Aden wrote a profile for the renowned puppeteering company Erth for issue 3 of Creativity Moves, Expression + Self. A company in residence at Carriageworks, Erth is a unique outfit that combines puppetry with live performance in acclaimed productions that feature inflatable sets, stilt-walking performers and an array of flying creatures, such as “I, Bunyip” and “Dinosaur […]
Aden wrote a profile for the acclaimed interdisciplinary arts organisation Performance Space for issue 2 of Creativity Moves, Consciousness + Community. A company in residence at Carriageworks, Performance Space has been operating for 27-odd years at the edges of theatre, dance and the visual arts. Creativity Moves was Carriageworks’ quarterly community newsprint.
Aden wrote the promotional copy for “The Waiting Place”, an intimate performance created by The Chaotic Order. Investigating the distinctions between artist and audience, between the world outside and the world within, this piece prompts us to rethink notions of otherness, and reconsider diversity as a point of empathy. Provocative and cheeky, “The Waiting Place” […]
Aden wrote the catalogue essay for conceptual artist Jenna Corcoran’s exhibition, “[Re]Viewing Big Brother and [Per]forming the Real”. An integral component of Corcoran’s PhD, the exhibition considered suburban surveillance, the effects of technology on the home, media narcissism and the relationship between safety and isolation.
Aden wrote the catalogue essay for Ahmarnya Price’s solo exhibition, “The World at Large”. Across twelve diptychs, “The World at Large” playfully interprets the human condition, measuring the months while rendering chaos into tight images – making sense and non-sense from the flow of daily information. It reconfigures the public and the personal into a […]
Aden wrote the artist statement for Elyss McCleary’s solo exhibition, “Shutter Speed Luminosity”. “Shutter Speed Luminosity” is a calmly disturbing narrative of paranoia, depicting uncertain moments in supermarkets, conference centres and parklands. Cinematically framed, McCleary uses an uneasy play of light and colour, underpinned by a sardonic sense of humour.