THE GHOST PROJECT is an installation. And it is a museum. But mostly, it is a discussion. A discussion about imagination, about belief, about cultures. About what you may have experienced and what you may not have.
Drawn from the idea that no matter what science find to be true if alone, at night, in an old dark house with merely a bump any one of us will conjure a ghost and manifest the physiological response it accords; and the knowledge that this is an affliction share by all cultures, original, contemporary, the world over.
To date this ongoing project and its particular combination of performance, story exchange, lecture and installation has been developed and presented in The Czech Republic, South Korea, Hong Kong, Indonesia and rural and urban AustralIa.
For The SUBSTATION Development TREGLOAN will collaborate with DAVID FRANZKE, PAUL JACKSON, CHAMBER MADE OPERA and local residents to present existing material and new instalments in this ongoing exploration of the culturally ubiquitous notion of haunting.
The malleability of truth, the impact of perspective on belief and the potency of imagination. Reality is slippery and the imagination is a fearsome thing.
About the artists
ANNA TREGLOAN is a multi-award winning designer, artist and creative producer who collaborates on and creates work for major performing arts companies, major Australian festivals and an array of smaller and independent companies, galleries and artists. She has an extensive history in contemporary theatre and dance, physical theatre, opera, live-art and immersive installations. She has a Masters in Animateuring from VCA, University of Melbourne.
In the last twelve months she has designed a major exhibition for the Museum of Applied Arts and Sciences, Sydney; Curated and designed the Australian Exhibition for the Prague Quadrennial of Performance, Space and Design; designed the inaugural production for Western Sydney’s newest theatre company; designed staging and costumes for a Korean/ Australian physical theatre collaboration (presented in both countries); worked with Indonesian and Australian puppet companies to devise an immersive installation; and continued to develop and present the multi-part installation project (‘The Ghost Project’) in regional and urban Australia, South East Asia and Europe.
DAVID FRANZKE. Composer and sound designer J. DAVID FRANZKE lives and works in Melbourne. His work spans film, theatre and visual art installations as well as the production of numerous albums, both as solo works and in collaboration with other composers and sound artists. He has worked with many of Australia’s preeminent theatre directors, visual artists and composers; and has collaborated with Cologne-based composer BERND FRIEDMANN since 1996 on various album projects.
FRANZKE’S credits for sound design and composition include. Ranters Theatre, Song, Intimacy and Holiday. Other theatre credits include: Night on Bald Mountain (2014) Helpmann nomination (sound design) Green Room Award 2012 (Composition & Sound Design) - Pompeii L.A. (Malthouse) for MTC The Beast, Australia Day, The Joy of Text, The Grenade, August: Osage County, Don Juan in Soho, Birthrights, The Recruit; for STC, The Wonderful World of Dissocia (2009) (nominated for best sound design, Sydney Theatre Awards, 2009; for BalletLab, Aviary (2011) (nominated for best sound/composition, Green Room Awards, 2011; Venus and Adonis (nominated for best sound design, Helpmann Awards, 2008); The Odyssey (nominated for best sound design, Helpmann Awards, 2006); Green Room Award 2012 (Composition & Sound Design) ; Pompeii L.A. (Malthouse) The Dictionary of Imaginary Places (Melbourne Festival, 2009); and ANNA TREGLOAN’S Skin Flick, for which he received a 2000 Green Room Award for outstanding contribution to design and technology in theatre.
His visual Art credits include sound composition for several installations with major Australian artists such as DANIEL CROOKS, DAVID ROSETZKY and ANDREW HAZELWINKLE. Including Static No. 11 (man running), by CROOKS, winner Basil Sellers Sports/Arts Prize (Ian Potter Museum, 2008); and Cate Blanchett Portrait, with David Rosetzky, 2-channel synchronized digital video installation (National Portrait Gallery Canberra, 2008).
PAUL JACKSON is a multi-award winning lighting designer and theatre maker based in Melbourne, Australia, whose practice encompasses theatre, opera, dance, concerts and live events. A graduate of the University of Melbourne, he holds post-graduate qualifications from RMIT. JACKSON has designed lighting for The Australian Ballet, Royal New Zealand Ballet, West Australian Ballet, Victorian Opera, West Australian Opera, Sydney Theatre Company, Melbourne Theatre Company, Bell Shakespeare, Playbox, Malthouse, Belvoir, Ballet Lab, Lucy Guerin, World of Wearable Art New Zealand, Kage, Australian Art Orchestra, La Mama, not yet it’s difficult performance group, Chamber Made Opera and many others. He has collaborated with a diverse range of directors and choreographers including Barrie Kosky, Benedict Andrews, Neil Armfield, Michael Kantor, Marion Potts, Peter Evans, Matt Lutton, Andrew Upton, Sam Strong, Adena Jacobs, Kip Williams, Philip Adams, Jorma Uotinen, Renato Cuoccolo, Simon Stone, Javier de Frutos, Lucy Guerin, Moira Finucane, Julian Meyrick, David Pledger, Gale Edwards, Tom Wright and Philip Seymour Hoffman.
A key creative on a number of seminal Australian theatre pieces, his work has featured in festivals and programmes in the United States, Asia, Europe and the United Kingdom. He was the Gilbert Spottiswood Churchill Fellow for 2007 and was an Artistic Associate at Malthouse Theatre from 2007-2013. Paul has received four Green Room Awards, a Sydney Theatre Award and a Helpmann Award, as well as a collecting a large number of other nominations.