91ɫ��Ƭ

Erin Brannigan is Associate Professor in Theatre and Performance at 91ɫ��Ƭ Sydney. She is of Irish and Danish political exile, convict, and settler descent. Her publications include Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2011) and Choreography, Visual Art and Experimental Composition 1950s -1970s (London: Routledge, 2022). She has published various chapters and articles in film, performance and dance journals and anthologies. Her current research project is Precarious Movements: Dance and the Museum with Tate UK, National Gallery of Victoria, Art Gallery of NSW, Monash University Museum of Art, Perth Institute of Contemporary Arts, Shelley Lasica and Zoe Theodore. A second monograph associated with this project is forthcoming: The Persistence of Dance: Choreography as Concept and Material in Contemporary Art (Michigan University Press, 2023).

Diana Baker Smith is an artist and lecturer in the 91ɫ��Ƭ School of Art & Design. Her artistic practice is collaborative, research driven, and underpinned by feminist methods. Her recent projects engage with art historiography and its fictions, spanning moving image, performance, photography, and text. They include She Speaks in Sculpture (UTS Art Gallery, Sydney, 2022), The Lost Hour (Contemporary Art Tasmania, Hobart, 2022), Tasks yet to be composed for the occasion (Artspace, Sydney, 2021) and Opening Night (National Gallery of Australia, 2020). She is currently working on a solo exhibition at Penrith Regional Gallery engaging with the archive and former home of the Australian modernist artist Margo Lewers. Baker Smith is a member of the art collective Barbara Cleveland, whose works are held in collections including Artbank, Museum of Contemporary Art, Monash University Museum of Art, Queensland Art Gallery of Modern Art, and Art Gallery of NSW.��

Based on Bidgigal Land, is an artist interested in attention, time, and landscapes. Clare creates original images (sculpture, video, photography, production design) and experiences (exhibitions, performances, walks). Clare’s work is informed by collaboration and explores how visual art and creative processes interact with other types of research. Clare's approach is shaped by her experience creating original projects with writers, performers, sound artists, choreographers, and video artists since 2000.��Clare's work has attracted awards for sculpture, performance design & research and toured in Australia and internationally.�� Her time as part of the performance collective My Darling Patricia (2004-14) informs her process. Clare facilitates the research group with artists Therese Keogh and Kenzee Patterson and is a resident artist at Carriagworks. A Sidney Myer Creative Fellow (2014), Clare holds a Masters of Studio Art (2016) and a Doctor of Philosophy (2020) from Sydney College of the Arts, the University of Sydney, where she is aHer PhD research project,��,��was completed under the supervision of Julie Rrap, Mikala Dwyer and Ann Elias. Clare’s work respects the fact that working in Australia means working on Aboriginal Land.

Associate Professor in Composition in the Department of Music at the��University ��of Southampton, is an Australian composer, producer, sound-designer and songwriter whose work spans theatre, opera, contemporary dance, pop & EDM, cabaret, installation, sound design, radio, tv, film, the concert hall, and digital ��platforms. His diverse output has been performed across Europe, North America and Australasia, and been commissioned & presented by some of Australia’s leading��performing arts organisations. Relocating to the UK in 2016, his current research interests and ��projects include site-responsive works for live spatialised musicians and electronics, and electronic dance-pop music under the name��.

Roanna Gonsalves is a writer with an interdisciplinary practice. She is the author of��The Permanent Resident��(published in India and South Asia as��Sunita De Souza Goes To Sydney��().��The book won the NSW Premier’s Literary Award Multicultural Prize 2018 and was longlisted for the Dobbie Literary Award 2018. Roanna’s series of radio documentaries,��On the tip of a billion tongues, commissioned and broadcast by��, is an acerbic socio-political portrayal of contemporary India through its multilingual writers. Roanna was born and raised in Mumbai, India, and attended St. Xavier’s College. Her social-satirical radio essay����was commissioned and broadcast by ABC RN.

Roanna is a recipient of the Vice Chancellor's Award for Teaching Excellence 2022, the Prime Minister’s Australia Asia Endeavour Award and the NSW Premier's Literary Award. She is co-founder co-editor of��. She has been an invited Keynote Speaker, Chair and panelist at numerous literary events including at the Sydney Writers' Festival, the Edinburgh International Book Festival, the Jaipur Literature Festival, the Goa Literature Festival and many others. She has been teaching, supervising and mentoring emerging prose writers and screenwriters within communities, schools, literary organizations and institutions such as New York University Sydney, 91ɫ��Ƭ, Western Sydney University, Macquarie University and the Australian Film, Television and Radio School (AFTRS). She is a recipient of grants through the Australia Council for the Arts, is a recipient of fellowships and residencies at Varuna and Bundanon, was the 91ɫ��Ƭ – Copyright Agency Writer-in-Residence 2018 and received The Bridge Awards’ inaugural����–����Writing Residency 2019 (Scotland). Her research interests are in the sociology of literature, social media, creativity studies, and postcolonial literatures. She serves on the Board of Writing NSW and on the International Project Reference Group for the ARC-funded project 'Connecting Asia Pacific Literary Cultures. For more information, see��

