6 Women Dance, Casula Powerhouse

Collaboration with rope artist Garth Knight. Mentored by choreographer Tess de Quincey, as part of 6 Women Dance at Casula Powerhouse, March 2013.

Ghost[s] and the[ir] machine[s], an exhibition of interactive installations from the MIDEA Studio USyd, co-curated by Deb Turnbull and Lian Loke, Darlington Old School, June 2012. http://www.newmediacuration.com/gatm/

Biome Symposium and Digital Interdisciplinations Exhibition, August 2012 http://biome.cc/
Black Spring interactive installation, Dagmar Reinhardt and Lian Loke, with collaborators.

I Love Todd Sampson, The Living Room Theatre Company – part of team responsible for the Spence Room. Immersive image-based theatre to be shown at Pier 2/3 Walsh Bay, March 2013 http://www.abaf.org.au/donors/artist-projects/living-room-theatre-company.html

DisSentience is an exhibition of a dystopic Home of the Future, blending immersive performance with embedding of digital/electronic technologies into domestic rituals. It will have an experimental showing in June 2013.

Dance Double project with Jodie McNeilly, an interactive video dance installation exploring virtual doubles and virtual others. http://dancedouble.wordpress.com/

Computational Flesh is a performance installation critiquing facial recognition software. Choreographed bodies replace machine computation to make visible the complex and hidden processes of surveillance technology.

Collapsing Bodies is a re-invigoration of my doctoral research into the act of falling.

URBAN DISORDERS CLINIC
Urban Realities Landscape Urbanism 3 Day Design Challenge,
Melbourne Docklands http://cargocollective.com/urbanreality
Team: Tom Rivard, Michael Lewarne with Francesco Amendola, Chris Bickerton, Tega Brain, Lian Loke, Sergai Netchaef, Maz Salt, Hiroyasu Tsuri and Dario Vacirca.

SPIN
Lull Studios 2011
Performer in Elena Knox’s 5 channel video work
Videographer: Paul Warren, Photographer: Matt Fatches, Makeup/wig/body art: Glitta Supernova

THE BREATH TEMPLE
with George Khut
SEAM Symposium, Critical Path http://seam11.blogspot.com

LUSCIOUS APPARATUS
Critical Path Residency
with Tess de Quincey, George Khut, Justin Shoulder and Baki Kocaballi
Development of a participatory live-art installation comprising ritual interactions focused on breath, heartbeat, constriction and compression.

A short solo, Big Glorious, is a study in Bodyweather image work. Here I am exploring the Glue Body. Platform 3, Frasers Studio, August 2011. Photographer Mayu Kanamori.

The Egg as the Measure of Time solo performance. Platform 1, Frasers Studio, July 2010. Performance consultant Bronwyn Turnbull. Photographer Mayu Kanamori.

Entertained and inspired by the very lively Drag King shows in Sydney, performers Lian Loke and Jodie McNeilly have co-created Crinoline Cartwheels as a movement-based response to this traditional ‘parodying’ phenomena of women performing the masculine. Rather then strictly identifying with the male stereotype in a single characterisation: lip-synching a familiar tune or mimicking with costume and posture a well known form of machismo, the dance-based performers became curious about experimenting through movement a type of ‘gender swivel’. And so began to question how it felt to vacillate between the masculine and feminine within a single being. For inspiration, they turned to the protagonist in Virginia Woolf’s satirical novel Orlando, who nimbly traversed centuries with various incarnations as male and female.

For it was this mixture in her of man and woman, one being uppermost and then the other, that often gave her conduct … an unexpected turn.

Can this traversing of the gender spectrum reveal ‘inbetween’ or ambiguous states of being and moving … identifiable, or beyond recognition?

Crinoline Cartwheels is a collaboration between performer/devisors Lian Loke and Jodie McNeilly, with text and narration by writer/actor Alan Hayward, costuming by Vita Rose and Lian Loke, sound and music design by Jason Ross (DJ Young Jase) and Lindsay Webb, lighting design/operation by Danielle Bertozzo and photography/fluffer Peter Fox. This production is supported by the Tamarama Rock Surfers.

The exhibition as peepshow museum: a reduced world … objects suspended, frozen in time, exciting the voyeur within. Suspended, sculpted effigies of the erotic body, fashioned out of cloth. Curated: mounted and placed. The absence of the body brings out the sculptural yet transient possibilities of the body imprinting on cloth as it moves through space. The performance within the space further explores these ideas, by reinstalling the body to flesh out the suggestions of form, combining the erotic form with the sensual persona. The sensing and feeling methods of movement are utilised as the means of exploring the transitional relationship between the body and the architecture of cloth as an organic, non-image-based representation. As the objects are curated, so too, the body in performance is curated.

Performers Jodie McNeilly, Claudine Vonn, Set Drew Heath, Makeup Heather, Graphic Bruce Duncan

Sydney Fringe Festival 2000