Lisa Roberts blog


The Elements of Music: Melody, Rhythm and Harmony

Filed under: music — Lisa @ 13:27

Jason Martineau, 2008. P.1:

Music is the art medium that communicates interiority, being only perceived by the ears, and received by the mind. A strict approach to understanding music with consequently always have something lacking as music theory, in essense, is primarily descriptive and not prescriptive. The tendancies and parctices in music are only observed and catalogued upn analysis, after the fact. It is the hearts and minds of human beings that shape and weave melodies, harmonies, and rhythms together into meaningful tapastries, imbued with interior landscapes of their immediate experience.



Filed under: Iconography, dance, drawing — Lisa @ 10:09

New drawings are inspired by Barbara Cuckson, director of the Rozelle School of Visual Arts in Sydney. Barbara’s training was with the legendary Gertrud Bodenwiesser, who was in turn a student of Rudolf Laban.

In Barbara’s classes I learn to dance with primal forms that were used to develop The New Dance.


Drawing Movement 01

Filed under: Methods — Lisa @ 06:03
Drawing Movement

Drawing Movement

Participant: Daniela Giorgi, of Subtlenuance
Photo: Geoffrey Robertson, of Sydney Web Hosting

Geoffrey photographs the first session of my Drawing Movement workshops at the Rozelle School of Visual Arts.


Fluid Sculpture

Filed under: animation, circle — Lisa @ 10:26

Fluid Sculpture from Charlie Bucket on Vimeo.

Fluid Sculpture is a winner of the Vimeo Capture Award.


Art & Therapy

Filed under: Methods — Lisa @ 19:24

What is therapy? I understand therapy to be an intervention that is made to redress an imbalance that is experienced by, or observed in, a person. Imbalance may be expressed as incongruence between what one says and what one does (a mind/body problem). Interventions can involve a therapist engaging the full attention of a client by talking, walking, dancing, drawing, writing and making etc. These actions may be performed without the guidance of a therapist and work to help to redress an imbalance.

I am aware that some people approach art-making and art-viewing as therapeutic experiences. For example, composing and viewing expressions of personal regret and fear may have therapeutic appeal if they fill a gap perceived within one’s self. Also, in order to satisfy a need (imbalance), meanings can be read into art works that were never intended.

For me, therapy is when I consciously seek the counsel of a therapist to guide me through making sense of feelings of confusion that sometimes arise. This has typically involved me describing past regrets and fears of the future. Through prompts from the therapist, I have come to recognise these feelings as obstructive. Conscious recognition of these feelings and understanding of their causes, allow me to release them. The release is strongest when my mind and body are both fully engaged. I was very lucky to have worked with Denis Kelynac, whose practice consciously aimed to unite mind and body knowledge.

For some people there may be a fine line, even confusion, between art and therapy. But I view therapy as ‘homework’, work I do on myself. I view art-making as ‘field work’, work I do in a field beyond my personal needs. The homework can help to maintain a balanced foundation for the field work.

My present aim is to expand my body knowledge (how I use space, time and energy in movement) and to further develop a language of gestures, line drawings and words to communicate that knowledge.


Drawing Movement workshops

Filed under: Methods — Lisa @ 18:58
2007 Girl with Hoop

2007 Girl with Hoop

It has been difficult to describe these workshops to people who have not worked with me before, and even to those who have, because my approach to teaching has shifted since I first ran these kinds of workshops in Sydney. Since 2007 I have been revisiting the sources of my training in art and dance as part of a PhD research project (very academic, despite all my best efforts!). The research has led me (via a most respected peer) to the Rozelle School, where methods taught by Gertrud Bodenwieser are passed on in dance classes directed by Barbara Cuckson. Attending these classes is adding new meaning to my drawing and animation practice and inspiring my teaching.

Drawing Movement is for people of all levels of skill to explore ways of expressing their experience and observation of movement. The shift is away from academia and towards the sheer pleasure of drawing through moving!

Movement and drawing are inherently enjoyable. As art forms they share a gestural language that is based on the circle, spiral and cross. These forms are naturally generated by virtue of our anatomy. We know them from childhood. They are used by artists and scientists to describe what we know of the forces that shape our environment. Moving and drawing these forms can express a heightened sense of lived experience and connection to the natural world.

Explore ways of drawing that naturally arise from your unique use of space, time and energy in movement. Gentle warm-up exercises and guided improvisations lead to drawing lines that reflect your experience and observations of movement. Move and draw for expression, fun, relaxation and to sharpen your perceptions. People with all levels of experience are welcome.

