you might not come back from’for Continuum Sax and Clocked
Out ensembles. The resulting work was a 60-minute piece for saxophones,
piano and percussion. ‘Dreams
you might not come back from’ was developed through
composition, improvisation and recording.Continuum Sax and Clocked out met in April for a weeks residency at Bundanon, NSW.
19th October, 2011: Brisbane
22nd October,2011: Concert
at the Campbelltown Arts Centre
Frozen Words for Voice, Recorders, Clarinets and
live electronics. A collaboration with Hans-Dieter Michatz & Nadia Piave
My original inspiration for Frozen Words was from
Rabelais’ Gargantua and Pantagruel and his wonderful image of ‘Frozen Words’. Gargantua
and Pantagruel are on a sea voyage exploring the world and they when they heard
sounds faint in the air. As they listened carefully, the sounds grew louder.
They could distinguish voices: "It was terrible to see nothing, yet to
hear voices of men, women, children, and horses." (at p. 647)
Panurge hid, terrified of the battle he heard,
Pantagruel questioned the Captain-there was no signs of battle. The Captain
told him that the ship had passed through this same space the previous winter,
where a terrible battle had ensued. They were lucky to have escaped with their
lives. But now, all they were hearing were the words and sounds that had frozen
in the winter battle, melting now in the Spring. The lesson from this satirical
story is that “what you say may come back to haunt you” This train of thought
got me thinking of that image of Frozen Words and finding songs of words unsaid,
never to be said, a comical performance of text and exploring the themes re-negotiation of public and
private spheres in our contemporary society.
A ‘work in progress’ performance of my song cycle
Frozen Words took place in June 2010. This proposal is to expand and develop
the possibilities of Frozen Words into a larger work with myself performing
with Hans and Nadia, and incorporating live electronics into the performance.
3rd July 2009
Dido Remix 09rediscovering the art music tradition has inspired
many musicians’ imagination for the Florentine Cammerata to Gluck to Michael Nyman.
Combining the innovation and clarity of early music scholarship and the
creativity of improvisation and sound design. The Australian Institute presented Purcell’s opera
Dido and Aeneas through a contemporary lens in and innovative and striking
reinterpretation as Dido Remix 09.
Dust and Decay was a collaboration with performance artist Ashley
Dyer with myself, percussionist Claire Edwardes, projection artist Rachael
Brown and writer Willoh Weiland. Largely inspired by the time based art of Andy
Golsdworthy, Dust and Decay is a new
interdisciplinary performance exploring life, death and the interconnectedness
of our lives through story, song, dance and image. Dust and Decay was supported by the national mentoring initiative, SPARK
Young Artists program
February-2nd March 2008
Restrung: A New
Chamber Festival at The Brisbane
Powerhouse. Each group contributes a piece for the Six Pack symphony, the line
up was the Brodsky Quartet, Wood, Clocked Out Duo, David Chesworth Ensemble, Continuum
Sax and Topology.
25th May 2008, 2.30 pm at Sydney Conservatoriom Music Café,
Grevillea Ensemble 2008 series.
The premiere of my work Weereewa/Lake George for Voice, Flute and Piano. The text that I will use for this work is going to be sourced from the work of Lidija Šimkutė, a bi-lingual poet (Lithuanian and Englist) living in South Australia. Lidija has performed some of this work on Lake George as part of a dance installation project in the Weereewa/Lake George Festival in 2002.I have long
been spiritually drawn to the landscape of Lake George,
midway between Melbourne and Sydney. Lake George
is characterised by historical, archaeological and environmental significance,
many artists have been inspired by this unique landscape.