Artist In Residence
ARTIST IN RESIDENCE EXPRESSIONS OF INTEREST OPEN -
ReadyMade Works is excited to announce the callout for our next ARTIST IN RESIDENCE, offering a long term residency from July - December 2025.
The ReadyMade Works ARTIST IN RESIDENCE supports an artist to undertake in-depth exploration and development of their creative practice over a six month tenure with 240 hours of studio space, a $8400 residency budget, production and administrative support and the opportunity to work with ReadyMade Work's Creative Producer on direction and programming for the organisation.
The aim of the ARTIST IN RESIDENCE is to support NSW-based dance artists to deepen their creative practice and develop their work in a funded capacity. The residency is open to professional mid-career and established NSW-based artists working with dance, choreography and movement-based practices. The artist in residence will join the RMW artistic advisory sub-committee during their tenure, and will help steer the organisation, providing curatorial advice and guidance to our Director.
Shortlisted applicants will be interviewed.
DETAILS
Support:
• An artist fee of $8400 (equivalent to 7 weeks full time: six weeks of studio time and one week engaging with ReadyMade Works as an organisation)
• 240 hours of studio space at ReadyMade Works
• A facilitated open showing at the conclusion of the residency/opportunity to share work through What Are You Doing? What Were You Thinking?
Timing:
• The Artist in Residence takes place between July - December 2025
• 240 hours must be divided across the 6 months (ie. not consecutively across 6 weeks) and must work in conjunction with the overall studio program. Flexibility is required.
Engaging with ReadyMade:
• The artist will join the ReadyMade Works artistic subcommittee (approx. two meetings across the 6 months) and take part in decision making across the organisation as well as having regular meetings with ReadyMade Works Director to help shape future programs.
• The artist may develop platforms or programs in conjunction with ReadyMade and take part in class/workshop/shared practice programming.
Who can apply:
• Artists with a professional practice whom identify as mid-career* or established artists.
• Individuals.
• Artists who are NSW-based*.
*Mid-career indicates an artist who has accumulated experience presenting their creative work in a professional context and who has been developing their practice as an artist for at least ten years. This experience should be reflected in the biography provided.
*NSW-based indicates an artist who considers NSW to be the primary base for their creative practice and residence. This should be the case for the duration of the residency and reflected in the artist biography provided.
Closing Date: Friday 16th May 2025 (11:59pm)
Artist Shortlist notified: Monday 9th June 2025
Interviews to take place in the week beginning 16th June 2025
For more information contact: creativeproducer@readymadeworks.com.au
The Artist in Residence is supported by Create NSW.
Image Credit: Ivey Wawn
Current Recipients
Our new ARTIST IN RESIDENCE program, offers two long term residencies from July -December 2024 (Artist in Residence 1) and January - June 2025 (Artist in Residence 2).
We are happy to announce the recipients of our brand new Artist in Residence program: Justin Talplacido Shoulder (July - December 2024) and Matthew Day (January - June 2025).
Thank you to all the artists who applied for this opportunity and stated the value of a long practice-based residency like this one. It was a difficult decision as it was clear that this residency is much needed in the Sydney/NSW ecology.
Justin Talplacido Shoulder is our current resident and will be working in the studio with ongoing sessions until December. Justin will also join our artistic advisory committee to help shape ReadyMade's future path.
Justin Talplacido Shoulder is a shape shifting artist and storyteller, working primarily in performance, sculpture, video and collective events. Also known as Phasmahammer, their practice is an eco-cosmology of alter personas based on queered ancestral myth. Creatures birthed are embodied through hand crafted costumes and prosthesis and animated by their own gestural languages. The artist uses their body and craft as an instrument of metaphysics towards a queer Filipinx Futurism. Shoulder believes in performance and shared ceremony as communal medicine for difficult times.
