Choreographer & performer: Jenni Large
Collaborating performer: Amber McCartney
Sound desinger: Anna Whitaker
Costume design & construction: Jenni Large & Chirstine Large
Lighting designer: Adelaide Harney
Dramaturgy support: Ashleigh Musk
Special thanks to: Erin O’Rourke, Georgia Rudd, Andrew Treloar and Richard Large





Commissioned by the 2022 Keir Choreographic Award through Phillip Keir and Australia Council for the Arts, supported by Dancehouse and Carraige Works





Wet Hard | KCA

RECIPIENT OF THE 2022 KEIR CHOREOGRAPHIC AWARD ‘PEOPLES CHOICE AWARD’

Premiere season June 23 - July 2 2022, Dancehouse Naarm & Carraige Works Gadigal Land


‘Balancing atop 8 inch heels, two women smear across an other-worldly landscape in nuanced union. They slyly navigate the instability and innuendo of the pedestals underfoot, subverting expectation and toying with the viewer in a display of strength and focus. Their bodies melt and solidify, referencing the sculptural virtuosity of erotic dance forms and aerobics. An exposed and empowered exploration of the effort required to disrupt the limits and expectations placed upon female bodies.’


~

Writen Interview by Chelsea Hopper

Film Interview

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“Large and fellow performer Amber McCartney executed a series of ultra-difficult physical feats in a bid to upend societal expectations. With exceptionally strong performances, this slick affair... its composition and pacing delivered sharp imagery and a quietly powerful punch.”
- Rhys Ryan, Dance Australia


“Large and Amber McCartney slowly stalk forwards on the floor, they’ve transformed from two-legged to four, and later, a hybrid eight, with immense core strength. In doing so, they truly “disrupt the limits and expectations placed upon female bodies.” Fit the mould, the female body, the world over, is a contested terrain. What do we do now to bring about structural transformation? We act. We redraw the map.”
- Gracia Haby, Fjord Review


“I envisaged slowly spilling quicksilver, emphasised through slow crawls and upended pedalling motions to sharp culinary implements wielded by either butchers (or maniacs) when precariously balancing in mirrored jack knifed positions, to the broken shards of looking glasses offering the illusion of a thousand tiny refracted facets, and lastly as circuits firing along an information freeway into the ether... the power of simply standing in the shoes as the lights died made me... just stare at those platforms in amazement that anything could so gracefully be achieved.”
- Vicky Van-Hout, Form Dance Projects - blogger in residence



Image credits:
Gregory Lorenzutti