Section 32 is a work by Clare McCracken with key collaborators, Brienna Macnish and Robert D Jordan. They are supported by associate artist, Jessie Stanley and performers Ernesto Muñoz, Isabella Vadiveloo and Kasey Gambling. Publicity by Eleanor Howlett for Sassy Red PR.
Clare McCracken lead artist, creative producer
Clare McCracken is a mixed-media artist and PhD candidate at RMIT University, researching methodologies of participatory art in the age of hyper mobility. She is the recipient of the prestigious Vice-Chancellor’s Scholarship.
Through her practice Clare explores place and identity through narrative, performance, images and installations. Her practice is often site-specific and participatory in nature, involving the direct participation of communities in its development. Clare’s current practice has two distinct styles, a collaborative contemporary theatre model, where she works as a designer and key collaborator along side a group of theatre makers to produce site-specific immersive theatre works, and as a visual artist, producing installations and fine art objects for public space and the gallery.
Clare has installed over 30 temporary public artworks across ten municipalities in Melbourne as well as at Federation Square and 600 Bourke Street. In 2009 she installed Speed Cheek, a permanent installation beside the EastLink shared-user path in Noble Park. She also has permanent works installed at the Post Office Hotel, Richmond, along the Victorian Rail Corridor at Diggers Rest and Sunbury and at the Abbey Hotel in Hobart, Tasmania. Clare’s work has been exhibited in Melbourne and internationally over the last eight years including at the National Gallery of Victoria’s Kids Corner, Gallery Smith, Sa Sa Bassac gallery in Cambodia, at the German Consulate in Shanghai and the Stadtishe Galerie in Reutlingen, Germany. Clare’s work is included in private collections and the State Library of Victoria’s rare books collection.
Clare has worked collaboratively on immersive, contemporary theatre works since 2012 working as a designer on Talon Salon, an audio theatre work supported by Next Wave 2012, on two works for the Knox City Council; The Locker Room in 2014 and Spinning Yarns in 2013 and on The Becalmed Heart which was presented as part of the Underbelly Arts Festival on Cockatoo Island in 2015 and was supported by Creative Victoria and the Australia Council.
Brienna Macnish key collaborator, performance director
Brienna Macnish is an emerging artist based in Melbourne; she creates formally diverse multi-art form projects that are characterised by an interest in story-rich sites and socially relevant content. Her practice sits at the intersection of innovation and inclusivity and is concerned with sharing stories that are underrepresented in a contemporary arts context. Brienna is am driven by a deep respect for audiences and seek to create outstanding art that is accessible to and in conversation with both arts-literate and newcomer audiences.
Most recently, Brienna VILLAGE at Junction Arts Festival in Launceston, 7-11 September. VILLAGE was the second part in a trilogy of works about the changing experience of ageing in contemporary Australia. VILLAGE was created in collaboration with the residents of retirement villages and explored what it means to build new communities in your older age.
In 2015, Brienna presented The Becalmed Heart, a large-scale immersive installation created from over 20,000 plastic grocery bags at Underbelly Festival, Sydney. The project, created with collaborators Clare McCracken and Robert D Jordan was an audience favourite and described by Fenella Kernebone as, “…a powerful reflection on consumption…our relationship with nature and the impact of climate change, executed in the most brutally beautiful way.”
In 2014, Brienna presented HOME at Next Wave Festival. HOME was a site-specific audio work that invited individual audience members into the deserted home of a stranger. As they explored the house, audience members listened to crafted documentary interviews that spoke about ageing. Specifically, the experience of being the last one left in a home when your children are grown and partner is gone. HOME enjoyed a sold out season and was nominated for a Green Room Award for "Outstanding contribution to contemporary performance by an emerging artist".
Brienna is currently completing her Masters of Art in Public Space at RMIT University.
Robert D Jordan key colaborator, sound design, composition and system design
Robert Jordan is a Melbourne based composer, sound designer, video artist and experimental electronics developer. Robert graduated from a Bachelor of Animation and Interactive Media from RMIT in 2009. He then completed a post-graduate diploma in Performance Creation (Production, Sound) from the Victorian College of the Arts in 2011.
As well as creating sound design for traditional theatre and dance Robert is passionate about exploring the creatively fertile intersection between art and technology. His work is often characterised by an unusual and sophisticated use of audio, interactive technology and custom AV system designs.
In 2015, through the Gertrude Street Festival’s inaugural mentoring program, Robert presented Pulse TV’s a series of stand-alone screen works for public space, these small electronic “creatures” were mounted upon street-sign poles and responded to human touch with sound and video “chatter”. In 2014, Robert created the City Scanner, a wearable kit for exploring and synthesising the unseen forces of the city. City Scanner analysed the electromagnetic radiation, air content and infra-red light spectrum to create sound-art.
Robert has recently collaborated on: Kids vs. Art by Field Theory a keynote project for Melbourne Fringe Festival ’16, VILLAGE an audio-installation with Brienna Macnish and Clare McCracken, Vanitas, an interactive smart phone app by Robert Walton and Jason Maling as part of the Festival of Live Art 2016, The Becalmed Heart a large scale immersive installation with Brienna Macnish and Clare McCracken (Underbelly Festival, 2015), POV, an augmented reality work for young audiences by Arena Theatre Company 2015, A Singular Phenomenon, an interactive contemporary performance work (Aphids/Malthouse Theatre, 2015), HOME, a site specific audio-theatre work by Brienna Macnish (Next Wave Festival, 2014), Beached by Melissa Bubnic, Dir. Petra Kalive (Melbourne Theatre Company 2013) and Pale Blue Dot by Optic Nerve Dir. Tanya Gerstle, (Helium at Malthouse 2012).
