ELISSA GOODRICH

Sound Artist working in Creative Spaces LAB-14 Studio


Creative Spaces LAB-14 Residency 3

1st July 2016 - 25th September 2016


Biographies

Elissa Goodrich, with Dr Anna Syme and Nadja Kostich 

Elissa Goodrich - percussionist, sound artist & composer; BperfA, Victorian College of the Arts, Masters (History/ Creative Arts) (by Research), University of Melbourne.  

Elissa records & performs in contemporary classical, jazz & pop groups & co-led world-jazz Shannon-Goodrich Ensemble with 2 nominations for 2009 Australian Jazz Work of the Year from their Worlds Within Worlds CD.

Elissa also works in independent theatre & dance, including long-term collaboration with director Bagryana Popov (1998–current). In 2013 Elissa released the critically acclaimed jazz debut for States of Play and solo marimba project Bach Conversations. Following on from her initial research as a State Library of victoria creative fellow (2009/10), this year (2016) sees Elissa create and exhibit Between Footsteps – an outdoor soundwork for children at Heide Museum of Modern Art, with colleague writer / dramaturg Cressida Bradley.

Dr Anna Syme is a Melbourne-based evolutionary biologist who has worked at the Melbourne Museum, Royal Botanic Gardens, and overseas at the University of California, Santa Barbara.  Anna’s research is focused on the evolutionary histories of particular animals and plants, and she uses genetic information – DNA – and physical characteristics to infer the historical relationships between species.

Anna uses modelling to examine rates of speciation and extinction across time, and also the evolution and development of complex features such as eyes. Modelling can also show whether the development of new species – or new features – is correlated with a change in environmental conditions such as rainfall or temperature.  Recently returning from maternity leave – Anna is currently studying a Masters of Bioinformatics at University of Melbourne to broaden her skills in computational genomics. 

Nadja Kostich is an interdisciplinary artist who conceives, directs and creatively produces both large-scale and intimate works. Her integration of physical theatre, text, film, dance, music, installation and digital components has created award-winning, powerful and moving experiences for audiences in theatres (MTC, Fortyfive downstairs), public spaces (Fed Square) and festivals (Melbourne Festival, Melbourne Fringe, Light in Winter, Moomba, Stringybark, Tropfest - winner of 2 craft awards).

A VCA graduate, she received a Green Room Award nomination for Outstanding Direction for her debut production, InsideOut, as Artistic Director of the Brunswick Women’s Theatre, followed up by a Green Room Award for Outstanding Production for The Grand Feeling as Co Artistic Director of paradigm productions.  For Platform Theatre Nadja directed Test Pattern, by Angus Cerini, (two Green Room Awards) and Tenderness: Ugly and Slut, by Christos Tsiolkas and Patricia Cornelius (two Awgie Awards). She directed Mari Lourey’s Bare Witness in a Fortyfivedownstairs season in 2010 and a national tour in 2012.

Nadja was creative producer for the Light in Winter at Fed Square for three years. Her recent work includes mixed media performance installations, such as Spinning Yarns and The Locker Room for the City of Knox.

Nadja has recently been appointed ambassador to the Melbourne Theatre Company Connect program. She is an alumnus of MTC Women Directors program, 2014 and directed I Call My Brothers by Jonas Hassen Khemiri for MTC Education in 2015.

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How will you use the space?

The Gene Tree Residency also involves leading artist, devisor Elissa Goodrich and evolutionary scientist Dr Anna Syme, and theatre & multimedia practitioner Nadja Kostich as dramaturg.

We will experiment with Anna's scientific modelling of changes to DNA in response to climate change as a basis for my music composing. With dramaturg, Nadja Kostich we consider the human emotional impact of such modelling. I will use the visual modelling as graphic notation, that is the visual details in the science models is adapted as a musical score.

Within the studio we will explore the visual modelling (of 'evolutionary tree/s') that forms the basis for our artistic experimentation and the basis for me to explore how such software and modelling can be used to create new music - both as a score for a live ensemble, and a soundwork (of prerecorded music).

Three public Q&A's will be staggered within the residency. The first two introduce the developing work, the developing collaboration between the three collaborators.

The final public showing / Q&A presents the composition in-progress, as both a sound work (of electronically developed music) and as a live score for world-jazz ensemble.