We are thrilled to focusing on four innovative works for PQAU19.

in the guise of the solo performer

Where PQAU15 celebrated the mass our 2019 exhibition will focus in on the individual. Specifically:- the solo performer.

The PQAU artists are those that demonstrate courage and staggering originality and through putting their own person at the centre of the work are able to embed a politic and communicate it in a different way.

Each also, in quite different ways, works their own physicality in concert with the inanimate to achieve an integrated form. One where costume, mask and physical space are no longer exterior to the performance. They frequently work in close collaboration with other (off stage) artisans to create and have developed methodologies where the ingenuity of each component can achieve a zenith while never outshining the whole.

Courageous, definably unique and frequently provocative these four artists’ immense creative skills take us to places of wonder and intrigue.



CARRION is a profound melding of costume and body; a mutual transformation which produces creatures that feel real, through and through. The body itself seems transformed or extricated in a work that asks what it means to be human in an era when our destructive influence over the planet is rapidly redefining the laws of nature.

Drawing on queer and bicultural ancestral mythologies, Carrion transports us to a place where distant past collides with far future, alerting us to the changes that already lie within ourselves.

Justin Shoulder is an artist working in performance, sculpture, video and nightlife/community events production. His main body of work Phasmahammer is an ecology of alter personas based on queered ancestral myth. These creatures are embodied through hand crafted costumes and prosthesis and animated by their own gestural languages.

Shoulder uses his body and craft to forge connections between queer, migrant, spiritual and intercultural experiences. He is a founding member of queer artist collective The Glitter Militia and Club Ate, a gang of Asia-pacific sissies. He has performed and exhibited internationally, recent highlights include: Carrion at Fusebox Festival (Austin, USA 2018); the video body of work Ex Nilalang for AsiaTOPA by Club Ate (Melbourne, Australia 2017). First Sight at Museum Macan (Jakarta, Indonesia 2017), and the premiere of his feature length theatre work Carrion for Liveworks, Performance Space Sydney 2017.


Matthew Stegh is an interdisciplinary artist who has worked in the entertainment and arts industries for the past 20 years. His extensive experience includes fashion, costume and set design, styling and art direction for film, television, advertising, theatre and stills photography distributed internationally. Stegh is a founding member of the art collective The Glitter Militia, co-creating parties and events for Sydney’s vibrant queer community (Monsta Gras, Pink Bubble, Clown Cult). Stegh’s fashion label ‘Haus of Hellmutti’ is generating attention locally and internationally for its focus on queer identities, ethical production and salvaged materials.

From THE MONTHLY review of CARRION:- "There are so many images I’ll retain from this work: Shoulder is at the top of his game as a performances and costume artist. It may be that the political motivation behind this long engagement with environmental decline is now less visible beneath such prowess, and an even more developed, complex performance lies in the future."

the second woman

by Nat Randal and Anna Breckon
"... what an enthralling, magnificent work. The Second Woman is as first rate as everybody says". "A triumph of endurance theatre." - The Monthly.

Hailed as ‘One of the finest examples of independent Australian theatre in years’ (The Guardian) THE SECOND WOMAN is an amalgam of theatre, film and social experiment and is a carefully constructed convenor belt of male participants each undertaking a ten minute scene inspired by John Cassavetes 1977 film OPENING NIGHT. Nat Randal plays the character whom each of these men visit in a 24 hour marathon performance where this scene is repeated one hundred times. Each time with a different man.

While Nat Randal is seemingly its fulcrum, the work is an orchestrated collaboration between Nat and director Anna Breckon, staging by Future Method Studio and EO Gill on camera. The result is a stunning exposure of gendered power relations and emotional coercion. For PQAU the captured film will be edited and shaped to express the ingrained complexity and intent.

Nat Randal and Anna Breckon's collaborative practice is at the intersection of live performance, video and film. Nat’s extensive experience with durational models of performance practice pairs with Anna’s history of filmmaking and film theory to produce work that is uniquely live and cinematic.

Nat Randall
Co-Writer, Co-Director, Performer

Nat Randall is an artist working at the intersection of contemporary performance and video. Randall has presented work at Dark Mofo, Museum of Contemporary Art, Campbelltown Arts Centre, Perth Institute of Contemporary Art, Kaldor Public Art Projects, Canberra Contemporary Art Space, Next Wave Festival, Performance Space, Duckie (UK) among others. Randall is a recent recipient of City of Sydney’s Creative Live Work Studio residency program. Randall is a core and founding member of collectives Hissy Fit and Team MESS and is formerly a co-presenter on FBi Radio’s weekly arts program, Canvas.

