Published 13 February 2019
Making Space is the latest public program from the Sydney Environment Institute, and this time, we’ve added a twist. Curated by Michelle St Anne, this off-campus series partners with 107 Projects to ask what happens when performers, artists and academics approach the act of ‘making space’ hand in hand.
Each month, we explore questions of evolution and creativity in uncertain times, by throwing together unlikely bedfellows to recraft and react though conversation, performance, improvisation and collaboration.
Post conversation, there will be a bespoke experimental music performance, curated by E M U S (Exploratory Music Sydney) an organisation promoting improvised, exploratory, experimental music and sound art in Sydney and its surrounds.
With this series, we hope to create an environment that celebrates making space for dreaming, imagination, collaboration in the face of uncertain futures, and most importantly, making space for each other.
Making Space II: Caught on the brim
This conversation brings together milliner Rosie Boylan and drummer Simon Barker with museum curator Jude Philp to discuss the art of translating knowledge and experiences into creative outlets and social enterprise. Rosie and Simon work within their own fields making space for global thinking through skill sharing and cross-cultural collaborations to amplify marginalised voices and draw focus to the unobserved.
Simon Barker is a drummer and Senior Lecturer in Jazz at the Sydney Conservatorium of Music. In addition to his numerous solo performances and recordings, Simon co-leads several internationally recognized collaborative ensembles. Simon has also created an ‘alternative rhythm/sticking vocabulary’ for the drum set known as ‘coiling’. Coiling can be heard in Simon’s solo drum set compositions featured on ‘Urgency! Drum Chants for Kiribati and the Marshall Islands” which he has produced in solidarity with communities facing upheaval as a result of climate change.
Rosie Boylan’s lucrative career has seen her create headwear for stage and screen for almost thirty years – with credits to her name including the Bazmark feature films, The Great Gatsby, Australia, Moulin Rouge and Jane Campion’s The Piano. These high profile costume collaborations and an extensive body of theatre work have consolidated her reputation as a leading milliner for large-scale industry productions. For the past five years Rosie has been collaboration with Pacific weavers in PNG, NZ and Vanuatu to create regional and sustainable headwear for the local and international marketplace. Rosie also creates casual and contemporary headwear for men and women from her Newtown studio.
Jude Philp is senior curator of the Macleay Museum. She is interested in stimulating research into the collections and increasing the purposefulness of museum holdings through exhibition, research and events. Jude’s current research is in the world of ‘British New Guinea’ and the 19th century practice of natural history for museums.
Clocks and Clouds is comprised around core players and composers Kraig Grady and Terumi Narushima. Their totally acoustic performances feature specially retuned vibraphone and retuned pump organ. These unique instruments, using harmonics up the the 151st, explore the beauty of room resonances via ancient sacred scales and multi-dimensional geometries. It is not uncommon for an audience to experience the sensation of harmonics sweeping through space due to the way in which sound waves from the instruments interact with the environment.
The Making Space series is part of Sydney Environment Institute’s Sites of Violence research project.