PhD Fine Arts (UNSW), BFA Hons (UNSW), BCA (UOW)
Rochelle Haley is an artist and researcher engaged with painting, drawing, movement and performance to explore relationships between bodies and physical environments. For over ten years Haley has worked at the forefront of the intersection of visual arts and dance: an emergent area of expanded painting research gaining international momentum. Her interdisciplinary approach to movement merges painting and choreography to investigate space structured around the sensation of the moving body. Haley’s work aims to re-imagine the dynamism of material surfaces of representation to discover methods that are sensory, kinaesthetic, and rhythmic.
Haley’s creative research contributes to interdisciplinary and experimental approaches to the expanded fields of painting and choreography. As a contemporary visual artist working with dance, her works have been programming ‘firsts’ for the inclusion of dance in publicly funded galleries / museums including Hazelhurst Regional Gallery, UNSW Galleries, and internationally, at Drawing Spaces, Lisbon. With collaboration with choreographers, scientists at the MIT Media Lab and research projects in creative robotics, her practice addresses experimental drawing methodologies.
She has staged 12 solo exhibitions and participated in over 47 national and international group exhibitions and collaborations, including curatorial selection for shows and performances at leading national venues Hazelhurst Regional Gallery and Museum of Contemporary Art Sydney. Her work has garnered national media coverage including ABC Radio National, The Sydney Morning Herald, The Australian, Art Monthly Australia, Artist Profile Magazine and Art Collector. Haley has been an artist in residence at Artspace, Sydney; KRP studio, Ubud, Indonesia; Cite Internationale des Arts, Paris, France; Performing Arts Forum, St Erme, France; Drawing Spaces, Lisbon, Portugal; Rimbun Dahan, Kuala Lumpur, Malaysia; and Bundanon, NSW.
2021-2024: Australian Research Council Linkage Grant,"Precarious Movements: Choreography and the Museum" ($392,181), UNSW, AGNSW, MUMA, NGV & TATE
2019-2022: PEEK Austrian Federal Government Grant, "Dancing with the Non-Human: the Aesthetics of Encounter" ($560,495 [€364,005 exchange rate 21/02/2021]), Petra Gemeinböck, Marie-Claude Poulin, Rob Saunders, Rochelle Haley, Roos van Berkel
I have successfully attracted over 10 competitive grants, including domestic funding from the Australia Council Arts Projects Grant, Copyright Agency Ignite Career Fund, Create NSW Artist Project Grant, Ian Potter Cultural Trust Grant, NSW Artists’ Grant (NAVA); and major international funding from the Austrian Science Fund.
I have been a finalist in national art prizes since 2013, including the John Fries Award presented at UNSW Galleries (2018), the Sunshine Coast Art Prize (2019), the Hazelhurst Art on Paper Prize (2013) and the Portia Geach Prize (2013).
My artworks are held in several collections, including the public collections of Artbank and the NSW Attorney General’s Department. Internationally, my art practice is used as case study material by the Paris College of Art’s Summer School curriculum. I have been commissioned to create works for Hazelhurst Regional Gallery, the Museum Of Contemporary Art Artbar, The John Fries Award, and Cement Fondu gallery.
My creative research contributes to interdisciplinary and experimental approaches to the expanded fields of painting, drawing and choreography. I work independently and with various collaborators in the emerging area of interdisciplinary visual arts and choreographic art made for museum and gallery contexts.
Recent engagements with my research include presentations and exhibitions at The Victorian College of the Arts, Griffith Centre for Creative Arts Research, University of Lincoln, UK and the Free University Berlin, Germany. I have published on my practice led research in Studio Research Journal and Drawing: Research, Theory and Practice. These articles stake a claim for understanding drawing as a medium of movement and set the stage for subsequent drawing/painting research in relation to choreography. The articles are based on research conducted on residencies in Malaysia, Portugal, France and Australia funded by grants from ArtsNSW, the Australia Malaysia Institute and the Ian Potter Cultural Trust.
