DRAWING BLOOD OCCULT LIFE DRAWING celebrates the life and art of the infamous “Witch of Kings Cross”, Rosaleen Norton.
A bohemian, feminist, artist, provocateur and all out witch, this Australian woman is as fascinating as her esoteric art. A long time muse to Drawing Blood, 107 Projects are thrilled to bring her mystical creatures, demonic entities and erotic worshippers artwork to life.
Starting from 7pm, supernatural models will pose in various mystical formations for your life sketching studies, while our witchdoctor conjures atmospheric tunes to inspire, and a special performance to lift the spirits. Refreshments and potent elixirs available at the bar.
7pm onwards, 13 Dec 2017. Cost is $20/15 on door. Bring your own satchel of magic tools – paper, pads, charcoal, pencils, inks, pastels, oil sticks, pens etc.
107 projects cultivates spaces for emerging creatives to thrive. “Our floors are proudly un-polished, because the truth is, all art has dirty beginnings. Stepping into 107 is a bit like stepping inside the creative mind. Experiments happen and shit gets weird – but ultimately great work emerges from a rich, creative culture.”
There is always so much happening at this fantastic space. Exhibitions, music, theatre, discussion and so much more. You can find out more about 107 by visiting:
More information about DRAWING BLOOD OCCULT LIFE DRAWING is available at:
One of my first memories is sitting on my dad’s knee in a tiny booth at 2AY, as it was then , learning to ‘score’ a record. Running the groove of the black shellac disc under the needle at exactly the right spot for the content to start immediately. What a joy and delight then to see THE REAL THING recording on all this new fangled equipment. Cables everywhere , mics, iPads, phones, music FX machine etc. And 3 wonderful stories, music and some admittedly dodgy Magic. My idea of a good time.Continue reading THE REAL THING LIVE @ 107 PROJECTS→
Last night saw 107 Projects and The Actor’s Centre Australia (ACA) launch an exciting innovation in funding for playwrights. The new model can be summed up by a comment by Melissa, a writer with whom I was chatting over canapes at the event. “It’s incredibly rare for a playwriting prize to guarantee a production.” she excitedly explained. THE NEW PLOT PROFESSIONAL DEVELOPMENT AWARD does exactly that and not just for the winner but for each the 6 finalists.
The award was launched this evening by award winning, international director Gale Edwards, who is Ambassador to the project and celebrated Australian playwright Stephen Sewell, who will serve on the expert panel which will shortlist the entries.
Speaking passionately at the launch Gale Edwards spoke of the ‘loneliest experience’ of a writer who creates work which travels “from the little wooden stage to the hearts and mind of strangers”. She stressed the need for collaboration and suggested that no play is complete until a director has tried to rewrite at least a third of it! Collaboration is exactly what this award aims to nurture. Continue reading 107 PROJECTS AND ACTOR’S CENTRE AUSTRALIA ANNOUNCE NEW PLAYWRIGHTING AWARD→
The Forest Unyielding…
Things you want to remember, things you don’t …
Presented by Self Help Arts and 107 Projects.
Comprising dance, film, vision, word and sound by some of Sydney’s most exciting contemporary artists, The Forest Unyielding is a dynamic new study of mental health, set in a dark forest space representing the inside of a brain. Demonstrating how we create neural pathways in our brains through repetition and the reward system, and the struggle we face when we find we have gone the wrong way …
How will you forge a new path?
Bookings: $30 | Conc $25 | Carers FREE (For Carers ticket please email firstname.lastname@example.org with you confirmation of booking)
Limit 25 people per show
Preview May 24 7pm
Opening May 25 7pm
Season May 26 – 28, 3pm & 7pm daily
Autism-Friendly Show Thursday 26 3pm
The Forest Space will also be open as an exhibition (not activated by performers) 11am-2.30pm & 4pm-6.30pm daily
May 24 Preview at 7pm May 25 Exhibition 11am – 6.30pm with Opening Performance at 7pm May 26 – 28 Exhibition 11am-2.30pm & 4pm-6.30pm | Performances at 3pm & 7pm
In the literary world, there is a trend toward books of short stories which gel together to create a bigger picture than each tale. Think David Cook’s BATTLE SCARS or IMPROMPTU SCRIBE by Alex Morritt.
Domestic Violence- RHYMES WITH SILENCE has tapped into the zeitgeist and run with it. In this engrossing show, 13 new short plays written by 9 Australian writers and starring 26 actors working with 12 directors cohere for a well realized night at the theatre where the sum is considerably greater than the parts. Continue reading Rhymes With Silence @ 107 Projects→
Ihre Arbeit Ich mag is about the only German I know. It means I like your work and I only know it because I once ran a theatre where I met a lot of international artists and often needed to be obsequious. Last night I had the chance to drag out my single phrase again when I chatted to German performer, Sabrina Strehl after her single night engagement of BLANCHE here in Sydney. No grovelling required, instead I fangirled her … I really do love her work.
The BLANCHE of the title is Tennessee Williams’ Blanche. In this solo performance , Strehl takes the essence of Miss White Woods and sends her, Pirandello style, in search of an audience.
Desperate for love and approval, Blanche reaches out and allows the audience to write her while still arriving at the main plot points of A Streetcar Named Desire, finishing by acknowledging the kindness of strangers.
