Out of the twelve of the Proximity performances I’ve participated in over the last few days, I’ve found Mish Grigor’s Sex Talk the most difficult to write about. Not because I’m a prude about sex, but because I feel like I know Mish quite well and I can’t be objective. I don’t, actually, know Mish […]Read more "Being Mish’s Mum"
You can’t get your hands on fireworks very easily in this country (with the exception of the Northern Territory on it’s “cracker night”). Up to a few years ago some friends would drive over the border to Canberra and buy them from there, but even the nation’s capital is now off-limits. They have become illicit to […]Read more "Rooftop Chemistry"
By the time my family migrated to Perth from Birmingham in the UK in 1989, the Hutt River Province in Western Australia had claimed itself a separate nation for almost 20 years. At the time of our arrival I don’t think my family had given a lot of thought to Australian independence, or to the the idea of an Australian […]Read more "Utopia for one"
I feel like I walked into Chloe Flockart’s work Monopolly like a clown with massive prosthetic feet, stomping over everything that was delicate or nuanced in the work and then making metaphorical fart noises with my armpits. It was certainly a work involving body parts (not mine) and their respective functions, but I chose to play the horror […]Read more "Playing the horror show as a comedy"
A couple of days ago, while taking a break from Proximity Festival and the writing of it, I bumped into two friends I hadn’t seen for at least ten years. Christina and Beth were watching over Christina’s two small children as they explored the remediated wetlands adjacent to the Art Gallery of WA. After overcoming […]Read more "Archaeology of the Ephemeral"
I’ve participated in a previous iteration of Jo Bannon’s Dead Line before, at the In Between Time festival in Bristol back in 2012. It’s a conversation held over an analogue telephone in a quiet room. It’s confidential and undocumented by the artist. There are no disclaimers about “recording for training purposes, only”, quite the opposite actually. Bannon’s […]Read more "Death and the Other"
Deep, bassy sound is so comforting to me that I’ve nodded off at gigs which should have held me at the edge of my seat. Leon Ewing’s “Raised by Brutalism” created a cavern for bass in one of the security access stairwells of AGWA, that is lit only by a circular window from the roof […]Read more "Brutal resonance in a place of one’s own"