Kim Carpenter AM discusses 'The NEW YORK Show'
Words by Kim Carpenter
The NEW YORK SHOW reflects the vibrancy, diversity and contrasts in the melting pot of people and their worlds all crammed into one island.
Kim Carpenter AM was the founder and Artistic Director of Theatre of Image (1989-2019), Australia’s premier visual theatre company. He is an established Director/Designer having created productions for most major drama, dance and opera companies in Australia. Kim is currently pursuing a successful career as a solo visual artist. His next exhibition is The NEW YORK Show 14-29 June 2025 at Maunsell Wicks at The Barry Stern Gallery in Sydney.
His designs have embraced puppetry and digital arts as well as conceptual sets, props and costumes. His art works and designs are represented in collections and exhibitions around the world. Kim is a former Co-Artistic Director of Nimrod Theatre (now Belvoir) and former Head of Design, National Institute of Dramatic Art. He makes distinctive visual theatre often in collaboration with other companies including the Australian Youth Orchestra, Opera Australia, Kageboushi Theatre Company (Tokyo), Manitoba Theatre For Young People (Canada), Belvoir and Sydney Theatre Company. He is a Churchill Fellow, recipient of 2 Helpmann Awards, holder of a Centenary Medal, 4 Sydney Theatre Critics Awards, 3 AWGIEs, member of The Order of Australia.
Most memorable productions for Theatre of Image include The Book of Everything (collaboration with Belvoir), The Happy Prince (the play) and Monkey…journey to the west (national tour).
After the closure of Theatre of Image in 2019 Kim has returned to his first love – painting and drawing. His first exhibition – The Happy Prince – was in Sydney in October 2020. It came about via his ballet of the same name for The Australian Ballet which premiered in Brisbane in 2019.
Images: ‘Daydream’, collage and mixed media 97cm x 80cm, ‘Midtown Crossing’, watercolour and ink 97cm x80cm, both works are in ‘The NEW YORK SHOW’
KIM CARPENTER APDG
NEW YORK INSPIRATION
I have visited New York City eight times. The first was 1979 – which I found intimidating and scary. Albeit, dangerously exciting. My most recent experience was October last year before the US election.
The work-related visits included a Creative Australia Scholarship to work and observe the creative process of Robert Wilson – considered the doyen of visual theatre. It was the creation of a new opera – Medea. It was rehearsed in Harlem (unsafe in the 80s) where I took a dangerous journey in and out of rehearsals every day. In the 90s and beyond my company, Theatre of Image, toured shows to Canada which gave me the opportunity to head out for my New York City fix once the shows had opened. In 2012 The Book of Everything – a co-production between Theatre of Image and Belvoir – performed on 42nd Street and gave me a taste of the Broadway experience.
Over my eight trips – either for work or as a curious tourist – I kept visual diaries: notes and line drawings. It is these little books that have informed my choices of content and form for this exhibition. They reflect the changes and the diversity of both people and places – and my circumstances from cheap hotels with eccentric characters to the more upmarket and apartment buildings. The rich juxtaposition of people and places in New York City has suggested mixed media: paint, inks, collage and objects in relief to create my response to the city. I have collected cigarette packets, labels, The Village Voice etc – subconsciously knowing they would find a way into my work one day.
Given what has happened with the political chaos since the Orange Monster took power in The USA, my exhibition has definitely become a nostalgic look at times gone by.
CREATIVE PRACTICE AS A NARRATIVE ARTIST
I take the child in me with an open imagination to make a new piece of theatre or art. I apply the same basic principles; I am a narrative artist whether it be as a devisor, director, designer on stage or as a visual artist on paper/canvas. Initially I choose an inspiring theme or story and flood my heart and mind with visual and sometimes musical and literary references. I never want to short-change myself by getting too excited by one idea over and above another. So I explore all options and many combinations of forms and ideas. And then dig into crystallising them.
In theatre I collaborate initially with a writer/adapter and composer – and later a choreographer. I have found composers generally are the most responsive to visuals rather than text. My works vary in ratio/proportion of image, music and text. The elements that make up the form differ according to the story that is being told from within the palette which embraces puppetry, video, object theatre dance/movement theatre, aerial, live music and economical text. Examples are Swimming in Light…The World of Lloyd Rees Melbourne Festival, Sydney, National Gallery Canberra and South America tours and Brett And Wendy (Brett and Wendy Whiteley) Sydney Festival. I chose these artists from two different generations and social backgrounds as their life and work were totally entwined and they would make good drama, as well as my quest to investigate the psychology and routines of two such different men who admired each other. I researched their worlds and art interviewing friends, family and colleagues and collating the material before sharing it with my collaborators. These two works were driven by image and combined actors, dancers, projection, objects and live music.