Anna Breckon
Co-Writer, Co-Director, Video Direction

Anna Breckon is an independent filmmaker, editor, and critic based in Sydney. Anna has a research based PhD in queer and feminist film theory from the University of Sydney. She has worked as a director, editor, and colourist for projects presented at The Museum of Contemporary Art, Performance Space and Dark Mofo. Anna has published on John Waters and Todd Solondz and is currently writing a manuscript on the queer politics of happiness.This experience comes together with Anna’s extensive knowledge of cinematic representation. Anna has worked as an independent filmmaker in the roles of writer, director, video editor, and producer.

Her practice has involved experimenting with non-narrative techniques that sustain interest and pleasure over long periods of time. She has has recently completed a PhD in queer and feminist film theory at the University of Sydney.

"The Second Woman is simultaneously praise and critique, a performance piece that is as intellectually rigorous as it is a joy to watch." (Kill Your Darlings)

Latai Taumoepeau's

repatirate 1

In REPATRIATE Latai Taumoepeau dances her inherited Pacific Island movement vocabulary in a perspex tank. Swathed in bright yellow float devices that both mimic traditional Tongan adornment and conjure the innocence of Australian poolside holidays she continues to dance as the tank gradually fills with water and submerges the artist.

It is an embodied response to climate change that highlights the ever-nearing possibility of dispossession for island communities. REPATRIATE was presented live for Liveworks festival but the PQ presentation will focus on the original immersive video installation commissioned by Carriageworks for the screen based exhibition ’24 Frames Per Second’.

"The vocabulary of the dance while unknown to this white viewer, resonated with myriad celebratory welcomes seen danced by Pacific Islanders. Repatriate I was more of a plangent goodbye, the dance initially limited to hand gestures when the artist was seated. Slowly, Taumoepeau began to float, valiantly continuing her dance. Upright, as the tank filled, the movements of her lower body were restrained by water. ... A long black wig added a note of absurdity. Yet there is nothing light-hearted about this work. Its seriousness of intent is refreshing and necessary in a cultural context often characterised by insincerity. .... (Taumoepeau) has something urgent to say, these works so compelling and universal they could happen anywhere: Finland, London, Singapore, Chile, galleries, theatres, streets, bank foyers, shopping malls, parliaments." (Real Time Arts).

Latai Taumoepeau is a Punake, body-centred performance artist; her story is of her homelands, the Island Kingdom of Tonga and her birthplace; the Eora Nation – Sydney, and everything far and in-between. She mimicked, trained and un-learned dance, in multiple institutions of knowledge, starting with her village, a suburban church hall, nightclubs and a university.

Latai activates Indigenous philosophies and methodologies; cross-polinating ancient practices of ceremony with her contemporary processes & performance work to re-interpret, re-generate and extend her movement practice and its function in and from Oceania. She engages in the socio-political landscape of Australia with sensibilities in race, class & the female body politic; committed to bringing the voice of marginalised communities to the frangipani-less fore ground.

Latai is also a project worker for Radio Skid Row a community radio station in the inner west of Sydney, engaging with communities in creative digital media projects that are under-represented in mainstream media. She also works for PlayWriting Australia, facilitating an introduction & intermediate playwriting workshop program to communities and schools of culturally and linguistically diverse communities.

Moira Finucane's (Finucane and Smith)

the rapture

Moira Finucane’s THE RAPTURE is a transcendent emporium of total art. It continues Moira’s prolific, razor-sharp and visually intricate productions integrating her background in environmental science, working against gender violence and her ambition for art to create a better, stronger world.

Dripping with visual art relics, porcelain icicles & otherworldly choirs, The Rapture employs the talents of a host of couturiers, composers, jewellers, sculptors, singers & faux-furriers in a form beyond definition. Conceived as a work that can never be completed it has been presented as a performance, an installation, a guided tour and sound scape. Moira’s vision is to continually evolve and re-present the work in numerous, ever changing guises. The presentation at PQ will be one such manifestation.

Finucane & Smith Unlimited are an Australian-based performance company globally acclaimed for their “salons of humanity”; provocative, entertaining, razor-sharp and visually intricate productions. From cabaret to drama, to richly detailed immersive carnivals, cross-artform collaborations and gallery installations, Finucane & Smith’s work mines an astonishing diversity of artforms to create indelible visions & provocations of humanity.

Finucane & Smith have won critical acclaim in 13 languages & 15 theatre awards, including The Patrick White Playwright Award, 7 Green Room Awards, & most recently, the International Theatre Institute's International Presentation of the Year (Cuba). Finucane & Smith are the first Australian company to be invited to many influential & unique festivals worldwide from The Shanghai International Contemporary Theatre Festival where their Australian Gothic The Flood became the first Australian drama to be presented; The Havana International Theatre Festival (Cuba) to Mesto Zensk (Slovenia) to Festival Internacional de Buenos Aires (Argentina), and in 2016, Moira Finucane became the first ever Creative Fellow of the National Gallery of Victoria, working with the most significant visual art collection in the region.

