COLLABORATION: SOUND MEETS VISUAL

Emma Rochester avec Human Koala. Screen Grab for Untitled... . 2011
In the lead up to the December 3rd show at AIR Vallauris Hektor Kafka (check his work out on sound cloud  http://soundcloud.com/human-koala) have joined forces to create a new experimental inter art work. Showing firstly in video single channel format the work will go on to become a live performance.


Stay Here Please is Hektor Kafka's response to words. A great mixture of words use to describe a place I have inhabited during my stay in Vallauris. This place is Piccaso's Chapel of Peace. How does one translate the sensation of place into a descriptive device that allows an experimental sound artist to then make the sound to match the evocative atmosphere of a Chapel. What are the nuisances, the expectations that have to be shifted and turned about in order to overturn ideas of what a religious site is, and actually deal with what is there and the memories left behind. 


"Stay Here Please" is hektor kafka's response to a descriptive string of words about the Picasso's Chapel of Peace and War.


Over the next week I will begin to create the images that matches this sound, the expansiveness, the longing, the disconcerting nature of a place that has a particular type of feeling...

PERFORMANCE 20th November in PARIS for DIMANCHE ROUGE


DIMANCHE ROUGE #10
Experimental Performances
Multimedia, dance, video, sound, spoken word, installations
Le Petit Bain, November 20th 2011, 17H-23H
FREE ADMISSION
For its 10th edition, Dimanche Rouge invites you to discover an evening of experimental performances and a DJ afterparty on Sunday, November 20th, from 17H-23H. We are thrilled to announce that the 10th edition of Dimanche Rouge will be held again at Petit Bain, the new art space on the Seine. Since its inception in Feburary 2011, Dimanche Rouge has hosted 9 unique editions, featuring almost 200 artists coming from over 35
countries.


►PERFORMANCES OF UNDETERMINED LENGTH AND INSTALLATIONS
Luísa Nóbrega (performance art, Brazil)
Emma Rochester (video+drawing, Australia)
Le Callimaque (live cinema/sound/visual installation, France)

►PERFORMANCES OF DETERMINED LENGTH
5pm
Les Idiotes + Jeffrey Louis Reed (performance art, France/UK)
Sonic Surgeon (sound art, France)
Branko Miliskovic ”The Song of a Soldier on Watch” (WW3 Lili Marlene) (live vocal performance art, Germany/Serbia)6pm
Jessica Hirst (multidisciplinary art, USA/Spain)
Thomas Grill + Ugo Boscain, (sound, Austria/Italy)
Aureline Roy (performance art, France)7pm
Florent Colautti +Justine Goussot (interactive dance/music, France)
Arianne Foks (action, France)
Damien Bourniquel + Matthieu Junquet (multimedia, France)
8pm
Josiane Guitard Leroux (performance art, France)
Meghann Snow (dance/drawing, USA)
Théâtre Bouche d’Or/Marine Biton Chrysostome + Juliette Mézergues + Oriane   Descout + El Kinki + Jérome Jousseaume (theater/music/video performance, France)
►DJ AFTER PARTY
Samirah (DJ) la pionnière du DJing en France!
Protofuse (IDM live performance / Bitsquare records / France)
+ Where: Petit Bain, 7 Port de la Gare, 13th arrondissement (between Batofar and the Josephine Baker swimming pool)
+ How to get there:  Metro line 6, station Quai de la Gare, Metro line 14 and RER C, station Bibliothèque François Mitterrand.For further details, please visit petitbain.org

Making : Teaching : Showing


On Thursday 3rd November 8pm,  Gallery Cube 37 at the Frankston Arts Centre, Frankston, VIC, Australia will showcase a series of installation, design, animation, fashion and sets created by amazing young artists with minds for creativity.

As part of the My Persona series of workshops and events I had the chance to work together with these vibrant young folk teaching, discussing and facilitating workshops on combining Sculpture and Digital Art/ New Media.