Shoulder is a founding member of queer artist collective The Glitter Militia with partner and key collaborator Matthew Stegh. Over 12 years they co-created a series of events including Monsta Gras with Penelope Benton, an annual artist ball that aimed to reinvigorate the artistic and political intentions of the 78ers. A politicised avant-garde community led incubator for performance, music, visual art and dance for local and international LGBTQIA+ artists 2008-2020. Shoulder is also co-director of collective Club Ate with artist Bhenji Ra. Inspired by their shared Filipinx heritage and interest to create new narratives of motherhood and sisterhood the pair created a series of fundraisers, balls, and variety nights inviting and celebrating their local Asia-Pacific queer and trans family.
Shoulder’s theatre and visual art works have been presented across Australia and Internationally where they work between gallery, nightclub, and theatre contexts. Highlights include: La Manutention performance artist in residence at the Palais de Tokyo, Paris 2019, The Prague Quadrennial of Stage Design, 2019, Premiere of theatre work Carrion, Performance Space, Sydney (AUS) + subsequent tour to Artshouse, Melb (AUS), Fusebox Festival, Texas (USA), Museum Macan, Jakarta (IDN), Roskilde (DEN), Kampnagel, Hamburg (DE), Fierce Festival (UK), MAI, Montreal. Phasmahammer is currently working towards their new body of work Anito, a co-commission between Rising Festival, Melb, Sydney Festival and MONA premiering in 2024. A hybrid body of work for theatre, gallery and nightclub.
Matthew Day (January - June 2025)
Matthew Day will be working in the studio for blocks of time in February, April and July.
Matthew Day (1979) who was a teenage ballroom dancing champion, studied Dance, Performance Studies and Art History at University of Western Sydney and Victorian College of Arts. In 2016 he completed a masters at DAS Choreography, Amsterdam. Day’s work is characterized by it’s migration across artistic disciplines, cultural contexts and performance formats, and his solo works have been presented in Australia and around Europe. He is interested in the potential of dance and choreography to generate unorthodox relations, and perform new modes of existence. Day often works with duration and repetition approaching the body as a site of infinite potential and choreography as a field of energetic intensity and exchange. Day currently resides and works on Bundjalung Country (Northern Rivers) and is of Irish and Scottish descent.
Matthew Day – (Summer 2025)
Matthew I’m grateful to return to my studio practice as ARTIST IN RESIDENCE at ReadyMade Works following a 3-year hiatus from dance, initiated by Covid, and extended with technical training in Horticulture, and Landscape Construction.
I look forward to reconnecting with the Gadigal/Sydney dance scene; and developing working relationships between Gadigal/Sydney and Bundjalung/Northern Rivers, where I’m based since relocating from Amsterdam in 2021.
I’ll work across three 2-week blocks over the coming six months, commencing the first block (Summer 2025) researching modes of embodied intuition, focusing on intensive movement research, initiating intimate encounters with peers.
I’m intent on articulating specific and particular technologies of sensation, attention, and material intelligences that arise, arrive, and are alive while improvising dance (at times expressed as practising performance) with/out audiences.
Below some studio notations following brief studio interludes last year, these
tangents may act as tethers to re-enter a studio practice and reanimate dancing
processes now.
What I actually do, or notes from the ground (Winter 2024)
I set timers, one at a time.
I lay on my back and allow my weight to fall.
I bring attention to my breath.
I observe weight falling through my body in contact with the floor.
I observe layers of tone and distributions of tension across, within and along the strata of my body. Sensations reconfigure, without intervention.
I resist urges to exercise intent, wills to impose themes, actions. I practice listening, perceive proximities with what’s already happening. It's possible I glimpse Paxton or another teacher, or partner, or some other encounter with movement may arise from the stillness (these are seemingly endless), and still I resist making more of anything.
Sometimes I find I'm not on my back anymore, somehow I've ended up on my side, or it seems I’m standing giving cobra energy to the ceiling above my blindfolded face, and in these moments of catching myself somewhere else, I hover in not doing more, but just observe what is still arising, while catching the glitch in time in which some dance intervened without me.
Image by REYER