Dr Rochelle Haley
Senior Lecturer
PhD Fine Arts (91É«ÇéƬ), BFA HonsÌý(91É«ÇéƬ), BCA (UOW)
Arts, Design & Architecture (ADA)
School of Art & Design
Rochelle Haley is an artist and researcher engaged with painting, drawing, movement and performance to explore relationships between bodies and physical environments. For over ten years Haley has worked at the forefront of the intersection of visual arts and dance: an emergent area of expanded painting research gaining international momentum. Her interdisciplinary approach to movement merges painting and choreography 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,Ìýand rhythmic.
Haley’s creative research contributes to interdisciplinary and experimental approaches to the expanded fields of painting and choreography. As a contemporary visual artist working with dance, herÌýworks have been programming ‘firsts’ for the inclusion of dance in publicly funded galleries / museums including Hazelhurst Regional Gallery, 91É«ÇéƬ Galleries, and internationally, at Drawing Spaces, Lisbon.ÌýWith collaboration with choreographers, scientists at the MIT Media Lab and research projects in creative robotics, her practice addresses experimental drawing methodologies.Ìý
She has staged 12 solo exhibitions and participated in over 47 national and international group exhibitions and collaborations, including curatorial selection for shows and performances at leading national venues Hazelhurst Regional Gallery and Museum of Contemporary Art Sydney. Her work has garnered national media coverage including ABC Radio National, The Sydney Morning Herald, The Australian, Art Monthly Australia, Artist Profile Magazine and Art Collector. Haley hasÌýbeen an artist in residence at Artspace, Sydney; KRP studio, Ubud, Indonesia; Cite Internationale des Arts, Paris, France; Performing Arts Forum, St Erme, France; Drawing Spaces, Lisbon, Portugal; Rimbun Dahan, Kuala Lumpur, Malaysia; and Bundanon, NSW.Ìý
E-mail
Location
School of Art & Design
91É«ÇéƬ AUSTRALIA
Paddington Campus
Cnr Oxford St & Greens Rd,
Paddington, NSW 2021
- Publications
- Media
- Grants
- Awards
- Research Activities
- Engagement
- Teaching and Supervision
2021-2024: Australian Research Council Linkage Grant,"Precarious Movements: Choreography and the Museum" ($392,181), 91É«ÇéƬ, AGNSW, MUMA, NGV &ÌýTATEÌý
2019-2022: PEEK Austrian Federal Government Grant, "Dancing with the Non-Human: the Aesthetics of Encounter" ($560,495 [€364,005Ìýexchange rateÌý21/02/2021]),ÌýPetra Gemeinböck, Marie-Claude Poulin, Rob Saunders, Rochelle Haley, Roos van Berkel
I have successfully attracted over 10 competitive grants, including domestic funding from the Australia Council Arts Projects Grant, Copyright Agency Ignite Career Fund,ÌýCreate NSW Artist Project Grant,ÌýIan Potter Cultural Trust Grant, NSW Artists’ Grant (NAVA); and major international funding from the Austrian Science Fund.Ìý
I have been a finalist in national art prizes since 2013, including the John Fries Award presented at 91É«ÇéƬ Galleries (2018), the Sunshine Coast Art Prize (2019), the Hazelhurst Art on Paper Prize (2013) and the Portia Geach Prize (2013).
My artworks are held in several collections, including the public collections of Artbank and the NSW Attorney General’s Department. Internationally, my art practice is used as case study material by the Paris College of Art’s Summer School curriculum. I have been commissioned to create works for Hazelhurst Regional Gallery, the Museum Of Contemporary Art Artbar, The John Fries Award, and Cement Fondu gallery.
My creative research contributes to interdisciplinary and experimental approaches to the expanded fields of painting, drawing and choreography. I work independently and with various collaborators in the emerging area of interdisciplinary visual arts and choreographic art made for museum and gallery contexts.
Recent engagements with my research include presentations and exhibitions at The Victorian College of the Arts, Griffith Centre for Creative Arts Research, University of Lincoln, UK and the Free University Berlin, Germany. I have published on my practice led research in Studio Research Journal andÌýDrawing: Research, Theory and Practice. These articles stake a claim for understanding drawing as a medium of movement and set the stage for subsequent drawing/painting research in relation to choreography. The articles are based on research conducted on residencies in Malaysia, Portugal, France and Australia funded by grants from ArtsNSW, the Australia Malaysia Institute and the Ian Potter Cultural Trust.
