VAULT talks to choreographer Jo Lloyd about the psychology of her craft and the importance of collaboration.
“More and more, it’s the intimate relationships that happen in performance – and they’re not so obvious,” says choreographer Jo Lloyd about what interests her. “It’s the psychology behind the choreography – the psychology of the behaviour in it – and the negotiation between performers.”
Based in Melbourne, Lloyd has presented work in the Biennale of Sydney, Liveworks and Dark Mofo, as well as in New York, Japan and Hong Kong. Her works often treat dance as a form of social encounter. They are highly choreographed but involve a lot of variability and choice for performers. It’s an approach that draws out those processes of observation, modulation and response that we, as social creatures, engage in constantly, almost without thinking.
Rhonda Hamlyn’s decade-long collaboration with her mother Susannah (Beatrice) Hamlyn was intense, involving long hours at home together making layered, densely embroidered textiles. They called these works patterned rugs, and later also wall hangings, but the suggestion of soft furnishings was misleading.
They were not entirely abstract or representational, but instead offered slow synaesthetic meditations on language, meaning, sensation and experience.
Their works were not easy to categorise. Rhonda Hamlyn (1944–2015) and Susannah Hamlyn (1916–1994) began their collaboration in the early 1980s, at a time when clear pigeonholes existed for women’s textile work. Their rugs drew on handiwork traditions, shared knowledge and collaborative practice, but did not slot easily into these narratives.
Full story in the Spring 2020 issue of Art Monthly.
“Repetition, the photograph, the copy—all of those were methods to find a deeper connection,” says Lindy Lee, reflecting on the threads running through her diverse 35-year practice. In that time, she has worked with photocopies, photographs, ink, wax, bronze, paper, steel and fire. She has developed a vivid and symbolic language of colour and then moved towards somethings much more austere. “To me, it’s this continuous journey,” she says. Continue reading “Lindy Lee”→
Patrizia Biondi works with discarded cardboard but, as she says, “it’s treated as if it was a precious material”. She labours over every piece—cutting, sanding, gluing and cleaning, often multiple times over. “I treat every little piece of cardboard with dignity.” Continue reading “Patrizia Biondi”→
Renee So began working with ceramics around the time she moved from Melbourne to London in the mid 2000s. “I was doing lots of research into European trade in the 1700s,” she says. “European trade with China and porcelain were a big catalyst for that and the subsequent ceramics industry in Europe, so I became interested in that material. It had this Chinese identity and provenance…It was sort of the first thing about China was desirable to Europe.”
Full story in issue 91 of Art Collector. Portrait pic by Richard Eaton.
“Most of the work I do starts with drawing,” says Tom Blake about his wide-ranging practice. These drawings are then fragmented and redrawn, and the new compositions incorporated into cyanotypes, hand-etched desilvered mirrors, mobiles and installations. […] “The repetition is key for me. Continue reading “Tom Blake”→
Casey Jeffery takes the patterns and folds of fabric and flattens them into abstract paintings. They are immediately recognisable as textiles. Interno (Natale), 2018, uses the kind of stylised floral found on vintage curtains. Reveal, 2018, takes the striped ticking used on awnings, but gives it a flip so that it appears more like a Tomma Abts painting. […] “Textiles are a wormhole of possibilities when you use it as the point of reference for a painting,” she says. “I’m interested in utilising the flatness of the painting surface and warping that depth and perception.”
Full story in the print edition of Art Collector, issue 91, January-March 2020.