Kristin Rule Creative Development

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

“Transmitting – Receiving” (working title)

Ian Tully and I have been talking, texting and emailing thoughts and images back and forth since the beginning of the collaboration. I compose for film, television and theatre, incorporating  playing of the cello and viola with looping technology in live cinema performances. Collaborating with Ian, who also has a performative aspect to his practice, we recognised that our practices would be an exciting fit, allowing both to evolve.

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.  The first stage in our collaboration produced a two-channel video work that incorporates live performance.  In mid August I spent six days working with Ian in his 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.

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, I travelled to Moulamein to work with Ian. We conducted and recorded interviews, gathering test footage, designing and constructing artworks, devices and props. By the end of the week, we had produced a short film, 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. In the second stage of the project I will perform with a combination of live cinematic performances, potentially 15 minutes duration, and live looping  in synch with a projected two channel 15 minute film with surround sound. Ian and I 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.

“When we listen, we perceive the world through all our senses. And in perceiving the world we shape our experience. In shaping our experience we transform the world. And in transforming the world, we are, in turn, transformed.”

– Kristin Rule