Madeline Beckett is an emerging interdisciplinary artist who is interested in transforming elements of her personal inner landscapes into immersive performance installations. She draws a personal catharsis from developing sculptural environments that reimagine her encounters with the immaterial and intangible – with those forces so fiercely present in the physical world yet existing without physical substance. Her past works have explored notions such as pressure and the accumulative pressures that wear on the body, she has also developed works that closely observe the interpersonal energies generated between bodies, with others demonstrating a curiosity with the relentlessness of time and it’s effect on the hypersensitivity of the ephemeral performance platform. These performances are often task based, interactive and durational, with a specific material component such as paint, water, flour, salt, coffee, or molasses (etc.) metaphorically embodying the immaterial force that may manipulate or be manipulated by the performing body. In a way her performance situations develop spaces that allow a de-cloaking of the invisible – an almost ghost catching apparatus in which to command, observe and reimagine the human condition. Madeline is currently developing new work examining notions such as failure, isolation and anxiety within an increasingly pressured and competitive industry.
This year Madeline Beckett had a solo show titled ‘Press Her (continued)’ at Squiggle Space in Paddington, and she also performed her work ‘Untitled’ (milk tank performance) in the group show ‘Living(stone)’ curated by Artist Boni Cairncross at her home in Petersham. She worked in collaboration with Melbourne-based artist, James Batchelor to develop ‘Smooth Translation’, a performance commissioned by the National Portrait Gallery in Canberra as part of Design Canberra Festival. She also performed in Batchelor’s work ‘Metasystems’ at the You Are Here festival in Canberra.