I am currently a CI on Dr Petra Gemeinboeck’s Austrian Federally funded project ‘Dancing with the Non-Human; the Aesthetics of Encounter’ 2019–2022, University of Applied Art Austria.
I am an organising member and the research group and CI of the ARC Linkage Grant 'Precarious Movements: Choreography and the Museum' 2021-2024 which brings artists, researchers and institutions including AGNSW, MUMA, NGV, TATE and UNSW into dialogue about best-practice to support both the choreographer and the museum, and to sustain momentum in theory and practice around dance and the visual arts.
My solo and group exhibitions have garnered national and state media coverage including in The Sydney Morning Herald, The Australian, Art Monthly Australia and The Art Life and have attracted invitations for interviews in Artist Profile Magazine, Art Almanac, Art Collector and Das Platforms, and on ABC Radio National.
Selected Media Citations
Ed Ayers, ‘Art on a flat-screen Earth’, The Art Show, ABC Radio National, 9 Oct 2019
Amelia Navascues, ‘Flat Earth Society’, 2SER Radio, 5 Oct 2019
Cindy Lynch, ‘Finalist Beats Over 550’, Inner West Times, 30 May 2018, p.6
Linda Morris, ‘Hazelhurst Regional Gallery paints a picture in dance’, Sydney Morning Herald, 19 September 2017
Tess Maunder, ‘What’s Next – Rochelle Haley’, Art Collector, September, 2017
Jill Grant, ‘EMERGE Rochelle Haley’, Artist Profile #22, March 2013, pp.48-51
Justin Burke, ‘Funeraries at Tiffany’s’, The Australian, 4 September 2012, p.14
Andrew Frost, 'A Meeting of the Minds', Sydney Morning Herald, 8 April 2011, p.14
Jane O'Sullivan, '50 of Australia's Most Collectable Artists', Australian Art Collector, issue 43, Jan-Mar 2008
My Research Supervision
Spence Messih, PhD, Double Bind: (Trans)materiality and Tactics of Abstraction (joint with Astrid Lorange)
Jade Muratore, PhD, Time-Machine-Bodies : queering time and space toward posthuman becoming (joint with Di Smith)
Zoe Theodore, PhD, EXHIBITING DANCE/DANCING EXHIBITIONS: CHOREOGRAPHY AND THE MUSEUM (secondary with Erin Brannigan)
Gerwyn Davies, PhD, Dis/appearing Acts: Camp, Photographic Self-representation and Ambiguous Queer in/visibility (joint with Grant Stevens)
Kirsten Uta Drewes, PhD, Conflicting Resonances: Soft Forms and Materials in Contemporary Art (joint with Grant Stevens)
Nicole Breedon, Master of Fine Arts, Towards a neuroqueer aesthetic: queering heritage art forms (secondary with Bianca Hester)
Nicole Kelly, Master of Fine Arts, Unsettling landscape in Australia (joint with Peter Sharp)
Amber Boardman, PhD, Suspended Animation: Cartoonish Characters in Contemporary Painting (joint with Toni Ross)
Robbie Karmel, PhD, Drawing With The Expanded Phenomenological Body (joint with Marie Sierra)
Chris Moulder, PhD, Stage for a Tempest: An Interactive Art Installation that Explores Human Gestural Movement in an Augmented Arena (joint with Mari Velonaki)
Tonee Messiah, Master of Fine Arts, Knowingness and the Intuitive in Painting
Brooke Stamp, Master of Fine Arts, Pulling Down from the Ephemeral
Elle van Uden, Master of Fine Arts, Sequencing Verticality: The Climbing Body (joint with Tim Gregory)
Garry Stewart, Master of Fine Arts, The Choreography of Emotion (joint with Michele Barker)
Sam Hodge, Master of Fine Arts, The Wit of the Staircase (joint with Di Smith)
Katherine Corcoran, Master of Fine Arts, Eternal Horizon: Queer Futurity, Technological Intimacy and Embodiment (joint with Di Smith)
I lecture in painting, drawing and studio practice at UNSW School of Art & Design. I convene second year Studio Art Practice and second year Drawing and have developed the new curriculum in this area.