I’ve dedicated my entire artistic practice to live performance.
In 2018 I premiered a piece that at its core invited the audience to continually engage with the relationship between sound, movement and visuals. I wanted the audience to be absolutely immersed in the experience, present in space and time, and constantly questioning what was happening before their eyes and ears. The piece starts with the manipulation of a spoken introduction, in real-time, on a custom gestural instrument I co-designed with a close computer programmer friend. Both sound and visuals, created by another invaluable collaborator, are then triggered with a clear strike through the air – laser like lights float in between me and the audience on a transparent scrim as sounds, originally created by another long term collaborator, magically fly around the room as if they were on the end of long sonic whips. I wanted to set up an expectation of control over all elements of the performance that would be broken down and reassembled over the course of the hour long set of electronically produced music, revealing an intimate completely acoustic drum solo in the middle and ending with an entrancing geometric tunnel-vision polyrhythmic onslaught to invite the audience to attain a different state of consciousness. A shared consciousness, a shared experience with those around them, and the ability to have a drink and dream up new technologies after the performance.
Now, the reality of performances since COVID-19, at least in Melbourne for the time being, is to stream live shows. And though the quality and originality of streams is constantly improving and evolving, most performances are solo bedroom performances, and they feel more like safe ‘content’ than risk taking ‘art.’