Lottie Consalvo

Lottie Consalvo: mid-fall, Alaska Projects

My text to accompany Newcastle-based artist Lottie Consalvo’s recent exhibition mid-fall.

Alaska Projects, Sydney, 27 April – 15 May, 2016

Lottie Consalvo is contemplating time. Years, nano-seconds, moments of eternity, transition, points of no return – these moments of between and becoming are explored in her current series of abstract paintings.

Consalvo’s interdisciplinary practice includes performative and often quite specific autobiographical references and this collection of works represents not one, but a series of moments in time. They are observations of quietly transformative experiences – from her 12-month long durational performance, Compartmentalise in 2012, to her recent travels around Ireland absorbing its rough hewn beauty – all stone circles, limestone and rain – and its reverence for spirits and shrines.

Lottie Consalvo, mid-fall (study), 2016, edition of 1 and 2 AP, size varied, glicée print on cotton rag.

Lottie Consalvo, Hanging mountains, 2016, acrylic, charcoal and plaster on board

This travel and Consalvo’s latest series of paintings have actually occurred in the middle of her latest 12-month durational piece, Desires, wherein she has given herself permission to do those things that make her happiest. The works in mid-fall do not explore any particular desire. What they reflect is Consalvo’s ongoing fascination with states of mind, in particular memory and how certain psychological states reflect physically and within the physical world.

In mid-fall Consalvo considers time, momentum and the nature of transition; something she is necessarily experiencing as a consequence of her long-durational performance work. Here, the habits and rituals of her everyday life are incrementally transformed by the terms of the work and she looks back only in order to observe her progress; to locate those tipping points of no return (which she so deftly illustrates in mid-fall (study) and then again in mid-fall). There is nothing regretful or nostalgic in these considerations, simply a conscious fascination with process, memory, transformation, and the possibility for ritual within it.

Shrines have long been of interest to Consalvo; as places for solitude, faith and reflection and in these works she draws on experiences of reverie – standing in the rain at Powerscourt Waterfall in Wicklow, Ireland – to her own small moments of ceremony – collecting and grounding coal from her garden fire to embed in her painterly surfaces – to create a series of visual spaces that resonate with the quiet emotional energy of these experiences.

Lottie Consalvo,  Stones fall faster than water and I will always love you,  2016, acrylic, charcoal, beads and plaster on board.

Lottie Consalvo, Stones fall faster than water and I will always love you, 2016, acrylic, charcoal, beads and plaster on board.

Several works in the series, including Stones Fall Upon Tall Men, make direct reference to the visual forms of totems and shrines and in addition to the use of coal Consalvo has also used casting plaster. Drawn to its associative fragility and painterly qualities, she incorporates it both within the painted surface and sculpturally, to emulate the collections of stones. The contrast between these bright whites and the pure black only highlighted by the rest of Consalvo’s deliberately subdued palette of earthy, dark tones.

These recurring motifs – the stones, the totems, and these senses of falling or yielding towards new states of being – are necessarily abstract. Flying and Falling, one of the earlier works to be created in the series is unsurprisingly the most figurative and reflects another moment of transition within the series – away from the literal and didactic – towards something more instinctive and emotional.

By abstracting these notions of reflection, memory and momentum, Consalvo instead meditates on the power of certain places (be they literal, emotional or psychological) to bring about transition and change. So long as you have faith enough to let go.



More Marina Magic

How many teenagers in their lifetime get a masterclass in performance art from the internationally acclaimed Marina Abramovic?

Well, I know of eight. And they’re all from Dubbo.

On Saturday 3 July, the Kaldor Public Art regional engagement project reached its halfway point. The pilot, in the context of our recent project with Abramovic, has proven to be a unique and hugely rewarding opportunity to engage with ideas around performance art using the very immediate experiences of our teenage participants.

Through a series of workshops, discussions, exercises and activities (led by myself, theatre director Imara Savage and artist Lottie Consalvo) we’ve been exploring the role of the body as a gesture or action in art making. We’ve also been looking at ideas of presence and energy and the role of the audience, and asking our intrepid participants to mine their own ideas and experiences, challenging them to consider how they might explore some of these emotions and responses as a work of art.

Earlier this month the participants joined us in Sydney for two days at Pier 2/3. It was a chance to experience Project 30 – Marina Abramovic: In Residence and to be part of our dedicated public program event with Western Plains Cultural Centre aptly titled, The Western Plains Respond. It was also an opportunity for them to see their learning and works-in-progress in the context of the 12 emerging Australian artists living in residence at the Pier (of which Lottie was one) and to meet the rest of the Kaldor Public Art Projects team.

The Marina masterclass wasn’t on the agenda. It was an impromptu event, proposed by Marina herself no less, after she met everyone on Friday and was told about what they’ve been up to for the last couple of months. Marina challenged them to explain their ideas, asked critical questions, gave thoughtful feedback and told them in no uncertain terms to commit to their ideas, especially the ones that frightened them, because they usually proved to be the most important ones.

All of which will be on display during the special one-day exhibition at Dubbo Regional Gallery at the Western Plains Cultural Centre on Sunday 26 July.

This huge and exciting culmination to the project is a chance for the participants to present their work as serious young artists, and to learn what’s involved in curating an exhibition. Which is why Kent Buchanan, Curator of the WPCC and Andrew Glassop, WPCC General Manager, along with the rest of the Dubbo team are taking the unprecedented step of giving them their own exhibition space in the main gallery.

Their final performance pieces, which will be curated by Kent, deftly explores their teenage experiences of disconnection, feminism, mental health, love, worry and expectation.

