After graduating from Victorian College of Arts in 2013, Megan danced for Russell Dumas in Australia and internationally, and regularly performs for dance artists; recently for Ivey Wawn, Shelley Lasica, Sarah Aiken, Rebecca Jensen and Alice Heyward. They have presented work at Testing Grounds, TCB art. inc, TBP-HQ, Bus Projects, 215 Albion Street (Neon Parc), PS Artspace, Gertrude Contemporary gallery (Naarm) and Judson Memorial Church for Movement Research (NYC). They currently study Professional Writing and Editing at RMIT. Their published writing includes pieces in ACCA’s Writing in the expanded field, Archer Magazine, Bus Project’s Island Island and Visible Ink. During the Covid-19 restrictions Megan also began a radio show: Land Swimming, together with Oonagh Slater and hosted by Bus Radio (Bus Projects Gallery).

Fast Five with Megan Payne

What feels alive about your practice right now?
This is a really interesting question, and one I will respond to with a resounding ‘yes! my practice still feels alive’, which is, in itself, a relief – especially during this time. It feels alive because I (hope I) am managing this honest and regular commitment and relationship to my actual practicing, instead of my practicing being predominantly driven by output or product. Or, I am still focused on where my practices are going – for example, I’m really enjoying being busy with working on a fiction book during lockdown, and a book is certainly a product – but the timelines feel so much more stretched, so I get to really sink into the time, and space, and just do the work, the practice. When I write this it sounds more trippy/wanky than it feels. In short, what feels alive about my practice right now is the practicing!

Are there any particular sounds you’ve been noticing in lockdown?
I’m not a sound artist (or I’m an emerging one, somehow) so sound is one of the senses that I am least tuned in to. But I notice rhythm everywhere. Patterns of sound. So my main answer is words. I’m also noticing and love love love bird calls, lawn mowers, the post-person’s bike motor, pop music on repeat, breathing.

How have you been experiencing time in recent months?
In less of a rush – slower fuller days, which move fast as a whole thread because each day is also similar to all the others.

Can you evoke the concept for your Hi-Viz Short Work Commission in a few words?
Textural shared-open intimacies.

What’s one thing you do to keep stimulated and engaged as an artist?
Three in one: Read books, do somatic work, tend to friendships

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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