Constance ARI in association with Crack Theatre Festival / This Is Not Art
Things Might Have Changed
Dexter Rosengrave and Elissa Ritson
Friday 30 September – Sunday 2 October, 2016
Newcastle, New South Wales
Taking over the liminal spaces of the Elderly Citizens Centre for the duration of the festival, the artists respond to the rhythms, routines and community use of the site. Comprising of audio, video, and photographic installation, the works investigate modes of being, and the cross-pollination of memory and imagination that occurs in constructing the self.
Curated by Lucy Parakhina
Presented by Crack Theatre Festival under the Setting the Stages initiative, with the support of the Australia Council for the Arts through the Creative Australia Emerging Presenter grant.
Some writing about the project by Zoe Street for Crack Festival: Through The Cracks: Site Responsive Installations Created to Connect
- Dexter Rosengrave is a Hobart based artist attempting to highlight experiences and perspectives that are often disregarded or hidden. Dexter regularly examines social institutions such as class, gender and age in an attempt to create awareness of social issues through her practice. She works primarily within the photographic medium and is currently completing her Bachelor of Fine Arts at the University of Tasmania.
Dexter’s work, ‘Mollie, age 5‘ is an installation consisting of 30 days of 35mm film shot by a five year girl and is accompanied by a video interview. The interview features Mollie answering questions regarding her intention behind each image whilst discussing her feelings associated with the subject matter. The work investigates the intersection of memory and imagination and how these elements are influenced by time and place.
Elissa Ritson is an emerging Hobart artist exploring the fluidity of self and dynamics of social exchange. Her practice incorporates performance, cross-media installation, assemblage, text, and subverted homecrafts to investigate liminality and latent tension in experiential perception. Currently Elissa is particularly interested in harnessing invisible phenomena through witchcraft and ritual.
Her work, Cut Today, Sold Today considers sensory experience in the embodied present. Attraction and repulsion will play against each other in contrasting texts, exploring the language of everyday eroticism, and the performer’s ability to illicit a physical response through delivery. Taste, touch and smell are the driving forces in these descriptive narratives, which, over the course of the festival, will rupture, and slip into each other to birth a new conglomerate of being.