Solo, collaborative, site specific or in a traditional setting I have trained, placed, thrown and revealed my performance and art work in a variety of environments.
As featured artist for a selection of site specific performances for the Ghosts of Nothing work "Johnny B. Goode - World Tour". These documented performances led to an exhibition supported by the Contemporary Art Tasmania gallery as part of their Mona Foma 2018 program.
The works include:
Also know as NRWPA or PRAWN, the National Regular Weekend Protestor Association was formed by LPG (collaborators Laura Purcell and Paul Gazzola) to question current local and national laws in place, and being placed, to deter everyday people from protesting.
An ongoing development of works to explore confinement, human and nonhuman animal connections, choice and the taming of wildness through performance, puppetry and the architecture of costume.
Constructed habitats for non-humans and humans, zoos and menageries, strive/d to stage the reenactment of the ‘wild’ or the ‘natural’ for the benefit of conservation, education and entertainment. With a desire for the authentic, physical entrapment inevitably affects the internal and external state of being, altering behaviour, growth and interaction, all the while distorting natural observation.
Ms Rhonda Voo arrived to Tasmania in 2010 with big ideas and big hair. Not a fan of being referred to as Laura Purcell's alter ego, rather her benefactor and ambitious leader, Rhonda has delivered her joie de vivre to art exhibition openings, curating her own shows, entertaining the masses with her passion for reciting poetry and bringing sophistication to everyday festivals.
During my seven years with Terrapin Puppet Theatre as performer and puppeteer (2004-2010) I toured family friendly shows locally to schools across Tasmania, performed in festivals nationally and internationally, including Shanghai, Singapore, Malaysia and Denmark; and co-devised works with Frank Newman, Annie Forbes and Tim Denton and resident puppeteer/performers.
A Certificate IV in Contemporary Dance in my late 30's was a natural progression in the exploration of body in space and site. I combine my contemporary dance technique, knowledge and skills with my experiences of theatre, puppetry and visual art.
Self-funded, funded and self taught I continually explore methods to problem solve the presentation of live or digital performance.
From building a stop-motion animation puppet for film with Puppets in Prague, developing new work for the Eugene O'Neill National Puppetry Conference in Connecticut and my own portfolio, to making rich professional connections and friendships.