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| CICA Jam #1 |
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| Seoul Jam #2 |
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| Live Drawing Performance, May 2018, DSA Gallery, Dunedin, New Zealand. |
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| Live Drawing Performance, May 2018, DSA Gallery, Dunedin, New Zealand. |
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| Live Drawing Performance, May 2018, DSA Gallery, Dunedin, New Zealand. |
jamjo (2018)
Jamjo is a performance video work in which we address the
question “How do we collaborate successfully with two very different creative
practices in order to explore new territories within a contemporary
context?”
On the video filmed in real time with a live audience, Jane
plays a banjo in an improvisational way and Hannah responds to the music
interpreting the sound as a large scale drawing. However, there is a moment at
some point early in the performance when Jane has started to respond to
Hannah’s mark making, as the drawing has the ability to ‘draw out’ phrases from
the instrument in ‘dual improvisation’.
Although the process is largely spontaneous, the drawings
can also be ‘read’ as a narrative, and the performance has a theatrical
storytelling quality to it. We all have different non-verbal modes of
expressing ourselves. In our performances we are initiating dialogue with each
other in our own individual creative languages. How might a mark be
interpreted? How might sound by interpreted? As the notion of improvisation and
spontaneous expression is common to both drawing and music/sound performance
this video is our combined expression of these questions. In Jamjo we are able
to remain based in our separate disciplines yet generate new work
collaboratively. Inevitably this pushes our individual practices to otherwise
uncharted territory and lead us to deeper understandings of our own and each
other’s work.
Hannah Joynt is a contemporary drawing practitioner who
works in a range of media, processes and scales. Jane Venis a musician, per¬formance
artist and maker of sculptural musical instruments. Her work is often playful
and experimental and engagement with the viewer is critical to her practice.
Jane has exhibited solo shows in Public Galleries in New Zealand and has been
selected for several international juried group exhibitions. Hannah’s studio
practice is concerned with researching notions of ‘drawing as a language’, with
a particular focus on drawing the landscape. Visual interpretation of sound by
drawing is recent avenue in her exploration of ‘drawing as a language’, yet a
landscape influence is obviously present. She exhibits regularly around New
Zealand in solo and group exhibitions. Although they have our own individual
practices they have collaborated together over many years, including teaching
drawing together at Otago Polytechnic in Dunedin, New Zealand. Sept 13 and 20.
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