Strehl is there on stage when the audience enters and begins by asking us to assist her in finding her sister Stella’s place. These direct appeals to the audience continue as she prepares for a party of sorts. Dragging things out of her suitcase, she needs help doing up buttons and lighting cigarettes and opening champagne. However, things go downhill for Blanche’s involvement with her audience as her drunken behaviour deteriorates. Continue reading Blanche @ 107 Projects, Redfern→
The Matriark Theatre Company travels well known terrain with its second work, a children’s play called HalfWorld, written by Robert den Englesman and directed by Scott Parker, which is still currently at a workshop stage.
Den Engelsman’s play fits into the quest/fantasy genre. Josh Hampson plays the protagonist Mr Boy who starts on a quest to find his lost twin brother. As per Joseph Campbell’s ‘Hero of a Thousand Faces’ template, our young hero has to enter into a special world, in the case of this play it is called the ‘HalfWorld’.
The centerpiece of this HalfWorld is a huge tent/fortress made of blankets, designed by Aleisa Jelbart, which magically envelopes both the players and the whole of the audience. The kids loved the excitement of it, being ‘wrapped’ in this outlandish cocoon.
In this HalfWorld Mr Boy encounters plenty of quirky allies and enemies. Amongst his allies is Oph, played by the playwright himself, the friendly presence of Admiral John, played by the director, and the Moon who watches over him, played by Emily McGowan. Mr Boy’s chief enemy is the irascible Cortman, dressed in one of the most colourful costumes that I have yet seen, who works for a detective agency and is out to grab him before he gets to find his twin.
My only reservation was this fun piece of theatre as it stands is that it needs a stronger third Act/ denouement. As the production currently stands, the time in the magical Special HalfWorld is where the play is the strongest, and the piece is in need of a stronger resolution. I am sure that the Company will work on this aspect as they prepare for the show’s first fully fledged production.
Matriark Theatre Company’s production of HalfWorld played at the 107 Projects Theatre, 107 Redfern Street, Redfern on August 16, 17 and 18.
Urbanal/Schmurbanal, the aptly titled exhibition currently on show at 107 projects, hovers between an exploratory meandering through colour and motion, and concrete thoughts about the way we interact with our urban environments.
Paul Gilsenan and Matthew Venables’ collaborative exhibition offers up playful impressions of urban landscapes which make for a considered entry-point into reflections about our daily forays into city centres. These accounts of life from the urban mundane are anything but commonplace. The storytelling capacities of the works pull at the imaginative tendencies of all who have an affinity with the big smoke, and have city dwellers distilling their own city-based experiences.
Paul Gilsenan’s contributions to the exhibition were created as a counteraction to a recent painting commission which was five years in the making. Armed with a desire to create work that was lyrical (and speedy!) Gilsenan’s joy in creating his quick impressions of living cities is almost tangible in the bursts of colour and intuitive drawings on show.
Buildings which take-on friendly Godzilla-like personas, aeroplanes with sea creature-esque qualities and cats leaping through sky-scrapers are all part and parcel of Gilsenan’s commentary about the collision between organic and inorganic environments. Pages torn from art books, presented behind perspex elevate his playful drawings from the purely intuitive to a vehicle of critical commentary.
The sense of witnessing an idea in formation is eloquently translated to a starting point for considered conversation as we are charmed by the coquettish relationship between the creature and the created. Take it as you will, the images can be appreciated on a purely visual level, the inherent mischievousness of the works being effortlessly easy on the eye, or can prompt questions about infrastructure and accessibility that inhibit and foster our engagement with the playgrounds that are our city centres.
Guessing where in the world these landscape impressions are taken from is a game unto itself, and with names ranging from “Carlingford” to “Postcards from Awesome” being able to pinpoint the exact inspiration of the image can be quite the stab in the dark. The act of deciphering familiar buildings along an impression of a horizon makes for a fruitful game of spot-the-icon as the search for familiarity takes over. Is this home? Or is this a 24-hour plane ride away?
Alongside Gilsenan’s impressions are Matthew Venables’ high gloss still photographs focusing on the grittier side of urban living. Touted as a concept and art photographer Venables has been working on these sets of photographs for four years, and as a founding member of 107 Projects he was keen to have his exhibition in the space.
In juxtaposition to Gilsenan’s whimsy Venables calls it like it is. A bird sprawled across asphalt, presumably from an ill-ending encounter with a car speaks of finality and a corridor flushed with a flood of suspense ridden green light has the image almost throbbing with a sense of music and activity. The most successful of his works are the panoramas of Lyon and Marseille which take on a lego-like quality in their vastness and detail. The birds’ eye view of these metropolises has the viewer exploring the city from above and casting an inspired gaze on the labyrinth of the city streets.
While independently strong, the coupling of the works together in the space can be somewhat distracting with the visual disjuncture between the stark and the lyrical at times being difficult to navigate. As a whole, the exhibition is an exciting, albeit tongue-in-cheek, competition between the nature of painting and the nature of drawing with the imaginative qualities of the works reigning supreme. Contrasting media aside, when focusing on one artist at a time you are left feeling full with the drama and fantasy of city dwelling.
And the winner in the war of the arts? Well, that’s up to you to decide!
Urbanal/Schmurbanal is at 107 Projects, 107 Redfern Street, Redfern until 11 August