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Contemporary Arts: Performance tour and engagement as reportage
Documentation of Contemporary arts practice

Engagement with installation practice is facilitated through Russell Milledge and includes collaborative decision-making and lateral cross artform utilisation. 'the wild edge' installations involved the suspension of rocks, blocks of ice and derelict metal, either by piano wire or stainless steel cable. The rocks varied in weight and color, the average weight being approx 40 kg. These rocks would ideally be obtained locally to the installation site, but as in the Choreographic Centre the rocks were obtained from landscape supplies. The rocks are then prepared by drilling and setting dynabolt eyebolts to the rocks. A pallet jack or some similar trolley devise helps to manoeuvre the rocks into place; they are then rated for weight and hung appropriately by either piano wire or stainless steel cable. Initially the rocks were to be used to produce sound through bowing or hitting the wires while the weight of the rock provided the tension in the wire or cable. Although we were unable to research the suspended rocks to there full sound making potential we did however work with this installation in a choreographic relationship and continued to introduce the suspended rocks into subsequent venues.

The ice sculptures were prepared over a six-day freeze period with pebbles frozen into the ice. Also partly frozen into the ice stainless steel eyebolts and steel plates used to suspend the 80kg blocks. Stainless steel cable was used to suspend the blocks and a pulley was utilised so as to allow the lowering and raising of the blocks before and after each performance. A 500 ltr chest freezer was used to preserve the ice between performances. The ice would slowly melt throughout the performance and as it did so pebbles would drop at intervals as the melting released them from the ice. Underneath was positioned stainless steel bowls, partly to collect the dripping water and also to produce some sound sculpture qualities. The audience found the suspended ice sculpture particularly attractive, and it was almost irresistible to touch.

The derelict metal installation was possibly the most obvious although complemented the other suspended installation pieces very well. It was also used as a sound sculpture with musicians taking advantage of whatever was set up for them. Metal tubes as used for irrigation were used as tubular bells and created a spectacular visual effect due mostly to their size and length.

A floor installation was also adapted from romantic tutus. This ‘tutu field’ was constructed of up to eight tutus with internal lighting and detailing such as acetate floor discs and glass light domes. The lighting system used was low voltage quartz halogen lamps that could be patched to a dimmer and used to great effect in the performances.

The photographic exhibition uses approximately 24 images recorded by Glen O’Malley over the development project. The exhibition has been developed along side choreographic and video / digital art work and sound composition. This cross fertilisation has produced stimulus for each artist to interpret collaboratively or personally through a given medium.

Large photograms were produced by Glen O’Malley, Russell Milledge and Rebecca Youdell. These have been used in the performance staging for which they were originally developed. There are eight photograms depicting shadows of the human body. These figures were recorded on photographic paper and then mounted on to foamcore.

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