Ian Tully Creative Development

Tell us about the evolution of your concept through this creative development process.

“Transmitting – Receiving” (working title)

Kristin Rule and I have been talking, texting and emailing thoughts and images back and forth since the beginning of the collaboration. Known as a composer for film, television and theatre, an animator and technologist, Kristin is also a live performer incorporating her playing of the cello and viola with looping technology in her live cinema performances. Kristin has a strong affinity with the natural environment which is evident in all aspects of her practice. As an artist with a performative leaning myself, we both recognised that the collaboration would be an exciting fit, allowing both of our practices to evolve through the two stages of this project.

Reflecting on our respective strengths and interests, we made the decision to gather footage, conduct interviews, explore the landscape of this region, trial various performances and record elements for sound design as the first stage in producing a two channel video work that incorporates a live performance by Kristin. In mid August Kristin and I spent six days working together in my studio and in the field.

Critical to our creative development of Stage One and at the core of the Regional Futures program, is the need to converse and to listen. Listening to the earth, the flora and fauna, as well as our interviewees has been a critical element of exploration for us. Capturing those sounds and content, and then responding through actions, visual art production and performance is an essential process for the outcome of Stage One.

What experts/community members did you connect with during your creative development?

Peta Thornton, advocate for environmental and First Nations water rights, irrigator, orchardist and recent chair of ‘Sustainable Living in the Mallee’, former Fellow of Australian Conservation Foundation and Friend of the Nyah Vinifera Forest. Peta is an active community member fighting for awareness, knowledge and a sustainable future.

Uncle Ricky Kirby, Barapa Barapa, Watti Watti elder and Traditional owner artist, consultant and cultural advisor. Ricky’s skills are broad and he continues to work across a range of interests from working with disadvantaged youth, curating exhibitions to advising on conservation and culturally sensitive rehabilitation programs.

Peter Redfearn, rice and sheep farmer, naturalist, musician and supporter of the arts. Peter has been a long time supporter of the Moulamein community, sitting on countless community and industry committees over the years. He has been instrumental in raising and rehabitating the endangered bush stone curlew.

Aunty Suzanne Connelly Klidomitis, Wiradjuri, Traditional owner, educator and artist has grown up in the region and has been heavily involved in cultural awareness programs through schools and community programs.

” It is always heartening to be in the same ‘room’ as other artists sharing stories and realising that you are not alone in facing some of the challenges that often come from working remotely.”

– Ian Tully & Kristin Rule

Describe where your work has reached in the development process and how you can see it progressing.

For the first stage of Regional Futures, following numerous conversations, emails, and exchanges of images, Kristin travelled to Moulamein to work on the project. Kristin and I have been working together conducting and recording interviews, gathering test footage, designing and constructing artworks, devices and props. Prior to this, I have been developing drawings as a research tool, investigating various sculptural possibilities. By the end of the week, a short film had been produced, referencing the artist in costume, the dialogue between the artist and the interviewees, the landscape, the semiotics of text, and sound. We will draw on the footage gathered over this week as resource material for sound for the second stage.

The second stage will include additional footage, sound design, potential interviews and further construction of sculptural elements. The second stage of the project sees Kristin performing as a combination of live cinematic performances, potentially 15 minutes duration, her live looping performance in synch with a projected two channel 15 minute film with surround sound. We envisage this performance presented to an audience in Sydney for the Regional futures public program. Additionally we would present the performance in the South West Arts Region. The film would have its own soundtrack enabling it to be viewed without the live component. This would allow the content to be viewed on line and or in real time as part of any subsequent exhibition of the Regional Futures program.

If you were to tell someone about the impact of Regional Futures and this creative development opportunity on your practice, what would you say to them?

I’ve really enjoyed the opportunity to be part of a bigger project. The engagement with other artists through online meetings has been positive and for many has meant new connections have been established. It is always heartening to be in the same “room” as other artists sharing stories and realising that you are not alone in facing some of the challenges that often come working remotely. However, the highlight for me has been to collaborate with another artist. Each of us bringing something new to the table, influencing and inspiring each other as the work progressed. To work with an artist who can bring skills to the project that I don’t have is particularly exciting. Kristin brought new ways of thinking and responding to the project at hand, forcing me to question many assumptions and approaches I had made. This was a highly positive experience.