Rochelle Haley is a Senior Lecturer and researcher at the 91ɫ��Ƭ School of Art & Design. She is also an artist engaged with painting, drawing, choreography and performance to explore relationships between bodies and physical environments.��For over 10 years Haley has worked at the forefront of the intersection of visual arts and dance: an emergent area of research gaining international momentum. Her interdisciplinary approach to movement merges painting and choreographic processes to investigate space structured around the sensation of the moving body. Haley’s work aims to re-imagine the dynamism of material surfaces of representation to discover methods that are sensory, kinaesthetic, affective and rhythmic. She has exhibited internationally and at leading national venues including UQ Museum, Bundanon Museum, Museum of Contemporary Art Sydney, Hazelhurst Regional Gallery and 91ɫ��Ƭ Galleries. Her work has been profiled on ABC Radio National, The Guardian, The Sydney Morning Herald, The Australian, Art Monthly Australia, Artist Profile Magazine and Art Collector.

Bianca Hester��is an artist, writer and educator engaged in relational place-based practice with a focus on materiality. Her research explores entanglements between colonial inheritance, environmental crisis, human-nonhuman bodies, extinction and regeneration registered within specific locations, and across timescales. Employing feminist methodologies, projects combine experimental fieldwork, engaging the geologic record (in archives and in situ), embodied site-writing, sculptural production and performed actions. This approach results in an expansive form of process-based public art that unfolds in dialogue with a range of collaborators, interlocutors and participants to mobilise aesthetic encounters attuned to engaging the present – and future – otherwise.

Bianca has exhibited widely within Australia and internationally, with works held in private and public collections, including the Museum of Contemporary Art. She is a Sidney Myer fellow (2016) and a continuing member of the collaborative trio Open Spatial Workshop (2003-ongoing). Her project��A world, fully accessible by no living being��(2011) won the Melbourne Prize for Urban Sculpture. The book Converging in time (with Open Spatial Workshop, 2017) was published by MUMA and was the winner of the Museums Australia Publication Design Awards for major exhibition catalogue, and the AAANZ best University Art Catalogue in 2018. She is an Associate Investigator with the ARC��Centre of Excellence��for Australian Biodiversity and Heritage (CABAH), on the Editorial Committee for the Australian and New Zealand Journal of Art (AANZJA) and is currently a Co-Director of Research and Engagement in the School of Art and Design. &

Nikki Heywood is a Sydney-based interdisciplinary artist working across dance, performance, writing and live art. Her practice has centred on devising and directing original performance work with a focus on embodiment. Her work has toured inter/nationally.

She is interested in the voice as an energetic force through and of the body, studying��classical singing training as well as extended vocal techniques and developing expanded experimental scores for voice and instrument.��

Heywood has informed a generation of performance artists: leading and participating in collective creation and collaboratively devised projects; running skills-based workshops for students and emerging practitioners and assisting the creative process of many artists as a mentor and dramaturg. Awarded a highly commended DCA in 2016 (thesis title: Undoing Discomfort: being real/becoming other in an embodied performance practice, University of Wollongong), Heywood is currently working with collaborator Mark Cauvin (double bass) on an existential chamber opera ‘Broadcast into Oblivion’.

Adam Hulbert researches into media and music, and is active as an experimental composer, performer and sound designer.��He founded and performs with the Sydney City Humanoid Electronic Modular Ensemble. He directs the Sound Lab Ensemble at 91ɫ��Ƭ. He has a range of public works and commissions, including a three year residency with radio 2SER to remix free-to-air television live, a month-long installation in Martin Place using archival audio and motion sensors, video art for Deborah Kelly and live performance in the Sydney Opera House of a�� commissioned radio dramatisation of an unpublished work by author John Birmingham.

Victoria Hunt (she/her) is a transdisciplinary artist with ancestral affiliations to Te Arawa, Rongowhakaata, Kahungunu (Māori), Irish, English, Finnish heritages. Born on Kombumerri Country (Surfers Paradise), living on Bidjigal (Sydney), her work as a dancer, choreographer, director, dramaturg, photographer and filmmaker examines Indigenous epistemologies within diasporic concepts of identity formation and belonging. Grounded in Mātauranga Māori, Body Weather philosophy and IndigiQueer revitalization within creation practices, she traverses the politics of Re-matriation – inserting bodies into frameworks of power, for future ancestors. Hunt’s works have toured nationally and internationally across six continents.

