amsterdam Masters of Choreography.
This residency continued Liz Dunn’s exploration and development of Epiphany. Epiphany is a solo performance that physicalises a sustained, fluid, bodily state to articulate the tensions of becoming other–other gender, other sexuality, otherworldly.
Liz Dunn is a Melbourne-based interdisciplinary artist working across performance, movement, video, sound and collaborative models to explore shifting understandings and intersections of queerness, ecology, ‘nature’ and states of being. She was a 2014 recipient of a Performance Space Stephen Cummins Bequest Residency for Emerging Queer Performance, with mentorship from Martin Del Amo. She has been an Artistic Associate with Aphids since 2012.
Rennie used his residency to begin developing a new solo dance work titled Top & Bottom. In Top & Bottom he unpacked the aesthetics of beauty and ugliness through classic and contemporary physical manifestations of these ideals, and how by inhabiting incarnations at both ends of this scale his body becomes a site for movement between the two extremes, creating ambiguity in the distinctions.
Rennie McDougall is a Melbourne based performer, choreographer, teacher and writer. Since graduating from the Victorian College of the Arts, he has worked and performed extensively with Phillip Adams BalletLab as well as performing with Lucy Guerin Inc, Chunky Move, Belvoir Theatre, Luke George and Collaborators, Stephanie Lake, Lee Serle, as well as U.S. artists Wally Cardona and Jennifer Lacey. As well as nationally, he has performed in Luxembourg, Czech Republic, Germany, Scotland, Croatia, Denmark, Hong Kong, Taiwan and the U.S.
Rennie is currently commissioned by Phillip Adams BalletLab to choreograph work alongside Phillip Adams, Matthew Day and Luke George for Kingdom, premiering in Dance Massive 2015.
During this residency Lee continued working on his solo choreography ‘Restrict’.
Lee is a Melbourne based choreographer, performer and teacher. He creates work in varied contexts and forms; including dances for the stage, site-specific work, interactive performance in galleries and public spaces, and intimate solo dances. His works have been presented in Australia, New York, Lyon and Beirut, and has been commissioned to create new works for the Lyon Opera Ballet, Sydney Dance Company, Rolex Mentor and Protégé Arts Initiative, Lucy Guerin Inc., Next Wave, and the Victorian College of the Arts.
Lee was Protégé in Dance for the prestigious Rolex Mentor and Protégé Arts Initiative 2010-11; mentored by seminal American choreographer Trisha Brown. As an inaugural recipient of the Australia Council for the Arts, Creative Australia Fellowship in 2012-14, Lee embarked on a research and development period of his solo choreographic practice. Following this he has been an artist in residence at the Australian Centre for Contemporary Art, (also facilitated by the Australia Council for the Arts) culminating in a work 60 Second Dances, for Hannah Matthews’ curated exhibition Framed Movements for the 2014 Melbourne Festival.
Geoffrey used his residency to develop ‘Camel’- a performance project that he created for Next Wave’s 2015/16 Kickstart program. This work utilises his cross-disciplinary choreographic/design practice, and involves 4 movement performers (including himself) and live sound performance, to be created as part of the developments.
Geoffrey Watson is a Melbourne-based performing artist working with an interdisciplinary focus on dance and costume/wearable art. His dance practice relates to finding an embodied expression of music and rhythm. Geoffrey studied dance at the Australian Ballet School, graduating in 2010. Since then, he has been involved with Phillip Adams’ BalletLab, performing in Intervention for Saint Sebastian at the National Gallery of Victoria (2014) and has toured internationally in Aviary. Geoffrey was a recipient of the Australia Council’s ArtStart grant (2013) which enabled him to travel to Tokyo to perform with butoh theatre company Gekidan Kaitaisha, and to London where he studied design at Central Saint Martins.
Natalie Abbotts project is MAXIMUM. It is:
– A performance
– A duet between a dancer and bodybuilder
– An interrogation of body and endurance in live performance
– A physical manifestation of training and form, broken down to reveal two bodies, performing actions in space and through time.
Natalie is keen to get into the space to test ideas around costume/theatrical elements that will tie the work together conceptually. she is interested in the way body builders and dancers alter their bodies and train in specific ways to reach an end goal that is ultimately based on an external physicality.
Theo Clinkard is a British choreographer and performer based in Brighton, UK and will be visiting Australia in Feb 2014 for a two week residency with Lucy Guerin Inc. together with his composer James Keane. The residency will form an early stage in the development of ‘Chalk’, a new solo work conceived for presentation in unconventional spaces.