For details on opening night check: https://www.facebook.com/event.php?eid=183800625035516

For details on further events associated with the My Persona Project check: http://squarical.tv/my-persona

DOCUMENTATION: Circular structures as feminine echoes

Emma Rochester. Refracted movements as ways between time.’ Video Still. October 2011. Duration: 4.19 mins.
Ritualising circular motion in an act reflective of transformative process was the primary focus of work presented in Caylus, France on the 23rd of October. The still shown above indicates the way circles drawn in the burnt brown field intertwined with moving imagery to create evocative textural based work with implicit notions of feminine beauty.


For further exhibition shots please click here: http://emmarochesterdrawing.blogspot.com/p/drawinternational-2011.html

NEWS: SCREENING: Oxford Arts Festival

Emma. Rochester What is courtly love but a lock of hair…. How should I show thee maiden mother of my heart… my love. Video Still.  2011

Details:

Oxford Arts Festival

20th October, Thursday
7-9 pmVenue: COFA (College of Fine Arts)


Statement: ‘What is courtly love but a lock of hair…. How should I show thee maiden mother of my heart… my love‘ is the principle work filmed in the Negev Desert, 2011. Here I map lines of movement through the infinite dusty fields of sands directly onto my hands. The act of drawing becomes a form of body choreography. A performative act which, queries. ‘How does the pen move? How does the scrapping of the nib feel against my skin?’ Drawing becomes a process of revealing not only the way the body moves through the desert but about ephemeral and sensory impressions of location.

Abstruse mystical imagery of the feminine float upwards from the expansiveness of desert air.  Rememberings and realizations that this is the place of spiritual reclusion and the site of the feminine illumination of g/God in the form of ' Shekina'.  Here is the site where women’s feet have walked for centuries and the desert mothers have passed their days. Consideration of the mundane and profane, the ordinary and the revealed shift through the bodily act of moving through time and space like desert sand.


NEW: Circular structures as feminine echoes of the primum mobile.

Emma Rochester. Walking in circles in a burnt brown field. 2011

In ‘Circular structures as feminine echoes of the primum mobile,’ unhurried repetitious circular motions can be seen as simple primitive gestures. The primal act of mud drawing becomes interlinked with myth, creation and art. The many layered cumulative process of drawing circle after circle transfigures the act of drawing into ritual statement.

The body is used not just as a tool for the process of drawing but an experience of embodying ritual. The motions of hands, the facial reactions, the subtle adjustments of the overall body to the functional activity of drawing circles ensures that the body becomes a performative site of repetition.  The sublime tension of cyclical movement acts as a gateway to ritual, which blends the Neolithic past with the present.

Motion, time, nature and the unseparated human form become paramount to the experience of drawing. The feminine body is venerated object: sexual, organic, vulnerable, mutually dependent, and ritualised.


Working titles are made to be changed.

Using a working title to refer to an artwork means just what the name implies. That the title can be worked on. It can be shifted, altered and moved about so that it best represents both the inner workings of the artist and the outer changes to the work itself. As the work progresses the title has the ability to change in keeping with the modifications and new pathways that open up in the creative process.


So a new title has been discovered for the work 'An experiment in the practice of circular drawing.' It has now become 'Circular structures as feminine echoes of the primum mobile.'

NEW WORK: An experiment in the practice of circular drawing

Emma Rochester. An experiment in the practice of circular drawing. 2011
When finding one's self in a new town: Meeting new people, experiencing old and new discussions, exploring new pathways, new fields, seeing the colours of new birds and coming across squirrels carrying acorns, One can suddenly find one's self in a position of reconsideration.  Returning to original ideas about place knowing and how this sensory experience is perceived through and by the body. The practice of making no longer is a dormant process of habituation but a central consideration of pivotal importance.

