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Charlotte Farrell

@charlottefarrellperformance

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performance maker & academic // co-founder of @__bodyofwork__ // author of Barrie Kosky on the Contemporary Australian Stage 📚

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naarm by night✨

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Working Memory transformed White Bay Power Station into a living, breathing archive where performance, memory and place collided ✨

The weekend saw six new Australian works premiere in a free and publicly accessible program ranging from high-energy raves to moments of pause and reflection.

Congratulations to all the incredible artists and their audience who made Working Memory unforgettable.

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Weekend plans = sorted with Working Memory at White Bay Power Station 🔥👀

Catch experimental performance THIS Saturday 11 and Sunday 12 April for @biennalesydney.

Free (bookings essential for Wetlands only): link in bio

📸 Daniel Boyd

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THIS WEEKEND, we work. A labour of love, generated by us. Makin' power to herald a revolution of femme//trans//lesbionic//anti-work werk powaaaa 😤💪⚡️👯‍♀️

WORKERS' WIVES
White Bay Power Station
11th - 12th of April, 2-4pm
Free Entry ❣️

Commissioned by @innerwestcouncil for @biennalesydney

Photos by @daniel.boud

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This was the sort of commission I relish - photographing the artists @innerwestcouncil has programmed for the @biennalesydney as part of ‘Working Memory’, a “dynamic program of experimental performance works”. And we had the run of @whitebaypowerstation to capture it in.

These artists were such wonderful collaborators. Their actual work/performance is still in development, so there was quite a bit of improvising on an idea rather than a literal representation of what the performance piece will be.

Thanks to all.
@redredredredred, @kitchn___sync, @amrita_moves, @string_of_pearls_productions, @laurenbrincatstudio, @jorthing, @highlystrungpuppets, @__bodyofwork__, @charlottefarrellperformance, @bettygrumble, @gangajan, @infinite.complexity, @amorphousgay @dontcallmeshellyeither @amyliaharris

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Introducing Working Memory: Inner West Council’s major performance commissions ✨

Across a huge weekend on Saturday 11 and Sunday 12 April at White Bay Power Station experience:
🌊 A choreographic study of waterways
🪡 Puppets as “living archives”
⚡ A queer feminist take on power generation through domestic ritual
🚶 A roving performance honouring Filipinx diaspora workers
💃 A moving procession of dance, music & fabric
🎧 A live electroacoustic score through radio headphones

Book your FREE spot now via the link in our bio.

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For our final release in Season One we have two special episodes. The first features experimental performance artist and s*x clown Emma Maye Gibson a.k.a. Betty Grumble talking about primal rage and the creativity of communing with nature. The second is a bonus episode with the producers of this very podcast and co-authors of the book How to Play in Slow Time talking about the discoveries made through these interviews and the joys of creativity research. Listen via the link in our bio or search How to Play in Slow time wherever you get your podcasts.

Episode 11: Emma Maye Gibson
In this episode performance artist Emma Maye Gibson also known as Betty Grumble speaks about the centrality of movement to her creative practice. She shows how communing with the natural world is at the heart of her artistic processes, inseparable from her life.

Bonus episode — with the authors of How to Play in Slow Time
In this special bonus episode the authors of How to Play in Slow Time offer insight into their own creative practices and how these approaches have evolved in the wake of researching their book. They also reflect on the interviews in this podcast series, pointing to some of the unexpected convergences and resonances that have further opened out their understanding of creativity as a practice.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Emma Maye Gibson photograph: Liz Ham
How to Play in Slow Time photograph: Boho Interactive by Bryony Jackson

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This week on How to Play in Slow Time we talk to Rachel Roberts and Nitin Vengurlekar about the role of exploration and discovery in creative play. Find out more via the link in our bio or search How to Play in Slow time wherever you get your podcasts.

Episode 9: Rachel Roberts
In this episode performer, game designer and counsellor, Rachel Roberts, shares the importance of play to her theatre-making practice. She also explains how her counselling training helps her to create the critical distance audiences need to play joyfully, unrestrained, but also critically, in her games and performances.

Episode 10: Nitin Vengurlekar
In this episode we speak to performance maker, writer and teacher, Nitin Vengurlekar. Nitin recounts how the comedic forms and gestures he first discovered in his childhood are now expressed in his film and stage personas, which embody a sense of the terror and beauty of creative not knowing—the sense that you are always on the edge of discovering something new.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Framing image photograph: Boho Interactive by Bryony Jackson
Rachel Roberts photograph: Bryony Jackson
Nitin Vengurlekar photograph: Brian Rapsey, Rhapsody Pictures

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This week on How to Play in Slow Time we talk to Pablo Latona and Riana Head-Toussaint about imagination and the freedom to play. Find out more via the link in our bio or search How to Play in Slow time wherever you get your podcasts.