The solo is commissioned by The Liedtke Foundation and will have a UK premiere in June before touring throughout 2014 in a double bill with his new quintet, ‘Of Land and Tongue’
For the solo, Theo is using the huge eroding cliffs of his hometown as a point of departure. Undoing and rebuilding himself through a physical exploration into the dissolution of form and gently observing the metaphoric potential of this relatively abstract idea to tell us something about the human condition.
I CON is a performance interrelating the two themes of Death and Illusion to ask the question; What Is Contemporary?
The first developmental phase is ‘The Death of The Artist’ is supported by Lucy Guerin Inc. Studio Residency program a well as Arts House Nth Melbourne through CultureLab.
This phase will involve developing methods of impersonation; learning how to impersonate artists that have died, artists that in dying have become iconic.Atlanta will employ death as a metaphor for transformation; through the process of impersonating something from the past to produce the possibility of finding something new for the future. She interested in developing a movement material that can oscillate from the original iconic dances to new transformative by-products, movement operating as an allegory for how the present is continuously corrupted by traditions from the past and strategies aiming at future success.
Partly inspired by the controversial Milgram experiments from the 1960’s The Experiment will explore ideas of obedience and personal responsibility. Dancers: Amber Haines, Kyle Page, James Pham and Alana Everett. Composer and collaborator: Robin Fox
2013 Studio Residents
Ashley used his Studio Residency to further develop the work he made for Pieces for Small Spaces 2012. This work began the process of finding the best way of presenting, integrating and performing some of the disparate parts of Ashley’s solo and private studio based practice.
Michaela entered into a further choreographic development of her solo Lexicon for a Storm. This solo has been in development since 2010. An initial draft was presented at First Run at Lucy Guerin Inc in 2010 and an excerpt performed at Dancehouse’s 20th Anniversary performance Alive 20 Years! in June 2012.
SARAH AIKEN and REBECCA JENSEN
Amongst the next batch of Next wave, Kickstart artists, Sarah and Rebecca used their residency at Lucy Guerin Inc to develop their work for the 2014 festival. The work they are creating is “about the performative act of constructing identity within social media”. They are looking at the private becoming public, and what motivates us to share what we share, with our networks and the world. “We are all multi-disciplinary artists, you are creative, we’re creative, and everybody on YouTube is creative so what does this means for us as artists?”
Lilian worked on the first stage of a new creative project. Interested in discovering unique sensorial experiences for performers and audience alike, Lilian experimented with visual, sonic and kinetic elements and the energetic relationships between them to develop generous and encompassing environments. Exploration of the human form, sound and vibration, and light and colour is central to the research processes undertaken during the residency.
This Residency was the first development of a new solo work reflecting on the absence of body language in most contemporary communication scenarios. Alisdair asks the question – Are we loosing out on a fundamental part of human communication by socializing through technology? During the proposed residency he will investigate a series of solo choreographic concepts defined and limited by size, restricting the performance space in different geometrical ways. He wants to restrict his choreographic language in a physical way in order to focus on movement as a porthole to a personal space.
Jo is developing a new work NOISE with composer Duane Morrison, who she has worked with for ten years. Jo has been experimenting with various ways of uncovering movement based on thought patterns and the idea of viewing dance as ‘watching the thinking’. With Duane, Jo is developing and practicing methods to allow immediate thoughts to trigger known movement pathways, to keep the material live and offer new possibilities for the movement, sound and the viewer.
2012 Studio Residents
The creation of a new solo work Not About Face was Luke’s focus for his Residency in May/June. In this piece Luke is accessing the supernatural and the scientific as vocabularies for performative body and the performer/audience situation, as a way to explore what is perceiving, knowing and believing.
Do I need to believe it to perform it? Do I need to perform it to believe it? – Luke George
During his Residency Luke explored presence, energy, time and consciousness through the intersections and diversions between: performance; body; science; and the supernatural.
Choreographer/Performer: Luke George
Sound and Mixed Media: Nick Roux
Lighting Designer: Benjamin Cisterne
Dramaturgy: Martyn Coutts
Janine presented the very first draft of this project at First Run late 2011, followed by five months of developing the concepts and the thinking around the parts that caught her interest. In May at Lucy Guerin Inc Studio Janine continued to develop the work, this time inviting other dance artists to join the process, experimenting with transitioning from solo-research to group research. Janine is interested in investigating a series of questions about what kind of performance structure resonates most with the times we live in.
