The veiled bodies’ slowed paces became sculptural and her isolation vulnerable. This was a beautiful echo of Juno Toraiwa’s movement piece which took place intermittently in the adjacent room. Pink foil and plastic coated the ceiling and walls, making the room feel like both an organ and a spaceship.Some of the Collective’s members took turns to lie on a table in the middle of the room beneath a veil, sparsely clothed. Pink tinsel curtained the entrance, pink cleaning appliances, technology and fixtures furnished the room. The installation was decisively lo-fi and pink, immediately separating it from anything outside of itself. This affirms the ensemble’s ethos which is so central to their broadening creative repertoire. Central to this piece, and reflected in their diverse use of textures and experiences, was the question ‘What is Femininity?’ Rather than positing or fostering a particular answer, the installation was designed to prompt curiosity, discussion and fun. The participatory demand of Chance Collective’s theatre is a necessary mode of delivery, as it is more conducive to audience members engaging with the ideas of each particular work, rather than receiving them passively. Nest was an interactive, audience driven, multi-media installation. This transition refracted throughout the works into a wholistic reconceptualization of what the body is, what a house is, what any structure is, and how it can be transformed, repurposed and used. Over those two days Triple AAA actioned a paradigm shift in which the domesticity of House Conspiracy fluctuated between criticism and redefinition. These conceptual threads echoed throughout House Conspiracy in an eloquent and coalescent curatorially bind that drew ten minds into harmonic dialogue. Likewise, the R.E.S.P.E.C.T: Times Have Changed mural by Ashley Peel was built into the flesh of House Conspiracy, which manoeuvred people’s thoughts as much as it did their steps. However, rather than making direct reference to an archetype, Poli coaxed character into her work via the experiences her audience created by moving through the work themselves. Renee Poli’s performative/sculptural work soda rot riot questioned what tangible and intangible materials constitute a built environment. In parallel, Ellie-Lea Jansson’s video work documents the artists’ own subversion of disempowering domestic spaces. Katherine Morrice’s suite of portraits is as much about unearthing what lays beneath the skin as it is about emulating it. Venus Figures: Portraits of Recovery by Lisa Kelly sought the power embedded in iconic feminine forms of history, and revisited them as sources of personal reparation. Juno Toraiwa’s movement piece blended archetypal embodiment with personal exploration into an emotive improvisation that reached well beyond the walls of the house. Heidi Harrison’s roving work did use a historical figure to at once dilute and revivify stagnant notions of inside and outside. Justine Bootsorion Keim’s multimedia installation Drawing Down the Moon similarly encapsulated the audience into her externalised mind, however she did so without reference to an external or historic identity. Nadia Milford’s movement and installation work M A I D embodied and explored the cultural, philosophical and psychological significance of the Mermaid archetype and empowered femininity more broadly. Chance Collective created a conceptually and comprehensively pink installation to posit a concise question and philosophy. Unspoken, intuited psychic realms was also a prominent theme, which can be interpreted archaeologically, as digging deeply within oneself for this hidden dimension, as well as architecturally, as a structure within oneself to study and inhabit. Across all works, the Body was analogised through one or more of these concepts as a structure to be habited, as a past to be unearthed or as an identity to be worn. The acronym Triple AAA stands for the three central conceptual tenets of the exhibition: architecture, archaeology and archetypes. The exhibition was grounded in a curatorial philosophy conceived by co-curators and exhibiting artists Ellie-Lea Jansson and Lisa Kelly. The Red House, Brisbane 2019 On Friday 22nd and Saturday 23rd of February 2019, House Conspiracy showcased the work of ten independent artists and collaborators in an exhibition called Triple AAA. Triple AAA: In No One’s House Indy Doumenc-Medeiros,
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