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BIO
Independent live artist/ researcher, Principal Aquanaut/ Director of the ARTi Aquabatics Research Team and ADAS P1 & 2R (HSE 3) Occupational Diver. Pell’s practice is at the intersection of performance, pneumatic and diving technologies and underwater biotech interfaces. Pell has performed/ exhibited Western Australian Maritime Museum (2005), MAF05 Multimedia Arts Festival, Thailand (2005) Hands Free Series, Dorchester, England (2005) 21m^2 Stavanger, Norway (2005), ISEA04 International Symposium Electronic Arts, Scandinavia (2004), The Bonnington Gallery, Nottingham (2004); Greenroom Theatre, Manchester (2004), Biennale of Electronic Arts, Perth (2004), The Space Between Conference, Perth (2004), The National Review of Live Art, Glasgow (2003), Perth Institute for Contemporary Art (2003, 2004) The National Review of Live Art, Midland (2002) National Gallery of Victoria (1997)(1998). Pell submitted a PhD Visual Arts at Edith Cowan University and was awarded a BEAPWorks Grant (2005). She is currently developing a subspace habitat project with The Arts Catalyst for the exhibition “Space Soon”, The Roundhouse, London (2006).
STATEMENT For SARAH JANE PELL & LAWRENCE ENGLISH
We acknowledge that new media performance exemplifies a multitude of anxieties but we encourage you to take heart. Sometimes it is through these artworks that awareness and respect for life emerges.
We are currently investigating ideas of resonant exchange in a piece called “Petrification” that may further this discussion.
You see, by focusing on the cycle of inhalation and exhalation we attempt to amplify one of the body’s most persistent and essential rhythms. Then, we intend to interrupt the somatic cadence of the body through a process of bodily petrification. Beautiful huh?
The transparent laboratory process of “Petrification” could be billed as a physical act, a political statement, an aural presence, a sublime meditation and, maybe even a tool for self-transformation. We can’t really be certain. Perhaps it is a naive form of bio-acoustic bell-jar dramaturgy. Never-the-less, you can rest assured that it falls under the “new media” umbrella.
We are interested in what anxieties are inescapable in the body, the enveloping world and the conditions for life. What performance potentials are harboured, and also can penetrate, deep into our bodies? These questions are a point of departure for this piece.
Independent live artist/ researcher, Principal Aquanaut/ Director of the ARTi Aquabatics Research Team and ADAS P1 & 2R (HSE 3) Occupational Diver. Pell’s practice is at the intersection of performance, pneumatic and diving technologies and underwater biotech interfaces. Pell has performed/ exhibited Western Australian Maritime Museum (2005), MAF05 Multimedia Arts Festival, Thailand (2005) Hands Free Series, Dorchester, England (2005) 21m^2 Stavanger, Norway (2005), ISEA04 International Symposium Electronic Arts, Scandinavia (2004), The Bonnington Gallery, Nottingham (2004); Greenroom Theatre, Manchester (2004), Biennale of Electronic Arts, Perth (2004), The Space Between Conference, Perth (2004), The National Review of Live Art, Glasgow (2003), Perth Institute for Contemporary Art (2003, 2004) The National Review of Live Art, Midland (2002) National Gallery of Victoria (1997)(1998). Pell submitted a PhD Visual Arts at Edith Cowan University and was awarded a BEAPWorks Grant (2005). She is currently developing a subspace habitat project with The Arts Catalyst for the exhibition “Space Soon”, The Roundhouse, London (2006).
STATEMENT For SARAH JANE PELL & LAWRENCE ENGLISH
We acknowledge that new media performance exemplifies a multitude of anxieties but we encourage you to take heart. Sometimes it is through these artworks that awareness and respect for life emerges.
We are currently investigating ideas of resonant exchange in a piece called “Petrification” that may further this discussion.
You see, by focusing on the cycle of inhalation and exhalation we attempt to amplify one of the body’s most persistent and essential rhythms. Then, we intend to interrupt the somatic cadence of the body through a process of bodily petrification. Beautiful huh?
The transparent laboratory process of “Petrification” could be billed as a physical act, a political statement, an aural presence, a sublime meditation and, maybe even a tool for self-transformation. We can’t really be certain. Perhaps it is a naive form of bio-acoustic bell-jar dramaturgy. Never-the-less, you can rest assured that it falls under the “new media” umbrella.
We are interested in what anxieties are inescapable in the body, the enveloping world and the conditions for life. What performance potentials are harboured, and also can penetrate, deep into our bodies? These questions are a point of departure for this piece.