Alison Currie has a BA in Dance Performance from Adelaide College of the Arts, Australia and a Research Masters in Choreography and Performance from Roehampton University London.
Her work focuses on a connection between the human body and inanimate objects. She creates dance works for theatres, galleries, site specific and location nonspecific live art performances. She has collaborated with several artists throughout her career, significant continuing collaborators include visual artist Bridget Currie, sound and dance maker Alisdair Macindoe and media artists Kaboom Studios, aka Jason Lam and Adam Synnott.
Alison receive the inaugural Arts South Australia triennial project grant for her work ‘42a’ which premiered at the Australian Experimental Art Foundation in 2008 and toured to Brisbane, Sydney and Melbourne, Australia. She choreographed Restless Dance Theatre’s Bedroom Dancing, directed by Steve Mayhew, which was awarded Outstanding Achievement in Youth and Community Dance Australian Dance Awards 2010. Early in her career Alison was mentored by Amanda Phillips and Solon Ulbrich.
Alison’s most recent major work ‘Concrete Impermanence’ premiered at the Adelaide Festival Centre Space Theatre and was presented at The Substation in 2018. She also presented ‘Creatures’ with The Human Arts Movement at the Samstag Museum of Art as part of the inaugural Adelaide Dance Festival in 2018. Her video work ‘I Can Relate’ was part of ‘24 Frames Per Second’ at Carriageworks, Sydney, it has had subsequent presentations at ACE Open, and Adelaide Festival Centre, Adelaide, and Light Moves, Limerick. In 2017 she performed her and Bridget Currie’s work ‘Things Meeting Now’ at The Art Gallery of South Australia as part of ‘Versus Rodin’.
Other notable works include ‘Drawing Machine’ created with designer Michael Hurley performed at Wimbledon Space, London, ‘Three ways to hold’ co-directed with visual artist Bridget Currie for South Australian School of Art gallery, ‘Solo’ a reinterpretation from a memory of Pere Faura’s work she viewed once six years previous to the performance as part of Return to Sender at Performance Space, Sydney, and ‘Build, Hold, Destroy’ as part of Window World outdoor event commissioned by Adelaide Fringe Festival.
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