Robert also produces limited edition audio and video synths under the name Cat Full of Ghosts.
Jessie Stanley associate artist
Jessie Stanley was born in Australia in 1977. Education includes a Bachelor of Visual Communication, Monash University (graduated 2001), and Masters of Art in Public Space, RMIT, (current study 2016). Her approach to design and visual art was inspired from the outset by the ‘First Things First Manifesto’: a call to designers to focus their practice on creating things with cultural or educational value. A desire to engage with signatories of the manifesto inspired her to travel to Europe – where she undertook an internship at Fabrica (Italy) and Studio Dumbar (Holland) in 2002.
In 2003 she founded Foundry (2003-2012): a design studio focusing on cultural projects, self initiated exhibitions, installations and boutique paper ephemera. Her design/visual art projects have received international recognition; awards include the Type Directors Club of New York, Premiers Design Awards, and Australian Graphic Design Association, and have been exhibited internationally.
She has exhibited in numerous solo and group exhibitions including Today Tomorrow (2009) State of Design Festival, Modern Craftsmen Commission (2011) Pin-up Gallery, and The Distance Between You and Me (2015) Castlemaine State Festival.
Kasey Gambling performer
Kasey is an actor, theatre maker and founding member of independent theatre company The Honeytrap. A graduate of the Victorian College of the Arts (Music Theatre), Kasey went on to train in Meisner Technique at Ward Studio in both New York and Melbourne. Credits include: Miss Fisher’s Murder Mysteries (Every Cloud Productions), Neighbours (Fremantle Media), The Ring Cycle, The Barber of Seville (Opera Australia) and Pizza Man (Doppelganger). Kasey co-devised and performed in immersive theatrical productions Beware the Youth and Are You There, Louise Lovely? (Little Sister Projects) and is also co-creator and writer of web series Catey & Laura (The Honeytrap). More recently, Kasey co-developed Real Piece of Work (The Honeytrap) and wrote and directed The Maze for Melbourne Fringe 2016.
Arun (Ernesto) Muñoz was born in Chile and arrived in Australia in 1977.
He trained in Bharata-Natyam and Odissi dance under Dr Chandrabhanu and was a founder member of Bharatam Dance Company, working as a principal dancer, rehearsal master, vocalist and teacher of classical Indian dance. He toured nationallyand internationally, presenting classical Indian dance, experimental works and dance in education programs.
In 1997 he was one of two N.S.W recipients of the Australia Council Emerging Choreographers Initiative, and he was also awarded a Fellowship by the Australian Choreographic Centre in Canberra.
He holds a Post-Graduate Diploma in choreography from the Victorian College of the Arts and his choreographic credits include: Pericles Bell Shakespeare Company (1995), Venus and Adonis (1996),Winner of the best performance Award, Sydney Gay and Lesbian Mardi Gras, Muscular Furniture and Other Sexualities (1997), Senesino (1997),Australia Council Performance Grant and SGLMD as part of Mardi Gras 21 Anniversary, Perspicacity, Australia Council Creative Development Grant (1998),Vortex Memory Landscape (1998/1999), Space Between the Light (2000), Australia Council Creative Development Grant, Site Speci c Performance at the Sculpture Garden, National Art Gallery Canberra.
In 2000 Arun was part of the choreographic core group of New Moves International Choreographic Lab, Adelaide Festival/ New Moves Dance Festival, Glasgow.
He spent the following 12 years working in Spain collaborating with local and international performer including Collete Sadler in Berlin, Clare Dyson at theCite Internationale d’Arts Paris,Vicente Saez Company,Valencia Spain.
Arun returned to Australia in 2013 to study Photography at CATC Design School where he has been developing his visual arts practice. His passion for understanding the spectrum of the human condition has been, and still is, the underpinning fabric of his creative work.
Isabella Vadiveloo performer
Isabella is an independant actor, director and maker whose training has primarily focused on text based acting and directing, devising methodologies and physical performance. She has completed study with St. Martins Youth Theatre, The Dig Collective’s Unprovoked residency at the University of Melbourne, Zen Zen Zo Physical actor training and Chunky Move dance training programs.
As a performer and devisor she was a member of the Dig Collective, and has appeared in The Fury, Summer of the 17th Doll and Third Person for Union House Theatre, Macbeth for the Melbourne University Shakespeare Company, Pigeon Life and Gastronomical Heights for Grub Theatre and Time and the Room for Periscope Productions. She directed Man Zoo and Hotel both for Until Monstrous, Scratch for TiNA festival and was movement director for Four Letter Word’s production of Equus. Her performance making credits include You have the Right to Feel Frustrated development for Small and Loud, Milk and Mess Safari produced by the Dig Collective. She was also one of 25 dancers featured in Trilogy by Nic Green earlier this year. In 2015 she was the Artistic Director of Mudfest, the University of Melbourne’s drama festival.