Being in a new locality can simply prompt new reflections on how the body moves through landscape. Remembering and embodying questions such as 'What does the mind and body feel, sense and experience?' suddenly becomes more heightened. In short marrying the newness of experience that comes from immersion into unknown landscapes refreshes the practice of making. As the body quantifies and digests the newness of place.

'An experiment in the practice of circular drawing' considers the practice of moving ones body in ring like movements. Tracing circular patterning not only on drawing paper but through the use of the body as a tool through which the landscape can be expressed.

Artistes en résidence Août 2011 : Artist in residency August 2011


NEWS: Press: Article in L'est Eclair


es artistes ouvrent leur atelier au public jeudi prochain

Publié le dimanche 21 août 2011 à 09H20 - Vu 12 fois
Venus du monde entier, les artistes en résidence ouvriront les portes de leur atelier pour exposer leurs œuvres, expliquer leur démarche et partager leur inspiration.
La sculptrice américaine Melita Greenleaf utilise l'argile, le bois, le béton et le papier pour réaliser des sculptures minimalistes. En arrivant au CAMAC, elle a changé de matériau et utilisé des vêtements laissés par les résidents précédents pour réaliser une installation spécifique.
L'artiste australienne Emma Rochester travaille sur l'esthétisme de la cartographie. Elle a exploré les sentiers des environs du CAMAC pour créer des vidéos, véritables témoins de ce que les cartes géographiques ne men- tionnent pas, dans un projet intitulé « Desire Paths » (les chemins du désir).
La Brésilienne Michele Martines a l'habitude de peindre des intérieurs de maison, dans lesquels elle place des personnages issus de l'esthétique picturale européenne. À Marnay, elle a décidé d'inverser sa démarche et a peint les espaces communs du CAMAC, dans lesquels elle a placé des personnages de la culture brésilienne.
Originaire de Corée du Sud, Sung Jae Shin étudie le rapport entre notre perception visuelle et celle que les médias numériques nous permettent d'obtenir. Il traduit cet écart entre la réalité sensible et la réalité digitale par des processus picturaux, semblables à ceux des Impressionnistes. Sung Jae Shin applique ce procédé aux paysages de la campagne champenoise aperçus au fil de ses promenades.
Déjà présente au CAMAC il y a 10 ans, Amitla Cuacuas est revenue dans ce lieu qu'elle aime tant. En arrivant ici, cette artiste mexicaine a choisi de changer de support mais aussi de technique picturale. Elle utilise désormais l'acrylique pour des couleurs éclatantes, et travaille sur des supports ronds, pour exprimer la circularité du temps, qu'elle perçoit comme un éternel retour vers des endroits et des personnes qu'on connaît déjà.
Natalie Ross (États-Unis) est à la fois architecte paysagiste et artiste. Son travail lie ses deux activités pour se concentrer sur la définition qu'on donne du paysage. Par des photos, des dessins et des sculptures, elle veut donner une nouvelle définition de l'art paysager.
____________________________________


'Artists open their studios to the public next Thursday

Published Sunday, August 21, 2011 at 9:20 - Seen 12 times The artists in residence at Camac invite you to discover their work within their studios. From around the world, artists in residence will open the doors of their studios to exhibit their work, explain their approach and share their inspiration.
The American sculptor Melita Greenleaf uses clay, wood, concrete and paper to make minimalist sculptures. Arriving at CAMAC, she changed her clothes and used material left by previous residents to achieve a particular installation.
The Australian artist Emma Rochester works on the aesthetics of the mapping.She explored the trails around the CAMAC to create videos, true witnesses of what the maps do not men-tionnent in a project called "Desire Paths" (paths of desire). Beautiful people Brazil's Michel Martin used to paint the interior of the house in which it places characters from European pictorial aesthetics. On Marnay, she decided to reverse its approach and painted common areas of CAMAC, in which it has placed the characters of Brazilian culture.
Originally from South Korea, Sung Jae Shin examines the relationship between visual perception and those that digital media allow us to obtain. It reflects the difference between tangible reality and the reality with digital pictorial process, similar to those of the Impressionists. Sung Jae Shin apply this process to the landscapes of the Champagne countryside seen throughout his walks.