April / May 2012
Shian used his Residency for a creative development stage of BODY OBSCURE OBJECT. This is a part of his Personal Mythology series, a series of abstracted choreographic performances that simulate the form of rituals such as processions, ceremonies, and rites without prescribing a symbolic function and meaning.
Shian presented BODY OBSCURE OBJECT as a part of The Greater Asia Co-Prosperity Sphere in the 2012 Next Wave Festival. During this time he has been mentored by Jo Lloyd, under the JUMP mentorship program, a nationwide mentoring program for young and emerging artists. Shian was recently named ‘Dancer to Watch’ by Chris Boyd in Dance Australia.
Title: BODY OBSCURE OBJECT
Choreographer/Director: Shian Law
Dancers: Sarah Aiken, Rebecca Jensen, Melissa Jones, Shian Law, Peter wilson
Sound Design: Duane Morrison
Costume Designer: Michelle Boyde
Set/Lighting Designer: Matthew Adey
ANTONY HAMILTON with MELANIE LANE
Over February & March Antony undertook the final rehearsal/creative development for the premiere of his new work Black Project 1, at Arts House as part of the double bill Clouds Above Berlin alongside Melanie Lane’s Tilted Fawn
Performance dates: 7 – 11 March
2011 Studio Residents
Lee Serle began the first stage development of a new work P.O.V. Lee worked with dancers Lily Paskas, Kristy Ayre and Rennie McDougall. The creation of this work was instigated by his Rolex Protege Mentorship with Trisha Brown, New York.
Shelley’s Residency was used for a creative development stage of her latest work Collect presented at the Malthouse Theatre in November 2011.
COLLECT is a proposition toward a performance for all participants: the audience and the performers. How do we know what we know, how do the different ways of knowing reveal themselves in the act of performance and the act of witnessing performance?
Shelley Lasica November 2011
Luke George remounted NOWNOWNOW for the 2011 Dance Massive season at Dancehouse. NOWNOWNOW is also a Lucy Guerin Inc commission.
CAROLINE MEADEN, ALICE DIXON, MELISSA JONES with NAT CURSIO
‘The three weeks we spent at Lucy Guerin Inc was the beginning of what has now become Blizzard.
Blizzard is an experimental dance work in progress. Blizzard places three women in a stark environment that evokes, through its staging and choreography, a perception of a potentially hostile surrounding. The dancing bodies are acute listening devices; they are (as a group and as individuals) sites of study/questioning/curiosity… Blizzard is an intricate, delicate work of abstract dance yet also a container for traces of a narrative that tap into the viewer’s imagination, without dictating an interpretation.’ Alice Dixon, Melissa Jones and Caroline Meaden
Emerald City (working title)
This residency was Rennie’s second development of his new work Emerald City.
Performers: Lilian Steiner, Lily Paskas, James Shannon and Paula Lay.
Emerald City concerns a feeling of sedation and of diminishing visceral experience at the hands of constant visual stimulation. We watch, read and examine our world – or other worlds that people have imagined for us – from a comfortable distance, while 3D virtual-reality and online networking has infiltrated every facet of our social encounters.
The most influential of the synthetic visual environments is the cinematic landscape – our ultimate escape from reality where we drink in saturations of colour, movement and sound as a distraction from our physical present. The Wizard of OZ is a key reference. The moment that Dorothy steps into the technicolour world of OZ is an enjoyable parallel to the fantastical transportation that the cinema can achieve.
This project is two simultaneous studies. The first, for performer, is a test of our potential to awaken and relish in our sensory encounters. We aim to fully realise our visceral potential via the uninhibited movement language that we create through improvisation. The second enquiry, for audience, is how can we engage with dance beyond its visual seduction?
A chaotic and centrifugal movement language developed, which will lead us into a futher development in the second half of 2011.
This project has also been supported by Next Wave, Arts Victoria and Moriarty’s Project.
