About Suzon Fuks

Suzon Fuks is an artist bridging art, science & the environment, using body-based practices, the moving image, photography & interactive technologies. She focuses on:
– Making art that voices people’s concerns and global issues (focus on water and refugees and asylum-seekers) to be presented in significant public venues and contexts
– Deepening audience engagement with various environments and technologies (apps & interactives)
– Collaborating with/working under inspirational people and organisations

Born in Brussels, trained in dance, theatre & music at Lilian Lambert Academy (‘69-‘76), she completed her Masters in Visual Arts at La Cambre (1979-1984).  She created award-winning intermedia solo performances, and a film-scenography for the ground-breaking show ‘The Strange Mr Knight’ (touring globally with 1,000+ performances).

As mid-career artist & Igneous Co-Director since 1997, she pioneered networked performance in Australia, made screendances, presented & performed in festivals, conferences & panels (Nuit Blanche, Toronto; Theater der Welt, Stuttgart; Biennale Internationale des Arts de la Marionnette, Paris; and more). Her screendance Fragmentation was ReelDance finalist, nominated for an Australian Dance on Film Award and screened in all continents. She received a Green Room Award for Outstanding Video-Scenography in Theatre New Form for ‘The Quivering’ by sacredCOW. 

“Spectacular stage imagery. Suzon Fuks’ video projections make the performers seem like elemental spirits rather than human bodies.” – Alison Croggon, Theatre Notes, Review

During an Australia Council Fellowship & a Copeland Fellowship in USA, she initiated the online platform Waterwheel, nominated for international Ars Electronica Award 2013 – Digital Communities. Waterwheel brought together 1,500+ artists, scientists, activists & youth from 34 countries & 81 locations http://water-wheel.net

“Suzon demonstrated strong expertise in creative & artistic practices around the world in the area of water issues.” – Danielle Siembieda, Deputy Director at International Society for the Arts, Sciences & Technology

She gives lectures, workshops, master classes and labs in Australia, USA & Europe on the integration of visual media and the performing arts, fostering intermedia artistic collaboration, and tailoring workshops for community cultural development projects.

Mentored in 2003 by Keith Armstrong, Kelli Dipple and Mike Stubbs on networked performance under an Australia Council New Media Arts grant, she continued her research in that field developing and performing in the 2007-2012 UpStage Festivals; Backyard Dances for Electrosmog Festival 2010Angry Women by Annie Abrahams (2011-2012) and participated in 2010 LIVE.MEDIA+PERFORMANCE.LAB at EMPAC, NY with Johannes Birringer and Mark Coniglio. She has collaborated with artists from around the world, organising nodes (physical venues) for the streaming events DIAL (2008) & TANKMAN TANGO (2009); being part of the organising team of the CYPOSIUM, an online symposium on cyberperformance hosted mainly on Waterwheel’s videoconferencing/media mixing system the Tap (2012); coordinating WATERWHEEL WORLD WATER DAY SYMPOSIUM with artists, scientists & activists from all continents (E-BOOK download); curating the international exhibition CONVERGENCE/DIVERGENCE for WEAD (Women Environmental Artists Directory) (2012) with an online symposium with its participants.

As an intrinsically experimental artist I am deeply committed to making & developing art that examines, reflects upon, and helps us survive, today’s disjointed worlds.  Using the live body as a starting point, I focus on process, interaction and diversity, compelled by small human gestures that are shared across cultures and that communicate and reveal the depth and complexity of our human experience. My practice is characterised by a holistic post-humanistic approach that focuses upon magnifying details, synthesizing wholes, collaborating, coordinating, weaving between extremes, playing with contrasts and emphasizing presence and space. My works are made for audiences to interpret, to be provoked by, to view from a range of perspectives and to also directly participate within, as a means for them to be able to reflect upon their own lives and places.

Water has fascinated me for many years. Researching networked performance, looking at meshing form and content, I observed that water’s fluidity, stripes and rhythms make links between graphic, choreographic, musical and cinematic forms. I come from a country in Europe where water is often considered a commodity and taken for granted as it rains a lot. For three years in the early 90’s, I lived in a part of India where access to water regulated life. When I moved to Brisbane, Australia, I saw the city going through severe drought for several years and then big floods. These events made me more aware of water issues and the politics around water, and led me to conceive Waterwheel, an ongoing project open to all, for cross-disciplinary and cross-cultural dialogues and exchanges around the globe.

“DIVING THE FRAME: in conversation with Suzon Fuks focusing on the moving image, particularly screendance & networked performance” This was the title of the blog I had during the two and half years (September 2009 – April 2012) of my Australia Council for the Arts Fellowship. This period allowed me to explore the frontiers of screendance and networked performance.

#1 Phase revolved around creating three new pieces specifically for the screen which integrates dance footage collected over the last 25 years around the world including some rare Indian dance forms.
#2 Phase involved in-depth research to create a networked performance to occur simultaneously in multiple spaces, using telecommunication to link people and place. This work has been physically generated through audience response and explored issues of flux and connection.

I shared my findings by maintaining this blog, attending international festivals, and presenting outcomes at the Igneous studio, Ausdance Queensland and as artist in residence at the Judith Wright CentreThen, I received a Copeland Fellowship (Amherst) and Associate Researcher position at the Women Studies Research Centre (Mount Holyoke) at the Five Colleges in Massachusetts, USA (September 2012- February 2013).

My creative practice and artistic innovations have been forged since the 80’s. See works portfolio. In this time my work has been highly influenced by the many cultures I have lived within, attracting wide national and international interest.  Since relocating to Australia from Europe in 1996, my work has continued to integrate and initiate innovative new approaches to meshing performance, media and technologies and has in turn received new national and international recognition.  The next logical step for me was to now consolidate this practice by weaving together related threads of movement, performance, visual media, and networked technologies that build upon this rich, diverse, and cross-cultural body of work.


This is the definition I feel the closest to:

“‘Screendance’, alternatively called ‘videodance’, is a genre made for the camera where movement is the primary expressive element in the work rather than dialogue (as in conventional narrative movies) or music (as in music videos).”

Screendance’s definition is expanding to also include live performance, installation and the use of multiple and multi-dimensional screens.

“‘NETWORKED PERFORMANCE’ is a performance event happening simultaneously in multiple spaces, including the Web, using telecommunication tools to link people and places.”

See blog posts about Networked Performance Research


http://aabrahams.wordpress.com/category/01-projects/performance-projects    Annie Abrahams
    Helen Varley Jamieson
http://www.embodiedmedia.com/#/page/access-all    Keith Armstrong
http://www.paulsermon.org    Paul Sermon
http://www.harmonybench.com    Harmony Bench
http://jaimedelval.net    Jaime Delval


Suzon Fuks has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Suzon Fuks is supported by the Queensland Government through Arts Queensland, and Igneous, and has been supported by Ausdance Queensland and the Judith Wright Centre during her fellowship.