 Already present in CAMAC 10 years ago, Amitla Cuacuas returned to this place she loves so much. Coming here, the Mexican artist has chosen to support change but also painting technique. She now uses acrylic for vibrant colors and works on media circles to express the circularity of the time it perceives as an eternal return to places and people we already know.Natalie Ross (USA) is both a landscape architect and artist. His work links the two activities to focus on how one defines the landscape. Through photos, drawings and sculptures, it wants to give a new definition of landscape art.

NEWS: Open Studios: Thursday 25th August, 6.30pm:CAMAC Centre D'Art



Bonjour,
Avant la rentrée, nous vous invitons à venir aux derniers "open studio" de l'été et découvrir le travail des artistes en résidence pendant ce mois d'août. 

Merci encore d'avoir été si nombreux la dernière fois, et nous espérons tous vous retrouver ce jeudi 25 août à partir de 18h30. 

A découvrir : 


Melita Greenleaf vit à New-York, aux États-Unis. Cette sculptrice utilise l’argile, le bois, le béton et le papier pour réaliser des sculptures minimalistes. En arrivant au CAMAC, elle a changé de matériau et a choisi d’utiliser des vêtements laissés par les résidents précédents, pour réaliser une installation spécifique.  Au moyen de ces pièces de tissus, elle va tisser des cordes qui traverseront l’espace.

Emma Rochester est une artiste australienne qui travaille sur l’esthétisme de la cartographie. Les cartes géographiques ne disent rien de l’odeur d’un champ, de la sensation du vent sur la peau ou du déséquilibre de nos pieds sur un chemin de campagne. Cette artiste explore les sentiers des environs du CAMAC pour créer des vidéos qui seront les témoins de ce que les cartes géographiques ne mentionnent pas, dans un projet intitulé Desire Paths (les chemins du désir).

Michele Martines (Brésil) a l’habitude de peindre des intérieurs de maison, dans lesquels elle place des personnages issus de l’esthétique picturale européenne. Lorsqu’elle est arrivée en France, cette artiste brésilienne a décidé d’inverser sa démarche et a peint les espaces communs du CAMAC, dans lesquels elle a placé des personnages de la culture brésilienne. En utilisant ces figures inconnues du public européen, elle tente de susciter la curiosité de celui-ci.

Originaire de Corée du Sud, Seung Jae Shin vit au Royaume-Uni. Cet artiste étudie le rapport entre notre perception visuelle et celle que les médias numériques nous permettent d’obtenir. Il traduit cet écart entre la réalité sensible et la réalité digitale par des processus picturaux, semblables à ceux des Impressionnistes. Seung Jae Shin va appliquer ce procédé aux paysages de la campagne champenoise aperçus au fil de ses promenades.
Déjà présente au CAMAC il y a 10 ans, Amitla Cuacuas est revenue dans ce lieu qu’elle aime tant. En arrivant ici, cette artiste mexicaine a choisi de changer de support et de technique picturale. Elle utilise désormais l’acrylique pour des couleurs éclatantes, et travaille sur des supports ronds, pour exprimer la circularité du temps, qu’elle perçoit comme un éternel retour vers des endroits et des personnes qu’on connaît déjà.

Natalie Ross (États-Unis) est à la fois architecte paysagiste et artiste. Son travail se concentre sur la définition qu’on donne du paysage. Le regard que nous posons sur les sites qui nous entourent est formaté par les conventions architecturales traditionnelles. Par des photos, des dessins et des sculptures, elle voudrait donner une nouvelle définition de l’art paysager. Dans son processus de création, elle utilise des matériaux qui vont pouvoir montrer leur vraie nature et, par leur symbole, participeront à cette autre représentation.

