dancework
SCREENWORKS
2024. screendance work (2:57).
seed is a gentle meditation on regrowth and recovery. A still, lying figure begins to move, her dance leaving traces which bloom into a multibodied form.
seed is a gentle meditation on regrowth and recovery. A still, lying figure begins to move, her dance leaving traces which bloom into a multibodied form.
2023. digital image montage (2:10) by Sue Hawksley, Cynthia Schwertsik, Sam Oster.
Two figures, oddly situated in burned bushland, perform small acts of connecting through the seasons of emergent recovery.
Two figures, oddly situated in burned bushland, perform small acts of connecting through the seasons of emergent recovery.
dancefilm (03:20) by Cynthia Schwertsik & Sue Hawksley.
Change Around Time is a sensitive yet playful response to the transformative role of bushfire and its confronting capacity for destruction and regeneration.
Change Around Time is a sensitive yet playful response to the transformative role of bushfire and its confronting capacity for destruction and regeneration.
Dwell: landscape in the figure invites contemplative reflection on habitat loss, with haunting visual and sonic footage from three endangered ecosystems in South Australia and three dancers who embody those landscapes.
dancefilm (10:00) by Sue Hawksley & Roddy Simpson.
A dancer moves through the mnemonic traces of places which inhabit her presence, shifting between 'here and now' and 'there and then'.
A dancer moves through the mnemonic traces of places which inhabit her presence, shifting between 'here and now' and 'there and then'.
STAGEWORKS
2019. Solo danced-lecture.
This work playfully explores some reasons why, as an older dance-artist, Sue Hawksley might bother to do difficult things standing on one leg.
This work playfully explores some reasons why, as an older dance-artist, Sue Hawksley might bother to do difficult things standing on one leg.
2014. Interactive performance installation by Simon Biggs, Garth Paine and Sue Hawksley.
The movement and speech of two preformers are re-mediated through motion tracking, voice recognition, interpretative language systems, large scale projection and surround-sound audio synthesis.
The movement and speech of two preformers are re-mediated through motion tracking, voice recognition, interpretative language systems, large scale projection and surround-sound audio synthesis.
2011. Solo dancework.
haptic_dance is performed and received by touch for an audience of one.
haptic_dance is performed and received by touch for an audience of one.
2010. Interactive performance installation by Simon Biggs, Sue Hawksley & Garth Paine.
In Bodytext a dancer's movement and speech are re-mediated through motion tracking, voice recognition, interpretative language systems, projection and audio synthesis.
In Bodytext a dancer's movement and speech are re-mediated through motion tracking, voice recognition, interpretative language systems, projection and audio synthesis.
2010. Solo dancework.
A dancer's journey along two interactive metal rails reveals layers of sound, stories and voices.
A dancer's journey along two interactive metal rails reveals layers of sound, stories and voices.
2009. Collaborative performance project by articulate animal and the other ensemble.
A series of improvised miniatures in contemporary music and dance.
A series of improvised miniatures in contemporary music and dance.
2008. Interactive performance and installation by Simon Biggs & Sue Hawksley.
Tracked movement data is used to manipulate, fragment, distort and composite live video material. Stillness causes images to blow up.
Tracked movement data is used to manipulate, fragment, distort and composite live video material. Stillness causes images to blow up.
2008. Solo performance and improvisation score.
A dancer performs set or improvised dance material while in conversation with the audience.
A dancer performs set or improvised dance material while in conversation with the audience.
2007. Duet with live percussion.
carrier engages themes of transmission, mutation and metamorphosis, evoking fears of contamination and disease.
carrier engages themes of transmission, mutation and metamorphosis, evoking fears of contamination and disease.
2002. Solo dancework within live video-installation.
I am I was (a dying swan) explores loss of identity and the vulnerability of a person confronted by and immersed in the processes of decay.
I am I was (a dying swan) explores loss of identity and the vulnerability of a person confronted by and immersed in the processes of decay.
OTHER PROJECTS
2018. Interactive performance installation by visual artist Simon Biggs.
Choreography & performance by Sue Hawksley.
Choreography & performance by Sue Hawksley.
2012. Installation artwork by ~in the fields.
Choreography & performance by Sue Hawksley.
Choreography & performance by Sue Hawksley.
2009. Interactive installation environment by Distance Lab.
Choreography & performance by Sue Hawksley.
Choreography & performance by Sue Hawksley.
1998. Interactive installation by visual artist Simon Biggs.
Choreography & performance by Sue Hawksley.
Choreography & performance by Sue Hawksley.