Born and raised in Melbourne, Rennie graduated from the Victorian College of the Arts in 2009. Whilst studying, Rennie began working with Phillip Adams at BalletLab and has since then worked with the company during developments and performances of Miracle, Aviary, Above, and Amplification. Rennie has also performed with Chunky Move (Mortal Engine, Mix Tape), Luke George (Now Now Now) and Phantom Limbs (The Memory Progressive), and has toured to New York, Hong Kong and Taipei as well as national touring. Rennie has created work for Lucy Guerin Inc’s With the Lot in 2009 and Next Wave Festival’s Sports Club Project in 2010, both curated by Kyle Kremerskothen. Rennie has received the Australia Council for the Arts’ ArtStart grant as well as support from Arts Victoria to help him develop his own practice as a choreographer.
NATALIE CURSIO and FIONA BRYANT
Natalie and Fiona used the Residency to work on a project concerned with flipping conventional hierarchical roles in dance making. In this instance, Fiona becomes responsible for directing a new dance work with Natalie as performer/collaborator. The Residency will help the pair to continue to establish their studio relationship; to understand the kind of conceptual and physical territory they wish to enter into; to illuminate, integrate, challenge and experiment with each other’s working habits; and to plan for the trajectory of the work’s future.
Paula established a mentorship with Ros Warby as part of a 2010 Artstart grant and became interested in learning about her solo practice in the context of her work with Deborah Hay. Paula worked with Ros to develop a small version of an adaptation from the solo Monumental in a format that was similar to the Deborah Hay Solo Residency. Paul and Ros decided to work intensively for one week, with an open practice where they could invite other participants, and then work one on one learning an adaptation from Monumental. The second week Paula worked on the solo in the studio, allowing the tools of the performance practice to feed into the solo work. Throughout this residency there was a particular focus on process and developing an understanding of what it is for Paula to be in the studio on her own.
JAMES BRENNAN and STEPHANIE LAKE
HOLY is the working title of a new performance created by James Brennan and Stephanie Lake. It marks the reunion of two artists ten years after their first collaboration – the highly successful PIGLET. The project tackles the subject of faith – diminished and evolving. Amongst its aims is the exposure of the personal consequences of a transition from belief to uncertainty, exploring what it means to still hold attraction for experiences of divinity, otherworldliness and rapture – outside of doctrine.
Choreography/ Direction: Stephanie Lake, James Brennan
Performers: Alisdair Macindoe, Amber Haines
James graduated from the VCA School of Drama in Acting in 2000. His original performance works have been presented in Australia and abroad. As performer and director he has worked in Australia, Europe/UK and the United States and is currently a member of Polish theatre company Gardzienice.
James was the recipient of the Keith and Elisabeth Murdoch Travelling Theatre Fellowship in 2009.
Stephanie has danced in the works of Lucy Guerin Inc, Chunky Move and Balletlab for over 10 years, touring the world. She has made more than 20 short works for companies including Chunky Move, the VCA, Stompin and LGinc. She has also made several large scale public dance works involving hundreds of public participants. In 2010 she presented Mix Tape commissioned by Chunky Move.
2010 Studio Residents
INTERSECTION, a site specific dance work that invites the audience to ponder and meditate on the majesty and emptiness of the urban wasteland. It will be a work that honours and monumentalizes the city’s forgotten places, and a fantastic vision of the urban environment as a kind of catacomb of cultures past.
Choreographer: Antony Hamilton
Performers: Melanie Lane, Alisdair Macindoe, Josh Mu and Lily Paskas
Composer: Robin Fox
Costume Designer: Paula Levis
Antony trained in dance in Sydney, Perth and New York. Since 1999 he has performed with the Australian Dance Theatre (Garry Stewart), Kage Physical Theatre (Kate Denborough), Chunky Move (Gideon Obarzanek) and Lucy Guerin Inc (Lucy Guerin) extensively throughout Australia and overseas.
As choreographer, he has worked both in Australia and abroad creating works for The Lyon Opera Ballet, Chunky Move, ADT, Dancenorth, LINK, The Victorian College of the Arts, Stompin and Rogue. He has also created short works for ADT’s Ignition seasons and Lucy Guerin Inc’s Pieces for Small Spaces seasons. In 2008 Antony directed and choreographed two full-length works Blazeblue Oneline and the Chunky Move commission I Like This co-directed by Byron Perry. In 2009 Blazeblue Oneline received two greenroom awards; Set and/or costume design, and Concept/Realisation.
Antony was the inaugural recipient of both the Russell Page Fellowship in 2004, and the Tanja Liedtke Fellowship in 2009. He was also winner of the Greenroom Award for Best Male Dancer in 2005, and the Helpmann Award for Best Male Dancer in 2009.