Lines of a repetitive nature: Camac Centre d'Art- Artist in Residence August 2011

Emma Rochester. A Carousel is a circle. A circle is a line of continuous movement. A line consists of Descartes' set of points. A point is a dot (Video Still). 2011 

Initially setting out to map 'Desire Lines' lines created by town folks when creating shortcuts across fields, besides rivers and to gain quick access to villages whilst in Residence at Camac centre d'Art, these plans and ideas for the project were quickly expanded to include other unconsidered factors. A Residency affords time to experiment with new directions in work as well as opens up new possibilities as one responds to an external environment. Being able to make new flexible aesthetic considerations invites a new playfulness into modes of production and art-making. 

Whilst exploring the local terrain for lines created by the erosive effects of repetitive use over time I have discovered other lines of repetitive nature. Some much more colourful, artificial and bright than the ones found through the impact of treading. Above is a video still from this new colourful kind of work one which responds to the immediacy of a new environ.

To see current works in progress please click here

A line has only one dimension but a journey has many: In Residence at the Cypus College of Art


Founded in 1969 The Cyprus College of Art was founded on the ethos and philosophy of Stass Paraskos. Paraskos suggests that an artist can only find, discover and professionally develop their artistic and creative nature by stripping away all luxury and returning to a basic and simple lifestyle. A lifestyle which allows only for a direct experience between the art itself and the development of the artist's personal and intellectual identity. In this way there exists only a dialogue between the art and the artist in question.

Forty plus degree heat, and no ceiling fans or air-conditioning for these are representative of modern day luxuries that create artificial environments away from the true nature of place and hence effects the nature of art making. In such conditions the battery on my MAC laptop expanded from the heat and was rendered useless. All that was left is to consider was 'how to make work when technology is stripped away and one is pushed to personal limits?' In sum the swelling of my laptop achieved the very environ that is Stass Paraskos' creative utopia.

Sometimes what seems like a disaster is a personal gift. When ones' art practice is reliant upon technology and it suddenly becomes unavailable, new ways of creative thinking, reflections, and experimentation can begin. The removal of technology meant I spent the majority of my time in Cyprus out of the studio and in the archaeological sites I had come to map. With no time to edit the work I could then explore places I would never had time to previously and begin to explore the idea of drawing paper as a more significant tool in my practice. Suddenly drawing paper became aphrodite statues and apples. Visual aesthetic and in camera modifications became more important.

In this way the Romanticism of a stripped bare existence came into being, a shift in practice came about through working solely with the camera out of working en plein air in the same way that Paraskos encouraged the development of a painting school that was built on the same practice.

Please click here to go to an overview of the work completed

To touch the past: Israel May 2011

Emma Rochester.  Work in Progress (Video Still). 2011

From walking the Via Dolorosa the path of Christ, to driving the interior deserts where the wind blows white, to finding the places where some of the oldest figurines of feminine form exist: Israel is a terrain beyond the biblical imagination. It is as if here in this land where desert mountain and the sweat of salt meets the land remembers the times that have come before and within it lie lines of memory of that which has been and that which will come to pass.

For three days I walked the Via Dolorosa from the Lions Gate to the point of death. Between stalls and soldiers; postcards and scarves; those who mumble and those who open their hearts to sing; this places of smoke of divided lives of intersections and rabbit like tunnels; here there is darkness the smell of frankincense; of photos of cousins from Australia tapped onto cash registers and ancient antiquities; In these streets there are lines of blood, faith, remorse, loss, passion; insensible desire and conviction. There are those who observe notice take note and help when something is lost or remind when something is forgotten there is the scent of bees from thousands of candles. The endless repetition of soothing beads and in doing so the endless fragment of prayers. Each step a new memory of faith.