When? 6-8pm Mondays
Where? ROZELLE SCHOOL OF VISUAL ARTS, 57 Nelson Street, Rozelle, Sydney.
Cost? $10 per class (incl. Materials).

CONTACT ME for information about term dates


Aesthetic vs anaesthetic

Filed under: Human rights, Presentations, Researchers, animation, drawing, writing — Lisa @ 10:38

I first saw this video on the Facebook of an artist friend.

As the U-tube caption reads,

This animate was adapted from a talk given at the RSA by Sir Ken Robinson, world-renowned education and creativity expert and recipient of the RSA’s Benjamin Franklin award.

For more information on Sir Ken’s work visit:

This is the most lucid explanation I have seen of the divide between academic and artistic intelligences that is promoted by the dominant education systems around the world. I agree with Howard Gardner that we each have multiple intelligences that we can apply to every problem. My hunch is that we naturally apply all our intelligences to everything that we perceive as a problem, consciously and unconsciously.


Crinoid – feather star

Filed under: Iconography, Science, animation, dance — Lisa @ 13:27

At last I try the ‘bones’ tool in Flash CS4 and am animating a crinoid like the one filmed by Torvaansar (Uploaded to U-tube 28 sec – 22 Mar 2008):

What are crinoids?

Crinoids, also known as sea lilies or feather-stars, are marine animals that make up the class Crinoidea of the echinoderms (phylum Echinodermata). Crinoidea comes from the Greek word krinon, “a lily”, and eidos, “form”. [1] They live both in shallow water and in depths as great as 6,000 meters.[citation needed]

Crinoids are characterized by a mouth on the top surface that is surrounded by feeding arms. They have a U-shaped gut, and their anus is located next to the mouth. Although the basic echinoderm pattern of fivefold symmetry can be recognized, most crinoids have many more than five arms. Crinoids usually have a stem used to attach themselves to a substrate, but many live attached only as juveniles and become free-swimming as adults.

There are only a few hundred known modern forms, but crinoids were much more numerous both in species and numbers in the past. Some thick limestone beds dating to the mid- to late-Paleozoic are almost entirely made up of disarticulated crinoid fragments. (Wikipedia)

I find an excellent U-tube tutorial by LilredheadComics on how to use the bones tool.


Assange rap

Filed under: Human rights, music — Lisa @ 14:22

The Sydney Morning Herald review this vid:


Martin Kemp

Filed under: Conferences, Iconography, Science, writing — Lisa @ 10:10

Through the Yasmin on-line forum, 11 November 2010, Vítor Reia-Baptista posts,

Just to let you know that Gulbenkian Foundation in Lisbon will held a cicle of Conferences under the general theme «Image in Science and Art», starting with a conference by Martin Kemp (full program down in this message).

Martin Kemp has written and broadcast extensively on imagery in art and science from the Renaissance to the present day. Leonardo da Vinci has been at the centre of this endeavour, and has been the subject of a number of his books and exhibitions, including Leonardo (Oxford University Press, 2004). His wider research has involved the sciences of optics, anatomy and natural history in various key episodes in the history of naturalism. In 1989 he published The Science of Art. Optical Themes in Western Art from Brunelleschi to Seurat (Yale University Press). Increasingly, he has focused on issues of visualization, modeling and representation. The broad thrust of more recent work is devoted to a “New History of the Visual,” which embraces the wide range of artefacts from science, technology, and the fine, applied and popular arts that have been devised to create models of nature and to articulate human relationships with the physical world. A scientific diagram or computer graphic model of a molecule is as relevant to this new history as a painting by Michelangelo. He writes a regular column on ‘Science in Culture’ in the science journal
Nature, an early selection of which has been published as Visualisations (OUP, 2000). Many of the themes of the Nature essays are developed in Seen and Unseen (OUP 2006), in which his concept of
’structural intuitions’ is explored. Forthcoming books include The Human Animal (Chicago).

Ciclo de Conferências Image in Science and Art



17 Novembro 2010 | 18.00

?Taking it on Trust? in Images of Nature

Martin Kemp


15 Dezembro 2010 | 18.00

The Problem of a Picture of an Atom

Christopher Toumey

19 Janeiro 2011| 18.00

Visiting Time: The Renegotiation of Time through Time-Based Art

Boris Groys

2 Fevereiro 2011 | 18.00

Functional Images of the Brain: Beauty, Bounty, and Beyond

Judy Illes



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