Luke George was in residence with the second stage of the creative development for his work NOWNOWNOW
Can we be ‘in the moment’?
NOW NOW NOW is a new full length dance performance by choreographer Luke George that proposes this question to its performers and audience. We seek to be in the moment, yet through the pursuit of this, we move further and further away from it. George is drawn to the paradox of this notion and how it parallels the act of performance – which is happening both in real time between the audience and the performer, and yet is highly constructed.
Choreographer: Luke George
Performers: Kristy Ayre, Timothy Harvey and Luke George
Design and Production: Bluebottle
Dramaturge: Martyn Coutts
The development of Now Now Now has been made possible through the generous support of The Keir Foundation, The Besen Family Foundation, Australia Council for the Arts and Lucy Guerin Inc.The first stage of development for this work was auspiced by Ausdance Victoria.
Tim Darbyshire hails from Australia. In 1992 he joined his father in a mid-life crisis by participating in a rock musical about a schizophrenic woman. The inevitable arrival of adolescence caused the death of Tim Darbyshire’s swimming career. He was later formally educated at Queensland University of Technology and found a Bachelor of Creative Industries (Dance). His first independent performance creation Room Service was born in Space 39 in Melbourne. He packed his bags for such experiences as the DanceWEB Scholarship Program (Impulstanz 2006 and 2009), one year at Centre Nationale de Danse Contemporaine (France) and Victoria University’s Solo Residency program. These experiences provoked him to consider and reconsider various methods of creation and practice. Recently he has been working in France, Portugal and Norway within the collaborative framework of Sweet and Tender Collaborations. He has been developing a solo work entitled Buckets and Other Things as well as working as a performer for David Wampach’s Battement and Meg Stuarts Re-Run. In 2008 he performed in two pieces created by Marianne Baillot and António Júlio for Portuguese dance company Companhia Instável (Unstable Company). In 2009 he performed for Eszter Salamon and Christine De Smedt’s Transformers project at Impulstanz. Recently he completed a Housemate Residency at Dancehouse in Melbourne.
Rennie McDougall graduated from the Victorian College of the Arts with a Bachelor of Dance in 2009. In 2009, Rennie toured to the MONA FOMA festival with BalletLab, performing an excerpt from Miracle. Since then he has become a member of BalletLab, working on Aviary in collaboration with the Australian Ballet, as well as future projects and touring with Amplification and Miracle. Rennie has also worked with Chunky Move on the New Move commission choreographed by Stephanie Lake, Live to Air, as well as performing and touring Mortal Engine in 2010. Rennie is a member of Phantom Limbs, developing and performing in The Memory Progressive in 2010. Rennie has presented his own choreography in Lucy Guerin Inc.’s With the Lot, a chain-curated dance event by Kyle Kremerskothen, as well as at several First Run series. He is a collaborating artist and choreographer for The Sports Club Project for Next Wave festival in 2010.
Holly is a performer and creator in many contexts. She if a founding member of Rogue, a collective of dancers & choreographers that has created & performed work in Australia & overseas. Rogue have performed sell-out seasons in the 2009 Dance Massive Festival, the 2008 Next Wave Festival, and Lucy Guerin Inc’s Pieces For Small Spaces in 2007. This year their work Ocular Proof directed by Holly will tour to Modafe festival in Korea and Macrobert Fest in Scotland.
Holly has collaborated with independent choreographers Jade Dewi Tyas Tunggal, Ivan Thorley, Natalie Cursio and Susan Van Den Ham. Holly has also been making and performing numerous short works with Harriet Ritchie for Finucaine and Smith’s The Burlesque Hour, Salon D’dance, and The Carnival of Mysteries since 2008. In 2010 The Carnival of Mysteries will feature in the Melbourne International Arts Festival and The Burlesque Hour will be touring to Europe.
Alisdair Macindoe and Adam Synnott are currently in residence with the second stage creative development of Bromance.
This work explores the life-long negotiation of trust, rivalry and responsibility that is built from childhood between brothers.
Bromance will premiere at this years Next Wave Festival.
Director/Choreographer/Sound Designer: Alisdair Macindoe
Choreographer/Computer and Video Affects: Adam Synnott
Dancers: Alisdair Macindoe, Jay Robinson, Lee Serle and Adam Synnott
Bromance is co- commissioned by Lucy Guerin Inc, Next Wave and Performance Space