Hunt’s works include Copper Promises: Hinemihi Haka (nominated for a Helpmann Award for Best Female Performer in Dance, Australian Dance Award); Tangi Wai...the cry of water (nominated for an Australia Dance Award, Helpmann Award, three Green Room Awards for Concept and Realisation, Sound Composition, receiving Best Visual Design in Dance);. Day of Invigilation, premiered at Performance Space and toured to Ecocentrix (UK) and Festival TransAmeriques (Montreal, 2018). Victoria is a feature artist in the Biennale of the Arts of the Body, Image and Movement (Madrid). She is an artist-in-residence at Carriageworks, Sydney (2024-25). A Sydney Opera House mentorship led to TAKE, a short-film which won the Mana Whenua Award, Wairoa Māori Film Festival, Best Achievement in Indigenous Filmmaking, Sydney Film Festival. In COSMOGRAPHIES, a 93-min feature, Hunt performs as a Māori astrobiologist, interweaving stories of resistance and environmental justice against extractivism and plans to colonise the Moon and Mars (2024). Hunt’s latest work, ��Ō���±� was a major commission by the Art Gallery of New South Wales and supported through Precarious Movements: Choreography and the Museum, Theatre and Performance Studies (USyd), and Marrugeku.

Hunt is a founding member of Sydney dance company De Quincey Co. (2000-2024); recipient of the Rex Cramphorn Theatre Fellowship; and co-founder of Weather Beings collective with 2Spirit Singing Thunderbird and multidisciplinary artist Moe Clark (Métis/Settler), based in��tio'tia:ke (Montreal, Canada).

"A recital for the modern day...Lifschitz is a theatre actor, an orchestra and a soloist all at the same time."�� - The Age

Sonya Lifschitz is a pianist working across many contexts, with repertoire spanning from 15th century Faenza Codex to works written for her today. Described as “a life force of extraordinary density and capacity”, Sonya’s artistry combines bold adventurousness with “miraculous keyboard technique and musicianship” (Woodstock Times) to create work that positions classical and art music at the cutting edge of contemporary performance practices. She is active as a soloist, creative collaborator, artistic director, educator, radio personality and arts advocate.

Sonya debuted with the Melbourne Symphony Orchestra at age 18, performing Rachmaninoff’s Piano Concerto no. 2 which was televised on SBS TV. Since then, she has performed as a soloist on major international stages to critical acclaim including the Barbican Centre (London), De Doelen (Rotterdam), Bargemusic (New York), Detroit Institute of Art (USA), Venice Biennale (Italy), and in many of Australia’s major international arts festival, including Adelaide (AF), Sydney (SF), Melbourne (MIAF), Brisbane (BF), Canberra (CIMF) and Darwin (DF) Festivals; and other prestigious festivals including Extended Play, Metropolis, MONAFOMA, Four Winds and Ten Days on the Island.

Sonya regularly performs with members of Sydney, Melbourne and Queensland Symphony Orchestras and the Australian Chamber Orchestra, and with pioneering new music ensembles, including Ensemble Offspring, Topology, Clocked Out, and members from Bang on a Can All-Stars (USA) and Eighth Blackbird (USA).

A Fulbright Scholar, Sonya studied with the legendary American pianist Leon Fleisher and is currently Head of Music Performance at 91ɫ��Ƭ Sydney.

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Carolyn is the Head of Printmaking at the National Art School and Director of SYRUP��Contemporary in Marrickville. In 2024 she exhibited at Seventh Gallery, Melbourne and King��Mongkut University, Bangkok as well as being a finalist in National and International Prizes.��She is held in the National Gallery, National Library as well as other significant state and��regional collections. Carolyn is a member of the APARN network and see the Asia pacific as a��critical region for engagement.

My practice uses strategies of dispersal and echo to contextualise the complex relationships between contemporary visual production and the social, political and capital relations that��form its materiality. Current research draws from Johanna Drucker’s three modes of��materialist engagement (Forensic, Distributed and performative, 2010) and Karen Barad's��ideas of diffraction to de-stabilise forms of representational practice into new porous modes��of being – using materials that are unstable and porous such as carbon/charcoal and dust –��as trace acts of the subject. I also incorporate embodied performance as a mode of ritual��unbecoming. These materials form part of an expanded practice activated via trace and��replication where I use matter as an agent to disperse the residues of bodies histories and��culture to produce , leak and replicate as spectrality.��

In the studio I extract trace acts developed from an autoethnographic lens using site visits,��historical documents and staged ‘acts’ to develop a counter representational practice. This��starts with researching historical data, collecting sound and castings of objects from specific��site visits, then developing performance sequences in the studio. This performative��component also uses secondary biological agents and print matrix as metonyms, such as��bacteria, algae and dust to give presence to the affectual remnants of power exchanged via��embodied acts.

