Rochelle Haley

Reach

2018, single channel video, 3:10 min. Exhibited in Documents, Alternatives #3, Bath School of Art and Design (BSAD), United Kingdom, 20 April 2018 – 12 May 2018

Reach is a performance & installation for video comprising elastic, installation structures and objects, lighting and improvisational movement. Reach brings together visual and live performative responses to important 20th century artworks exploring movement and graphic representation by dance notation theorist Rudolf Laban. The performance/installation Reach references the visual lines and forms in Laban’s drawn ‘kinespheres’ and brings about new representations of abstract topological form. The topological forms in the performance relate to abstractions of the moving body when dancing. By transforming Laban’s visual lines and forms into movement, Reach produces contrasting patterns of line onto three dimensional forms, bringing together live graphics through movement. The work contributes a practice-led approach to contextualising movement in live improvisation through visual pattern.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5

2016, 5 works of watercolour and pastel on translucent paper 31 x 23cm. Exhibited in The Alternative Document & Documents, Alternatives #1

 Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5 is a series of watercolour drawings on paper that diagram movement in three-dimensional space. The works aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8

2018, 3 works of watercolour on paper 40 x 30 cm. Exhibited in Documents, Alternatives #2

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8 is an extension and synthesis of an experimental drawing technique to diagram three-dimensional dance movement. These new works differ to previous works in the series in scale, medium and complexity, and aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Artist Biography

Rochelle Haley’s practice is engaged with painting, drawing and movement to explore relationships between bodies and physical environments. Working with dancers, her painting installation and performance works investigate space structured around the sensation of the moving body. Haley is interested in merging compositional strategies of painting and choreography choreographic, experimenting with abstraction at the boundaries of disciplines to discover how movement of bodies can be expressed and felt by audiences. Overall Haley’s work re-imagines material surfaces of representation by discovering methods that are sensory, kinaesthetic, affective and rhythmic.

Haley lectures in painting and drawing at UNSW Art & Design, where she completed a PhD in 2009. She is currently involved in international research projects ‘Precarious Movements: Choreography and the Museum’ and ‘Dancing with the Non-Human; the Aesthetics of Encounter’, contributing her expertise in the convergences between visual arts and dance in gallery contexts.

Rochelle Haley

Reach

2018, single channel video, 3:10 min. Exhibited in Documents, Alternatives #3, Bath School of Art and Design (BSAD), United Kingdom, 20 April 2018 – 12 May 2018

Reach is a performance & installation for video comprising elastic, installation structures and objects, lighting and improvisational movement. Reach brings together visual and live performative responses to important 20th century artworks exploring movement and graphic representation by dance notation theorist Rudolf Laban. The performance/installation Reach references the visual lines and forms in Laban’s drawn ‘kinespheres’ and brings about new representations of abstract topological form. The topological forms in the performance relate to abstractions of the moving body when dancing. By transforming Laban’s visual lines and forms into movement, Reach produces contrasting patterns of line onto three dimensional forms, bringing together live graphics through movement. The work contributes a practice-led approach to contextualising movement in live improvisation through visual pattern.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5

2016, 5 works of watercolour and pastel on translucent paper 31 x 23cm. Exhibited in The Alternative Document & Documents, Alternatives #1

 Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5 is a series of watercolour drawings on paper that diagram movement in three-dimensional space. The works aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8

2018, 3 works of watercolour on paper 40 x 30 cm. Exhibited in Documents, Alternatives #2

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8 is an extension and synthesis of an experimental drawing technique to diagram three-dimensional dance movement. These new works differ to previous works in the series in scale, medium and complexity, and aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Artist Biography

Rochelle Haley’s practice is engaged with painting, drawing and movement to explore relationships between bodies and physical environments. Working with dancers, her painting installation and performance works investigate space structured around the sensation of the moving body. Haley is interested in merging compositional strategies of painting and choreography choreographic, experimenting with abstraction at the boundaries of disciplines to discover how movement of bodies can be expressed and felt by audiences. Overall Haley’s work re-imagines material surfaces of representation by discovering methods that are sensory, kinaesthetic, affective and rhythmic.

Haley lectures in painting and drawing at UNSW Art & Design, where she completed a PhD in 2009. She is currently involved in international research projects ‘Precarious Movements: Choreography and the Museum’ and ‘Dancing with the Non-Human; the Aesthetics of Encounter’, contributing her expertise in the convergences between visual arts and dance in gallery contexts.

Exhibition Archive

Rochelle Haley

Reach

2018, single channel video, 3:10 min. Exhibited in Documents, Alternatives #3, Bath School of Art and Design (BSAD), United Kingdom, 20 April 2018 – 12 May 2018

Reach is a performance & installation for video comprising elastic, installation structures and objects, lighting and improvisational movement. Reach brings together visual and live performative responses to important 20th century artworks exploring movement and graphic representation by dance notation theorist Rudolf Laban. The performance/installation Reach references the visual lines and forms in Laban’s drawn ‘kinespheres’ and brings about new representations of abstract topological form. The topological forms in the performance relate to abstractions of the moving body when dancing. By transforming Laban’s visual lines and forms into movement, Reach produces contrasting patterns of line onto three dimensional forms, bringing together live graphics through movement. The work contributes a practice-led approach to contextualising movement in live improvisation through visual pattern.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5

2016, 5 works of watercolour and pastel on translucent paper 31 x 23cm. Exhibited in The Alternative Document & Documents, Alternatives #1

 Constructions of the Moving Body (after Trisha Brown’s Accumulation) #1-5 is a series of watercolour drawings on paper that diagram movement in three-dimensional space. The works aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8

2018, 3 works of watercolour on paper 40 x 30 cm. Exhibited in Documents, Alternatives #2

Constructions of the Moving Body (after Trisha Brown’s Accumulation) #6-8 is an extension and synthesis of an experimental drawing technique to diagram three-dimensional dance movement. These new works differ to previous works in the series in scale, medium and complexity, and aim to forge connections between drawing and the transience of dance, and are produced by an experimental process of drawing, dancing and watching recordings of American choreographer Trisha Brown’s work Accumulation 1971. The drawn diagrams offer a visual and conceptual model for ‘recording’ dance with potential for future animation. The work contributes a practice led approach to visualising movement in space through drawing, and an alternative method for the documentation of choreographic structure in performance.

Artist Biography

Rochelle Haley’s practice is engaged with painting, drawing and movement to explore relationships between bodies and physical environments. Working with dancers, her painting installation and performance works investigate space structured around the sensation of the moving body. Haley is interested in merging compositional strategies of painting and choreography choreographic, experimenting with abstraction at the boundaries of disciplines to discover how movement of bodies can be expressed and felt by audiences. Overall Haley’s work re-imagines material surfaces of representation by discovering methods that are sensory, kinaesthetic, affective and rhythmic.

Haley lectures in painting and drawing at UNSW Art & Design, where she completed a PhD in 2009. She is currently involved in international research projects ‘Precarious Movements: Choreography and the Museum’ and ‘Dancing with the Non-Human; the Aesthetics of Encounter’, contributing her expertise in the convergences between visual arts and dance in gallery contexts.

Exhibition Archive

Exhibition Archive