By contrast Monkey Journey To The West – an epic production – evolved from a 4-month teaching residency at Hong Kong Academy of Performing Arts with side visits to mainland China. From the original 3,000 page Chinese classic, spoken text and song were clearly going to be important – to drive our selected stories. Donna Abela, who had adapted a similar classic literary epic – Tales From The Arabian Nights – collaborated with me. The Monkey script combined text and my storyboard with music and song by composer Peter Kennard. The performance palette combined actors, Parkour performers (from non-martial arts appeal), puppeteers with projection and live music.
A creative workshop is mandatory in all the new works that Theatre of Image and I have created. It takes the first draft, script, music and mocked-up puppets with full cast and production team into a rehearsal room for six days with a view to identifying the work. The final script drafts and formal musical and design processes follow.
Images: Theatre of Image productions: Brett and Wendy photo: Fabian Astore (first two images), White Bone Demon from Monkey Journey to the West photo: Justin Nicholas, and Swimming in Light photo: Branco Gaica
CROSSOVER BETWEEN THEATRE AND ART PROCESSES
My palette for creating pictures is similar to a diverse palette of forms I have referred to in making theatre. Once again, I usually pursue one theme or subject for each exhibition. So, the ‘New York’ exhibition is a show!
The main difference between my theatre and visual art practices – as a visual artist it is a solo activity emotionally and intellectually. The art world does not offer the same collective camaraderie that exists in theatre. In theatre you may be the creative leader of the project but it is a creative collaboration that is finally given to the performers who share the responsibility and experience with a live audience.
As a solo professional artist you do have the responsibility to the gallery management and clients. Deadlines are the same but not so often with private commercial galleries only being able to offer their artists a solo show every two years. And if you are lucky, a group show in between.
Whether you are a theatre-maker or a visual artist you need support via philanthropy, buyers, grants and audiences. Without these you are invisible. So in today’s world you have to be able you manage your art or theatre career – and be quick to respond to every opportunity or make the opportunity.
The NEW York Show reflects the vibrancy, diversity and contrasts in the melting pot of people and their worlds all crammed into one island. I have looked at New York City as an outsider looking in. Each painting has a personal story attached to it that makes the exhibition a catalyst for everyone who has ever visited New York City to share their own memories and stories. From my collection of found objects from the walls, streets and hotels of New York City this show has automatically suggested collage and colour representing the pace and energy and the strongly-etched memories.
Images: Joshua Consandine and Kathryn Pui in Lulie the Iceberg, and Robinson Crusoe. Photo credits: Branco Gaica
PAST AND PRESENT MERGE
It’s hard for me to comprehend that I have been practising my art – whether in theatre or the visual arts – for 56 years. Yes, I started very young!
Theatre of Image (1989-2019) started with nothing. But with a unique vision and support it grew into a main-stage theatre company for a multi-generational audience of children and families.
Its purpose was to explore imagery through theatre. At that time this was only being done internationally. We saw Theatre of Image as a multi-arts company – crossing between the performing arts and the visual arts.
There were many firsts –
- digital animation combined with live performers (The Umbilical Brothers in Jake And Pete…A roadStory for Cats! – National and international tours).
- We commissioned an Australian composer to write a full score for every production
- We performed in art galleries and museums besides theatres
Theatre of Image was the first main-stage theatre company for this particular audience – and has sadly not been replaced in terms of the vision and imagination, funding and audience capacity.
I am now dedicated to my art practice. I consider it my job. I have the underlying belief that if you are lucky enough to be given a gift you must use it until you can’t.
Images: Theatre of Image production: Wanted Pictures, Art Gallery of NSW photos: Branco Gaica
THE NEW YORK SHOW
14-29 June 2025
Maunsell Wickes at Barry Stern Galleries
19 Glenmore Road, Paddington NSW 2021
02 9331 4676
0 2 9380 8485
Hours:
Tues-Sat 11-5:30pm
Sun 12-5pm
Admission free