Bryoni Trezise��is Senior Lecturer in Theatre and Performance Studies at the University of New South Wales and works on Bidigal land. Her major publications win prizes for developing interdisciplinary conversations between performance aesthetics, pedagogies and cultures, and have been published in leading journals including Performance Research, Research in Drama Education and Convergence as well as two books. Her most recent projects focus on image and ideals of children and young people, forthcoming in Performing Contemporary Childhoods: Being and Becoming a Viral Child (Routledge, 2023). Her strong advocacy for creative approaches to learning has been recognised by both Dean’s and Vice Chancellor’s teaching awards, and in 2021 Bryoni was awarded the prestigious Children’s Book Council Australia Charlotte Waring Barton Award for her unpublished middle grade manuscript. Bryoni shares her interest in languages of creative process via a range of media outlets. Her work has appeared in over 35 reviews for The Conversation, RealTime, The Canberra Times and on ABC Radio.��

is a dance artist, pracademic, and Dance lecturer (ACPE) with a particular interest in improvisation. She is a pākehā of Éireannach (Irish) settler descent, who lives in Bidgigal/Gadigal Country, Eora, Sydney. She is curious about processes of somatic intelligence cultivation in the practice and performance of improvisation and has worked as a professional dance artist for more than 20 years. She has performed nationally and internationally in works by Sue Healey (2002-2021), Hans Van Den Broeck (SOIT), Sydney Performance Group, Danceworks (Sandra Parker), Rosalind Crisp, Nikki Haywood, Lizzie Thomson, Joan Jonas, and Marina Abramović. She has also taught contemporary dance technique, composition, improvisation, and somatics at many of Sydney’s pre-professional dance institutions. Her manuscript Improvised Dance: (In)Corporeal Knowedges was published by Routledge in 2023.

Tom Hogan is a multidisciplinary artist living and working on Bidjigal land, Sydney. His practice spans music, radio art, writing, and performance, and explores authenticity and mythology, often through comedy, storytelling, and collaboration. He is known for his live performances and for work that moves between theatre, concert, and lecture‑based formats.

His theatre works include Love Song Dedications (without Richard Mercer) (2019–2021), created with Bonnie Leigh‑Dodds; the musical Mount Hopeless (2022), created with Elana Stone; The Epic (2015–2018); Tamagotchi Reset & Other Doomsdays (2018), both created with Finn O’Branagàin; and the performance‑lecture series Teacher of the Year (2019).

Hogan has designed and composed music and sound for over 100 productions and installations nationally. He releases music under his own name, and exploratory and improvisation‑led instrumental work under the moniker Arzner. He created the ongoing digital music project Obscure Music History. His video The Kalevala (According To Scott Sandwich) has been presented in international gallery contexts.

He is the ICN Research Assistant and is currently undertaking a PhD at 91ɫ��Ƭ focused on the gesture of voice in performance in music.

Axel-Nathaniel Rose is an author, editor, and academic based at 91ɫ��Ƭ. His work crosses literary studies, fan studies, queer studies, and book history. He studies what people do with the media around them, exploring online phenomena such as dark academia, literary memes, queer and trans media fandom, and QAnon. His research has appeared in Axon: Creative Explorations, Transformative Works and Cultures, and Ludic Inquiries Into Power and Pedagogy in Higher Education (eds. Walker, Grimmett, and Black, 2025). His short stories and poetry can be found in Unsweetened Literary Journal and Tharunka, his plays have been performed by the New South Wales University Theatrical Society, and his novella, ‘Stars, Hide Your Fires’, appears in The Elements of Dark Academia (ed. Shurin, forthcoming 2026). He is the Access & Equity portfolio lead for the Australasian Association of Writing Programs, and Blogs Editor for Southerly.

Fiona Morrison is an Associate Professor in the School of the Arts and Media at 91ɫ��Ƭ, where she teaches and supervises in the areas of postcolonial and world literatures, Australian literature and women’s writing. Her most recent book is Christina Stead and the Matter of America (2019), and she is currently working on two projects: a book-length study of Henry Handel Richardson an edited volume of scholarly essays on Eleanor Dark: Time, Tide and History: Selected Essays on Eleanor Dark.