a densely researched performance installation that investigates the darker side of jazz, focussing on the genius, tragedy and excess of legendary musician charlie parker – musically as important as beethoven yet not regarded as such during his lifetime. according to kerouac, parker when he played was as calm beautiful and profound as the image of the buddah. he died penniless, drunk, liver drenched with whiskey and laughing at a juggler on tv.
wigtilt lets rip with a constant chaotic soundtrack of jazz back-beats, with skin head performers clad in enlarged pin-striped suits, overtly hunched shoulders dancing awkwardly thru a mondrian inspired installation, constructed entirely of aluminium squares with sections of video projecting thru. the chaos and freedom felt from the jazz is juxtaposed alongside the mathematical coldness of mondrian’s famous architectural paintings.
a complicated, emotive work that physically challenges pvi performers and extendes experimentation with pvi’s digital creation b.u.d.d.i., a virtual performer given visual form via computer generated animation in the form of the first mathematical device – an abacus.
outside in the street we skip along with glee and talk about how fucking fantastic all of that was. how unlike anything we’d seen before. how it touched on something so potent and honest about contemporary human relations and technological advancement.”
bec dean, audience implication – artlink vol 24. 2004
this work may be about the chaos of modern life, its impulses towards cruelty, towards indulgence, towards sexuality that moves from male to female… perhaps its meaning would come clearer on several viewings, like an avant garde work of art.”
ron bank, arts editor – west australian. dec. 99
devised by: pvi collective
performed by: james mccluskey, kate neylon and chris williams
perth institute of contemporary arts, perth, wa. aug 1999