Presented from 11am as part of a special day-long, free public program that includes the official launch of the Public Art of Dubbo website by Deputy Premier and NSW Arts Minister, the Hon. Troy Grant, and an afternoon panel discussion on the changing nature of public art. Chaired by Kent Buchanan, panellists include Kaldor Public Art Projects Director John Kaldor, artist Alex Wisser and Regional Arts Development Officer for Orana Arts, Alecia Leggett. And probably a participant or seven.

The day gets underway at 10.30am and concludes at 3pm with refreshments and informal reflections. No bookings are required and the events and exhibition are free to attend.

It’s an important moment for us in our pilot project but beyond that, it’s a very special opportunity to experience the work of some exciting young artists who have absolutely earned an audience for their work. Just ask Marina.


This article was written for Museums and Galleries New South Wales in my capacity as Regional Engagement Coordinator for Kaldor Public Art Projects and originally published on 11 July 2015. http://mgnsw.org.au/articles/more-marina-magic/



Lessons learnt: Kaldor regional progress report

It’s been six weeks since our Pilot Regional Engagement Project started and with two weekends of workshops behind us, it’s an interesting time to reflect on what we’ve learnt so far.

The invisible hours are the most important

Working with teenagers and in a community you’re not usually part of, there’s always a risk that no one will show up.

All nine of our participants did show up (and on time…) and despite not all knowing each other, they were quick acknowledged the uniqueness of the opportunity, which made for an immediately supportive group environment.

This couldn’t have happened without the many invisible hours we spent in regular communication with them, their parents, their teachers and the team at the Cultural Centre in the lead up to the first weekend. Maintaining that communication has so far ensured the retention and investment of everyone involved.

Image: Paige Williams / Orana Art. Courtesy Kaldor Public Art Projects.

Don’t assume anything

We had asked the participants to submit an introductory form outlining what they hoped to get from the experience so we knew before we arrived that most had little or no knowledge of performance art, contemporary art or Marina Abramovic.

So, the first day was dedicated to exploring what performance art is; what forms it can take and how it’s anything but theatre. We showed a selection of works from artists including Abramovic, Yoko Ono and Tehching Hseih and with each work asked the same three questions:

  • What do we think are the artist’s intentions?

  • What role does the audience play?

  • How successful is it?

Day two focused on autobiography, perception and identity construction. Activities included creating abstract self-portraits that were then analysed by the group and an exercise in response to Glenn Ligon’s series Runaways exploring how others see us and make judgements accordingly.

We had hoped that as a group they might be interested in creating works that explored the experience of being a teenager in regional Australia but discussing this particular experience only led to moaning about Dubbo. Eventually a more nuanced perception was negotiated but it reminded us not to assume anything. Especially when it comes to teenagers.

Amazing things can be achieved with trust

One of the risks in working with performance art is that its process of creation involves a lot of introspection, critical thinking and honesty. Which in turn, can generate the need for significant pastoral care.

Prior to the workshops we had been made aware of some existing mental health, sexuality and self-esteem issues, and while this didn’t alter the workshop activities we ran, it remains an on-going point of consideration in managing discussions and presenting ideas.

Several participants have since chosen to explore some of these issues directly through their work, which is a testimony to the level of trust we have built. It’s going to make for important, memorable performances – for the participants and the viewers.

Image: Paige Williams / Orana Arts. Courtesy: Kaldor Public Art Projects.

Work with brilliant people

Theatre Director Imara Savage spends a lot of time with the group taking them through basic ensemble training: how to be present, how to be aware of your body and its movement, how to listen to the energy of the group, how to avoid fidgeting and giggling and breaking focus.

Artist Lottie Consalvo, one of the 12 residency artists living on-site at Pier 2/3, joined us for the second weekend, and devised workshops that focused on the process of creation.

Amongst other activities, the group had to stare at themselves in a mirror for 20 minutes: they had to respond emotionally not descriptively, to a series of objects handed to them while blindfolded, and they had to sit and squeeze an orange for one minute while the rest of the group looked on.

Both Imara and Lottie listened to the group, respected them as individuals and earned their trust. This allowed us to push them out of their comfort zone, ask critical questions and importantly, give critical feedback.

At this stage in the project, many participants already have a sense of the work they want to create. That most of the group got to this point relatively easily reflects the importance of working with people whose personal skills as well as professional expertise best fit the audience.

‘Be’ there, even when you’re not

One of the issues with a regional pilot program is that there often weeks between workshops when nothing happens. To partially fill the void, we created a Tumblr page to document the project and to distribute material between visits.

Initially we hoped that the participants would also submit their own research, work, and ideas but so far that hasn’t been the case. See Point 2.

Regardless, it remains a useful way to share resources and images with the group, and to be present and available to the participants remotely.

You can see the blog here: www.kaldorpublicartprojects.tumblr.com

Connect – don’t exist in isolation

In every conversation about this pilot we’ve made a point to situate it within the wider context of Kaldor’s education and public programs but also specifically this current project with Marina Abramovic.

And so on Friday 3 July at 2,30pm, as part of the Upstairs Public Program at Pier 2/3, the participants will join Kent Buchanan, Curator from Western Plains Cultural Centre, in a discussion on contemporary performance art within a regional context.

This Sydney visit is a key moment in the project and an important public facing moment before we return to Dubbo for our next two weekends and the final presentation on 26 July.

Photo: Paige Williams / Orana Arts. Courtesy: Kaldor Public Art Projects.

This article was written for Museums and Galleries New South Wales in my capacity as Regional Engagement Coordinator for Kaldor Public Art Projects and originally published on 23 June 2015. http://mgnsw.org.au/sector/news/lessons-learnt-kaldor-progress-report/