Lottie Consalvo

Evenings In Residence promises to be a highlight of our public engagement program as the 12 Australian Residency Artists working and living at the Pier offer insights into their concerns and responses to Marina Abramović: In Residence.


Lottie Consalvo explores the role of ‘desire’ in her practice through a range of intriguing still and moving images.

  • Lottie Consalvo, Until distance passes, 2014 (stills)
  • Lottie Consalvo, I mouthed I love you,2014 (stills)
  • Lottie Consalvo, Until I am there I will be here, 2015 (2min, excerpt from installation)


Lottie Consalvo and musician, journalist and academic Dr Chris Fleming traverse ideas surrounding desire, abstinence and gratification with reference to Consalvo's own works, such as Compartmentalise (2013-2014), a year-long performance living with minimal possessions, and Marina Abramović’s performance The house with the ocean view (2002).


Lottie Consalvo's practice traverses performance, video, photography, installation, painting and sculpture; she explores emotional and psychological conditions. Created from fragments of the everyday and fractures from significant life events, her work deals with tragedy and longing. In her long durational and endurance based performances, Lottie endures discomfort both physically and psychologically. She re-lives past events where audience often witnesses her undergoing a psychological change in real time.

Consalvo's most recent live performances at Alaska Projects, Tiny Stadiums Live Art Festival, The Lock-Up, Newcastle, and Lake Macquarie City Art Gallery. These works have positioned her in seemingly comfortable domestic environments almost still or moving occasionally, however often slumped and in discomfort. In her performances, tragedy, desire and longing are all present. Consalvo also makes what she calls 'life performances'. Her most recent being Compartmentalise 2013-2014, a year-long performance where the artist lived with minimal possessions in an attempt to gain psychological control after a significant life shift.

The engagement in conversations with Abramović about the processing of ideas, performance in everyday life and the documentation of temporal work are key hopes for Lottie throughout the residency program. The opportunity to undertake the Abramović method will impact on Lottie's habitual life that will ultimately become her work. Spending time in conversation with the other artists in the residency, individuals working on the project and those who are part of the public program are also great prospects for her time at the Pier.

Lottie Consalvo, It's too early to love you: music torture piece, 2014. Photo: Courtesy the artist



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