The company is renowned for their keen interest in collaborating across cultures and forms: in 2014 Finucane starred in avant-garde director Meng Jinghuis’ Good Person of Szechaun (National Theatre of China/Malthouse Melbourne) in Melbourne, Beijing & Shanghai; In 2015/2016 they worked in 10 countries from gallery immersions to drama and cabaret, and in 2017 they collaborate with exquisite artists & companies worldwide; in Chile creating a Spanish-language Latin-American gothic of their acclaimed work The Flood; in China the very first full Chinese production of The Flood will be realised in partnership with Vertebra theatre and some of China’s most respected stage actresses & designers. Their most recent work The Rapture was received with immense critical acclaim and in 2017 will be presented in China and Germany.


"THE RAPTURE is the result of the exquisite passion of many artists. It came about through my desire to create a Wunderkammer, a Human Illuminated Manuscript of the Sacred and Ruined Heart. To explore the taxonomy of hope, transgression and the treasured. Art vs Extinction. Some of the earliest manuscripts were written on skin, and The Rapture takes all that has been written on my skin and within it, the years, the passions, my training and life as an Environmental Scientist and conservation activist, my human rights and gender violence work, my work on family violence, my wild times performing in clubs and underground salons, my unrequited love of and belief in humanity, in the future and in gesamtkunstwerk, the total work of art.

I believe in the intelligence and curiosity of people. I believe in challenging mediocrity, complacency, cruelty, and received wisdoms. I believe in the bold, the imperfect, the exquisite, and I believe we have to, and we can, do something every single day to turn back indifference, despair and ennui." Moira Finucane.

Anna Tregloan

Curator for Australia at PQ2019.

(Photo shows PQAU2015)

Anna Tregloan is a multi-award winning designer, artist and creative producer who creates work within Australia and internationally for major cultural institutions and an array of smaller companies, galleries and artists. She has an extensive history in collaborating on contemporary theatre, dance, live-art, immersive installations and interactive media as well as presenting performed installations, video and photographic works, exhibitions, interventions and participatory practice. Qualifications include a Masters in Fine Arts (Animateuring) from VCA, University of Melbourne.

Anna has been presenting for over 25 years. While maintaining a unique vision she predominantly works in collaboration with companies, presenters and other artists and often in partnerships that grow over several projects and many years.

These collaborators include:- Museum of Applied Arts and Sciences (MAAS), ACMI Melbourne, Science Gallery Melbourne, Malthouse Theatre Melbourne, Arts Centre Melbourne, Sydney Theatre Company, Sydney Opera House, Melbourne Theatre Company, Melbourne Festival, Circus Oz, Legs on the Wall, Bell Shakespeare, Ranter’s Theatre, Shaun Parker and Company, AsiaTOPA, Bureau of Works, Polyglot Theatre, Papermoon Puppet Theatre, Finucane and Smith,Performance Space, Arts House, Chamber Made Opera, Bundanon Trust.

Residencies and Fellowships include:- Australia Council Fellow: Australia Council for the Arts, Theatre Board. 2011-2012 Asialink Residency at the Museum of Modern and Contemporary Art, South Korea. 2014.

Photo of THE GHOST PROJECT by Anna Tregloan, Produced by Erin Milne, photograph by Amanda Carr.

producer pqau

Erin is an independent producer whose practice, Bureau of Works, specialises in the development of new work. Erin has extensive experience as a producer of live and interdisciplinary performance, and has recently been working on projects involving radio, new media, visual art, music, and literature.

Erin also works with organisations on strategic planning, business development, policy and research projects. Erin is lead producer for artists one step at a time like this; Triage live art collective; Slown, Smallened & Son; and Jodee Mundy Collaborations. Cureent projects include: Sex & Death (Samara Hersch), The Ghost Project (Anna Tregloan), Animal (InFlux Theatre), Contest (Emilie Collyer), Imaginary Architecture (Lara Tumak), Punctum and Bunk Puppets. In 2015-16 she worked with City of Melbourne to establish Yirramboi, a new First Nations Arts Festival, as well as a range of participatory arts projects for the city. Past projects and artist collaborations include: Arts About Us (Artistic Merit / Vic Health), Aphids, Born in a Taxi, Inside There Falls (Mira Calix, UK), Lemony S Puppet Theatre, Nat Cursio, Real TV, Ridiculusmus (UK), The Bluebird Mechanicals (Too Close to the Sun), The People’s Weather Report (Arts House / ABC RN), The Substation, Deakin University, Performing Lines, Chamber Made Opera, Lucy Guerin Inc, Dance Massive and Festival of Live Art. Erin is currently a Board Member of Chamber Made Opera; and member of the current cohort of the Australia Council’s Arts Leaders Program.



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