Episode 7: Pablo Latona
In this episode, performer and musician Pablo Latona tells us about growing up in a household that encouraged free imaginative play, and how this allowed them to connect with others as a shy child. They explain that this accidental training in play informs their work today as a designer of participatory installations and as a Clown Doctor in hospitals.

Episode 8: Riana Head-Toussaint
In this episode, interdisciplinary artist Riana Head-Toussaint discusses her choreographic practice. Riana explains how her lived experiences of using a wheelchair for mobility has informed her approach to movement and collaboration. She also talks about paying attention to her surroundings and ‘making with’ her environment.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Framing image photograph: Boho Interactive by Bryony Jackson
Pablo Latona photograph: Benjamin Arnedo
Riana Head-Toussaint photograph: Anna Hay

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On our podcast this week we hear from Karlie Noon and Alice Osborne. Karlie invites us to look skyward to understand the mirrored relationship between land, sky and ourselves, while Alice describes the deep intertwining relationship between creative practices and wellbeing. In both episodes he hear how unlocking creative processes came through careful listening. Find out more via the link in our bio or search How to Play in Slow time wherever you get your podcasts.

Episode 5: Karlie Noon
In this episode astronomer, astrophysicist and Traditional Knowledge holder, Karlie Noon takes us on a journey to the stars. She tells us about the creativity that emerges when trying to draw and describe the movements of the sky. She also speaks about the surprising connections that she has found between Indigenous Sky Knowledge from the first astronomers and Western approaches to reading the night sky.

Episode 6: Alice Osborne
In this episode we hear from theatre maker, performer, puppeteer and occupational therapist Alice Osborne. Alice shares how a mesmerising shadow puppetry display early in her training led her on a career path to explore the relationship between different expressive forms: visual art, dance and puppetry—and ultimately, to use those creative practices to support people in mental health distress.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Framing image photograph: Boho Interactive by Bryony Jackson
Karlie Noon photograph: Lannon Harley/ANU
Alice Osborne photograph: Pascal François

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This week on the How to Play in Slow Time podcast, we hear from Nathan Harrison and Charmaine Seet, two artists who work closely with collaboration, participation and improvisation. Find out more via the link in our bio or search How to Play in Slow time wherever you get your podcasts.

Episode 3: Nathan Harrison

Theatre maker and game developer Nathan Harrison tells us about making performances and interactive games from scratch. Nathan speaks about the modelling processes in his collaborative collectives Applespiel and Boho Interactive. These groups both use audience participation to mobilise new ideas.

Episode 4: Charmaine Seet

Dancer and choreographer Charmaine Seet speaks about her journey from Malaysian cultural dance as a child, into the postmodern dance tradition. This has led her to develop improvisational dance lessons for children and young people that allow them to discover body languages that can be right—no matter what the shape.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Framing image photograph: Boho Interactive by Bryony Jackson
Nathan Harrison photograph: Bryony Jackson
Charmaine Seet photograph: Zorica Purlija

#podcast #Australian #artist #interview #creativity #practice #dancer #dance #games #gamemaker #discovery #reflection #making #howtoplayinslowtime #bohointeractive #nathanharrison #charemaineseet #collaboration #participation #improvisation

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Episodes 1 & 2 of the How to Play in Slow Time podcast are now live! Link in bio or search How to Play in Slow time wherever you get your podcasts.

Episode 1: Victoria Hunt
In this episode, dancer, choreographer, and director Victoria Hunt delves into the creativity of movement and mental imaging. They tell us about connecting to spiritual beings through their work, which emerges in a codependent and intertwined way with the body’s movements, and which are tied to Māori energies of mauri (life force) and whakapapa (genealogy).

Episode 2: Kirthana Selvaraj
In this episode, visual artist Kirthana Selvaraj provides insight into her painting practice. She reflects on the unique ways in which she experiences colour and how that informs her approach to portrait painting.

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How to Play in Slow Time was created and produced by Charlotte Farrell, Alexandra Tálamo, Bryoni Trezise, and Maria White, edited and scored with original music by Tom Hogan. Special thanks goes out to the Technical Resource Centre and the Creative Practice Lab at UNSW Sydney, where our podcast was recorded. UNSW Sydney exists on lands and waters that have been cared for since time immemorial by the Bidjigal people of the Eora Nation, whose sovereignty has never ceded.

Framing photograph: Boho Interactive by Bryony Jackson
Image credits: Victoria Hunt and Kirthana Selvaraj

#podcast #Australian #artist #interview #creativity #practice #dancer #visualartist #discovery #reflection #making #howtoplayinslowtime Two photos—one of Victoria Hunt’s hand touching green moss and one of Kirthana Selvaraj’s painting of a woman in a green suit on a background photo of toy figurines.

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