Previous Work

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A Form Arriving at Mars Gallery.

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Alto Air, 2019 -2021

Alto Air was shown over two days at Temperance Hall.  Three dancers performed every 9 minutes for varied times of between 4-9 minutes with a correlating sound score for the form they were presenting.  A score of “standing waves” was played during the moments between the dancers being in the space.   The wave forms created directional lines of sensory engagement from the speakers that the audience’s bodies could feel when crossing.  The audience were invited to take any vantage point within the space.

belle bassin, contemporary art, performance art, temperance hall

belle bassin, contemporary art, performance art, temperance hall, sculpture

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Alto Air, installation stills, wood, acrylic on linen, with Jessie Oshodi, Sarah Mealor, Claire Leske.

In Your Place, An Empty Space 2017-2018

Tarrawarra Biennale 2018: From Will to Form, Tarrawarra Museum of Art

In your place, an empty space, presents the viewer with a section of the gallery that has been energetically induced by a mystic.  Within this charged space exist a network of expressions.   Dirt is removed from the TarraWarra grounds and brought into the gallery. The figure-eight is then further presented within this charged and opened space as physical movement, smell, biological forms, spoken text and in a musical score.  These foundations were built upon throughout the exhibition through collaborations to enact a series of responses including movement and film works—each of which articulates the passage of these psychic forms and forces as they have been pulled into form.

Artwork, video art, installation, performance art, biological art, belle bassin artwork,

Photo: Keelan O Hehir
Mel Deerson &Belle Bassin performing A-Z an aerobics lesson

In Your Place, an Empty Space. Photo: Keelan O Hehir

Kythira from Belle Bassin on Vimeo.

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To Eat Glass 2015-2017

To Eat Glass explores the hidden movement of biomorphic and geometric abstract shapes found in early Modernist and Dada paintings.  Focusing on the kinaesthetic qualities of still shapes found in abstract paintings, the work evolved to be a painting that deconstructs and reconstructs to be something a body can crawl inside, and become animate.  Resulting in a ‘dance of a painting’ work, that includes live performance, video works and sculptural artefacts. The live performance is only documented in still images. While a video work depicts a portion of the work suspended as a human art object in an isolated temporality.   Glass, installation view, 2 channel video projection and sculptural elements, 2016

Confetti, (excerpt from) total video run time is 8:34 sec (with Benjamin Hancock)

Installation view, when the dancers are not animating the painting.

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