Alison Currie is an Adelaide based independent choreographer and dance artist. Her work is primarily concerned with how the animate and inanimate bodies connect, compare and impact one another. Her work crosses the mediums dance, performance art, sculpture and installation and is made for theatres, galleries and public spaces.
Image credit: Bridget Currie
Alison Currie is a maker and performer of dance with a Research Masters in Choreography and Performance from the University of Roehampton, London and a BA in Dance Performance from Adelaide College of the Arts. Alison’s work forms connections between, audiences, performers, objects and locations in various ways. She has created works for theatres, galleries, site speciﬁc live performance and video, and often works collaboratively with sound, visual and media artists. Alison has been working as a choreographer since 2004. Her ﬁrst major work 42a premiered at the Australian Experimental Art Foundation in Adelaide in 2008 and toured to three states of Australia in 2010.
Alison’s work for Dance Massive 2019 Concrete Impermanence premiered at Adelaide Festival Centre in 2018 and toured to The Substation in Newport, Victoria. In 2018 she also presented Creatures with The Human Arts Movement at the Samstag Museum of Art in response to renown visual artist Aldo Iacobelli’s A Conversation with Jheronimus for Adelaide Dance Festival. Close Company made in collaboration with Singapore based company RAW Moves was her third work to premiere in 2018 with seasons in Singapore and OzAsia Festival, Adelaide.
Her other major works include: I Can Relate commissioned as part of 24 Frames Per Second by Carriageworks, Sydney and presented with live performance component at ACE open, Adelaide, Things Meeting Now co-created with Bridget Currie and performed at the Art Gallery of South Australia for Adelaide Festival, Artbank Sydney and at Roehampton University London, 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.
Alison Currie – Reviews
“Alison Currie blends, shoves and tears down walls to bring her audience an involving experiment in art and choreography.” – Cotton, P, Adelaide City Search
“It is a fascinating piece in concept and realisation.” – Sykes, J 2011, Sydney Morning Herald (on Return to Sender)
“Choreographer Alison Currie is masterful, her vision is reflective and does not force itself.” - Lowry, Grace 2018, The Melbourne Critique (regarding Concrete Impermanence)
“Currie has hit upon a winning formula.” – Burdon, Peter 2018, The Advertiser (regarding Close Company)
“When performance art is good it hums and vibrates with energy. It reaches out to the audience and brings them in like 42a.” – Kelty, R 2008, Artlink Volume 28 No 3 (regarding 42a)
“Another spatial innovation is the three-dimensional, sculpted screen of I Can Relate by… Alison Currie who has created an experience so unique that it causes some viewers to do a double take.” – Forrest, N 2015, Blouin Art Info (regarding I Can Relate)