Drawing Works in Israel please see: http://emmarochester.blogspot.com/p/via-dolorosa-jerusalem-path-of-christ.html 


Video Works and a brief overview of drawing works in Israel please see: http://emmarochesterdrawing.blogspot.com/p/israel.html


A day in the sky: Driving from Castlemaine to Bendigo


Danielle Kiriati. A day in the sky. 2011

After a recent enquiry into my arts practice I received a iphone message whereby Danielle Kiriati having heard about my mapping art practice put the process to her own test. Above is the result.

Toyota Community Spirit Gallery

Labels:
Emma Rochester. The Butterfly Effect Invitation. 2011

Toyota Community Spirit Gallery presents emerging artists from the cities of Hobsons Bay, Port Phillip & beyond
Opening: Wednesday 30 March from 6:00 to 8:00pm
Exhibition continues until: 24 June 2011

Open Monday to Friday 9am to 5pm or by appointment
Inquiries Ken Wong 0419 570 846
Toyota Australia, 155 Bertie Street, Port Melbourne
[Mel Ref 2E B11.109 Tram, Stop 127, North Port Station/Lightrail Port Melb]

EXHIBITING ARTISTS: Kim Anderson, Glen Barton, Wendy Beatty, Julia Bilecki, Graham Brindley, Robert Bruce, Melissa Cameron, Alexander Dathe, Lynda Dingley, Megan Evans, Kirstin Finlayson, John Gambardella, Matthew Harding, Jessica Honey, Caroline Ierodiaconou, Amaya Iturri, Anna Jacobson, Elizabeth James, Danuta Karski, Julie Keating, Amy Kennedy, Janetta Kerr-Grant, Philippe Le Miere, Jessica Ledwich, Rosie Lovell, Larissa MacFarlane, Christina Markin, Aaron Martin, Toby Matheson, Ian McKinnon, Louise Molloy, Rebecca Monaghan, Yuki Nakano, Hilda Nixon, Bradley O’Connor, Sharron Okines, Olga Pasechnikova, Shining Rainbow, Satu Rantanen, Anna Robertson, Debbie Robinson, Emma Rochester, D.M. Ross, Jack Rowland, Sarah Schembri, Robert Scholten, Ema Shin, James Tapscott, Daisy Watkins-Harvey, Michelle Watson, Dominique Wylestone, Jack Wylestone

CURATOR: Ken Wong

Floating can be Bespattering

Emma Rochester. Floating can be Bespattering. 2011
Camera: Peter Long

Video Still 

To see the video please click on the link below:
http://www.vimeo.com/20496465



'Floating can be Bespattering' is a video work divided between documenting the practice of making walking art and providing an emotive sense of place surrounding a marina that is steeped in solitude. The summer of 2011 was not one characterised by sunny weather and ice-creams rather gentle rain and wind spattered down leaving the marina at the Docklands, Melbourne isolated and abandoned by regular tourists and onlookers.

Made as part of a commission by the City of Melbourne: Docklands Art Grant 2011. 

Floating in Place- Corset Fabric




Emma Rochester. Floating in Space: Fabric patterns for corset I-IV. 2011
City of Melbourne Commission. Docklands Art Grant. 2011

Above are the four fabric patterns from each respective week of walking at Waterfront City Marina, Docklands, Melbourne, Australia. Each colour was selected from photographs taken whilst walking and immersing myself in the sensory feel of the marina. Each pattern was crafted from the map made whilst walking. Each of these patterns is a chart, a map of the sensation, feel and movement of walking on floating pathways in indiscriminate weather conditions.

For more information on how these patterns were made please visit: http://emmarochester.blogspot.com/p/docklands-floating-in-space.html


Floating in Space



Emma Rochester. Floating in Place. 2011
Video Stills 
Camera: Peter Long

There is a stillness that descends when you walk in a quiet place. In the rain near the sea there is a water that whips around you silently, calming, nurturing. The docklands Waterfront City Marina is a quiet place, not a place without a soul, but a place that has found stillness outside of the normal confines of cities. Within three streets you can stand inside the eye of a storm. Stand on city corners and watch throngs of people walking by. Here on platforms that float serenely on a calm dark sea there is space to stop and find that the calm on the inside is reflected on the outside. There is wind and rain, and the sound of water slightly slapping against planks of wood and yet it feels minimal, abstract quietness.

