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Beat magazine

2017, ‘Muliebrity & other collaborations’, Beat magazine
“The exhibition features a video work that reflects on feminine identity expression by queer women that I know. […] those women are often ‘read’ as heterosexual – so while their femininity is visible, their queerness is invisible.”

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Beat magazine

2017, ‘Muliebrity & other collaborations’, Beat magazine
“The exhibition features a video work that reflects on feminine identity expression by queer women that I know. […] those women are often ‘read’ as heterosexual – so while their femininity is visible, their queerness is invisible.”

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muliebrity, 2017

“The word ‘muliebrity’ means ‘female qualities’. This 3d video work reflects on feminine identity expression by queer women. It is somewhat of a stereotype that lesbians and queer women express their gender identity in what might be considered as androgynous, masculine or butch. But there are also those that feel most authentic when they express their gender in more traditionally feminine ways. The paradox is that those women are often ‘read’ as heterosexual – so whilst their femininity is visible in the way that their identity is reflected, their queerness is invisible. Working with Jill Soloway’s conception of the female gaze, this work is an encounter with a series of faces that might provoke the viewer to reflect on how they read identity presentation.”
Muliebrity was commissioned by Kingston Arts for the Midsumma Festival 2017.

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muliebrity, 2017

“The word ‘muliebrity’ means ‘female qualities’. This 3d video work reflects on feminine identity expression by queer women. It is somewhat of a stereotype that lesbians and queer women express their gender identity in what might be considered as androgynous, masculine or butch. But there are also those that feel most authentic when they express their gender in more traditionally feminine ways. The paradox is that those women are often ‘read’ as heterosexual – so whilst their femininity is visible in the way that their identity is reflected, their queerness is invisible. Working with Jill Soloway’s conception of the female gaze, this work is an encounter with a series of faces that might provoke the viewer to reflect on how they read identity presentation.”
Muliebrity was commissioned by Kingston Arts for the Midsumma Festival 2017.

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Kingston Arts

Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett

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Kingston Arts

Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett

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Joy FM

Sunday Arts Magazine, Joy FM, 15 Jan 2017

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Joy FM

Sunday Arts Magazine, Joy FM, 15 Jan 2017

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Virtual Drag, 2016

The intersections between virtuality and drag stem from ways of speaking about virtual reality as simulation and the drag definition of ‘realness’. Featuring photogrammetry models of drag performers in fantasy virtual reality environments, Virtual Drag has been shown at numerous international festivals such as Videonale Festival at the Kunstmuseum in Bonn and Twist360 in Seattle. It was included in Screen NSW VR showcase 360Vision and the groundbreaking publication The Additivists Cookbook, a compendium of artistic strategies utilizing 3D technology for activism. Virtual Drag generated a small buzz internationally in new media art circles, reviewed in Motherboard, KillScreen, The Creators’ Project & Prosthetic Knowledge . This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, Deakin Motion.Lab & Media Lab Melbourne.

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Virtual Drag, 2016

The intersections between virtuality and drag stem from ways of speaking about virtual reality as simulation and the drag definition of ‘realness’. Featuring photogrammetry models of drag performers in fantasy virtual reality environments, Virtual Drag has been shown at numerous international festivals such as Videonale Festival at the Kunstmuseum in Bonn and Twist360 in Seattle. It was included in Screen NSW VR showcase 360Vision and the groundbreaking publication The Additivists Cookbook, a compendium of artistic strategies utilizing 3D technology for activism. Virtual Drag generated a small buzz internationally in new media art circles, reviewed in Motherboard, KillScreen, The Creators’ Project & Prosthetic Knowledge . This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, Deakin Motion.Lab & Media Lab Melbourne.

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Wrap series, 2014-2017

This series of online interactive & touch screen works considers the convergence of biological & digital skin as virtual prosthesis. Reworlding (Elizabeth) was awarded for Innovative Use of Digital Media at the 2016 CCP Salon & included in ‘Crossroads’ at the San Francisco Museum of Modern Art, & long-listed for the 2017 Lumen Prize at V&A Digital Futures. Bruise, exhibited at RMIT Gallery as part of ‘Morbis Artis’, featured in an article about bio art on CNN. Works from the Wrap series were included in #nfcdab wrocław biennale of digital & internet art in Poland.

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Wrap series, 2014-2017

This series of online interactive & touch screen works considers the convergence of biological & digital skin as virtual prosthesis. Reworlding (Elizabeth) was awarded for Innovative Use of Digital Media at the 2016 CCP Salon & included in ‘Crossroads’ at the San Francisco Museum of Modern Art, & long-listed for the 2017 Lumen Prize at V&A Digital Futures. Bruise, exhibited at RMIT Gallery as part of ‘Morbis Artis’, featured in an article about bio art on CNN. Works from the Wrap series were included in #nfcdab wrocław biennale of digital & internet art in Poland.