I am currently a CIÌýonÌýDr Petra Gemeinboeck’s Austrian Federally funded project ‘Dancing with the Non-Human; the Aesthetics of Encounter’ 2019–2022, University of Applied Art Austria.
I am an organising member and theÌýresearch group and CI of the ARC Linkage Grant 'Precarious Movements: Choreography and the Museum' 2021-2024 which brings artists, researchers and institutions including AGNSW, MUMA, NGV, TATE and 91É«ÇéƬ into dialogue about best-practice to support both the choreographer and the museum, and to sustain momentum in theory and practice around dance and the visual arts.
My solo and group exhibitions have garnered national and state media coverage including in The Sydney Morning Herald, The Australian, Art Monthly Australia and The Art Life and have attracted invitations for interviews in Artist Profile Magazine, Art Almanac, Art Collector and Das Platforms, and on ABC Radio National.
Selected Media Citations
Ed Ayers, ‘Art on a flat-screen Earth’, The Art Show, ABC Radio National, 9 Oct 2019
Amelia Navascues, ‘Flat Earth Society’, 2SER Radio, 5 Oct 2019
Cindy Lynch, ‘Finalist Beats Over 550’, Inner West Times, 30 May 2018, p.6
Linda Morris, ‘Hazelhurst Regional Gallery paints a picture in dance’, Sydney Morning Herald, 19 SeptemberÌý2017
Tess Maunder, ‘What’s Next – Rochelle Haley’, Art Collector, September, 2017
Jill Grant, ‘EMERGE Rochelle Haley’, Artist Profile #22, March 2013, pp.48-51
Justin Burke, ‘Funeraries at Tiffany’s’, The Australian, 4 SeptemberÌý2012, p.14
Andrew Frost, 'A Meeting of the Minds', Sydney Morning Herald, 8 April 2011, p.14
Jane O'Sullivan, '50 of Australia's Most Collectable Artists',ÌýAustralian Art Collector, issue 43, Jan-Mar 2008
My Research Supervision
Spence Messih, PhD, Double Bind: (Trans)materiality and Tactics of AbstractionÌý(joint with Astrid Lorange)
Jade Muratore, PhD, Time-Machine-Bodies : queering time and space toward posthuman becoming (joint with Di Smith)
Zoe Theodore,ÌýPhD,ÌýEXHIBITING DANCE/DANCING EXHIBITIONS: CHOREOGRAPHY AND THE MUSEUMÌý(secondary with Erin Brannigan)
Gerwyn Davies,ÌýPhD, Dis/appearing Acts: Camp,ÌýPhotographicÌýSelf-representation andÌýAmbiguousÌýQueer in/visibilityÌý(joint with Grant Stevens)
Kirsten Uta Drewes, PhD, Conflicting Resonances: Soft Forms and Materials in Contemporary Art (joint with Grant Stevens)
Nicole Breedon,ÌýMaster ofÌýFine Arts,ÌýTowards a neuroqueer aesthetic: queering heritage art formsÌý(secondary with Bianca Hester)
Nicole Kelly,ÌýMaster ofÌýFine Arts,ÌýUnsettling landscape in AustraliaÌý(joint with Peter Sharp)
Previous Supervisions
Amber Boardman, PhD, Suspended Animation: Cartoonish Characters in Contemporary PaintingÌý(joint with Toni Ross)
Robbie Karmel, PhD, Drawing With The Expanded Phenomenological BodyÌý(joint with Marie Sierra)
Chris Moulder, PhD, Stage for a Tempest: An Interactive Art Installation that Explores Human Gestural Movement in an Augmented ArenaÌý(joint with Mari Velonaki)
Tonee Messiah, Master ofÌýFine Arts, Knowingness and the Intuitive in PaintingÌý
Brooke Stamp, Master ofÌýFine Arts, Pulling Down from the Ephemeral
Elle van Uden,ÌýMasterÌýof Fine Arts, Sequencing Verticality: The Climbing BodyÌý(joint with Tim Gregory)
Garry Stewart, Master ofÌýFine Arts, The Choreography of EmotionÌý(joint with Michele Barker)
Sam Hodge, Master ofÌýFine Arts, The Wit of the StaircaseÌý(joint with Di Smith)
Katherine Corcoran, Master ofÌýFine Arts, ÌýEternal Horizon: Queer Futurity, Technological Intimacy and EmbodimentÌýÌý(joint with Di Smith)
My Teaching
I lectureÌýin painting, drawing and studio practice at 91É«ÇéƬ School ofÌýArt & Design.ÌýI convene second year Studio Art Practice and second year Drawing and have developed the new curriculum in this area.Ìý