I am an Australian performance, movement, video, and networked performance artist, working in social, environmental,and architectural surroundings, exploring the limits of bodily perception, performativity, and the relationality of one’s self with others, objects and environment. I have been co-Artistic Director (with Suzon Fuks) of Igneous Inc. since 1997. With Igneous, I have co-choreographed and performed in stage shows, performance-installations, video-dance works and networked/online performances, in festivals and cities around the world. Since 2007 I have been developing a durational stillness and conscious walking practice feeding into participatory performances and artworks. As part of that practice I enact ultra slow quiet walks in different environments, capturing photographs and audio recordings that I later use to make video and photo-media artworks.



At BKN I intend to capture and record while walking in and around the residency premises, in the local area and further afield along the island’s eastern coastline on the Baltic Sea. In addition I would be happy to conduct a walkshop to share some of my processes with the community and/or other resident artists, relating to embodied presence, perception of the body in relation to the environment, to intention, and to shifting notions of embodiment of identity arising from stillness and various ways of walking.

For this slow walk video, I capture the images and sound down at the Nybyn coastline. I follow the boundary between stone and sea, but also lines in the stone, and the meeting borders between different materials.


On a trip with Gerhard, I capture a slow walk on the jetty on Arholma Nord. I'm interested to see how the clever craftmanship of the jetty's carpenters translate into my video art––how the repetition of the boards, and the severe angularity of the planks on the bend, come out in my image superimposing process.

During this residency I try a new technique for capturing my imagery, in order to maximise the resolution of my little camera without having to distort the images. It's not a software technique but a physical one. That is, instead of transporting the camera on my chest or head, I suspend it out from my body to the side using a long monopod. I have to engage my paralysed arm to stabilise the monopod, which feels somehow satisfying. The resulting imagery I can render in 4K, and the line of seperation runs horizontally rather than vertically, resembling a horizon.

Responding to my interest in capturing the meeting place of stone and water, Anna Viola and Ami take me to a nearby location where the rocks come down to the water, that they call the cliff. The next day I capture images and sound for one of my video artworks. I love how when I layer the images the stone and water sometimes become one texture.