Every Day I Wait Museum of Brisbane 2017/18 exhibited alongside 'Mao's Last Dancer' 

I was asked to make an 'interactive' work drawing upon a series of video works made in 2012 in which I explored ballet as a language of yearning.  I also drew upon the compositions of Erik Griswold and Vanessa Tomlinson whose percussive compositons are often performed on toy pianos.

Having performed in the Queensland Ballet Company I identify with ballet - its strange form in relation to life in the 21st century and more significantly ballet as an art form in Queensland Australia.  As a child I was obsessed with ballet, it promised so much. Beyond the real it transports both the dancer and hopefully the audience into a European dream - conjured up hundreds of years ago in a political and social culture so removed from Australian culture.  Swan Lake for example is drawn from a dreaming of the swans in the landscaped gardens morphing into human form, transcending gravity, perhaps existing as a spirit beyond the grave.  I bought this fantasy and committed years of training into it - this work reflects back on that and explores the reality - the conundrum that exists both culturally and within the discipline and form of ballet itself.

I used algorithmic interaction in one work for the first time - working with a coding practitioner and a motion capture camera to define rules of engagement for the viewer - aiming to create a sense of weightlessness.  On the other wall a simple shadow play for children is facilitated through a work that comes out of 'Wet Motion' 2010, 'Glide' 2013.  Video is projected onto a grey screen and I choose pixels from surrounding landscape through photographs taken in different light situations.  I then allow the software to determine how one colour changes into another.  At the Museum this wall is flanked by a video of Lisa Bolte.  She is performing to audio (not played in this work) of a jazz singer who specialises in throat singing recorded at Banff Centre for the Arts.  Her movements reflect a kind of modern day Dying Swan  narrative - one of transformation.  I created a particular light situation in which her movements are revealed and concealed under theatrical light.  Together with the circle of colour her figure moves in synch with colour gradients.  The work is meant to engage children in their own shadow and the figure of Lisa in motion.