Pen to paper and the ink runs, the rain laps and the ink runs out it is best to experiment to softly try something new. To work with aquarelles a water colour pencil that flows freely with the environment. Not fighting it but responding, giving its own texture its own feel to the drawings that documents a place that floats in space.

Corresponding Dualities





Emma Rochester. It's Difficult to Know. 2011
Documentation of a work in progress
Photos courtesy of Jade Burstall
'It's Difficult to know' is a video art work that charts a line. A  line that starts at the cobbled street and then descends, delves deep into sacred ground. Not many know that this land which was once sacred to Aboriginal women and as time pushed forth it has been claimed, toiled over and time and time again transformed into something new and something different. Recently it was two houses now they are gone and what remains is obsolete for there is merely a hole dug deep into the earth. These previous European buildings and the ones that went before them have all been demolished to make way for a deeper, larger denser construction. A hole built to support a large scale apartment block which is only now being put together.
In navigating the bowels of a deep place the artist invites the viewer and artist alike to query: How does one respond to a place, a site such as this? Is is through the eyes of seriousness.? Recognising a place once sacred held together with steadfast ritual, ensuring that the artist take each step as an act of reverence? Does one acknowledge the loss of dignity and the loss of grace that has come upon this small pocket of the earth? Or is this work to be seen as a dance to the ancestors of this earth place that live through my Celtic and Italian bloodlines? Does one move through the space with the eyes of the future? Considering the joy of the children who one day may live above and supported by this stretch of land? Does one move through such a place with a smile wondering about the couple who will purchase an apartment as their first home? Or for the grandmother who is moving to be closer to her grandchildren?
The histories of the places and spaces we inhabit surround us often undisturbed often unnoticed. They are lost and forgotten and yet sometimes they are remembered. 'It is Difficult to Know'  sways between remembering and activating, loss and joy. It centrally asks how does one negotiate the past and present: Sacred and ordinary: New and old?



Line of transition


As spaces crumble so too do the aspects they represent. Space is redefined, re-constructed and turned into something new. The time between the dismantling of the old and the beginning of the new is a transition time. A turning point in which no-one clearly knows how the location will change and shift and form into something new and entirely different. 'Line of transition' is the walking of a demolished shop front on Carlisle street, Elsternwick, Melbourne. The space was chosen because it exists between old and new. It enables the walking a reconfigured site as it leaves the past behind and becomes something yet to be seen.


Photos courtesy of Ebony Hack. 2011

COLOUR line

Emma Rochester. COLOUR line. 2010
Video Still
To see the work please click on either of the two links below:
VIEW. COLOUR line. here. low Res
VIEW. COLOUR line. here. high Res



Video work submitted to the Arte Laguna Art Prize 10.11
Note on the work: There is 8 seconds of black (slug) at the start of the video.
'COLOUR line' is a mash up. A return to old work revisited. The correlation between Emma Rochester's drawing and video work clearly intersects and mirrors one another. Rochester's videos embody the artist's relationship to composition and colour creating bold lines and intricate patterns of movement.
In 2009 the artist undertook a residency at CUBE 37, Frankston Arts Centre, where she mapped the glass cube space and created collages of drawing and video work respectively. Whilst the result of one month's work for the artist differed from her norm-in the sense that the mapping drawings she created were not transformed into fabric and from there turned into corsets- it did however reflect the work space as divided and consecrated within sharp structures of right angles, squares, and lines.
COLOUR line is the observation of walking in and out of the gallery over each day of the artist's residency. The video work is a mash up of drawing, the documentation of large scale paper collages that covered the floor of the gallery and the still photographs that were taken whilst walking from the car-park to the gallery itself.


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