Cobie Orger is an interdisciplinary artist working across forms including dance, video, sound and installation. Her interest lies primarily in the integration of forms and creating methodologies that utilise and mash up the creative languages at hand. Her work has been presented locally and abroad and has often stemmed from residencies at places such as Bundanon, Bogong Centre for Sound Culture, Dancehouse, Critical Path, Les Baines Connective and Cultuurcentrum Berchem.
Her practice often involves collaborations with artists from the visual arts, music, theatre, and dance, and generates work that can exist as intimate viewing encounters, through to large scale, participatory community events.
Cobie also documents a large number of live performances/events throughout Melbourne’s (usually) creative landscape and has shared this knowledge along with video editing techniques with tertiary students at the VCA and members of St. Martins Youth Theatre.
Fast Five with Cobie Orger
What feels alive about your practice right now?
The exploration of new modes of working that are enhanced through limitations.
Are there any particular sounds you’ve been noticing in lockdown?
Clocks ticking & birds singing.
How have you been experiencing time in recent months?
Like an old VCR player stuck on pause.
Can you evoke the concept for your Hi-Viz event in a few words?
The use of an embodied score to generate collective sound making.
What’s one thing you do to keep stimulated and engaged as an artist?
Stimulate my senses, particularly through a curated engagement with images, words, sounds and movement.
Chamber Made acknowledges the traditional owners of the land on which we are based and where we make work, the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation. We pay our respects to Elders past and present and to all First Nations people throughout Australia.
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