Works
"Unapologetic" is a personal story about maternal lineage, epigenetics, and the impact of generational narratives on myself and my daughter.
Unapologetic started as a whimsical look at my love of dance and the arts, that has evolved into an authentic expression of self. As I tell my stories I sit in my own vulnerability as I speak from the perspective of the youngest of 5 children in a working class family. Through cabaret I explore the impact of my mothers repressed memories of being in a concentration camp at 4 year old; a narrative that affected my entire childhood. This show would never have come about had I not been perimenopausal; invisible yet no longer ashamed of my traumatic past, I share these stories to heal myself, my mother, and my daughter and in the hope of taking a step towards making shifts in others. Unapologetic emphasises the profound connection between past and current patterns and carefully weaves into it how imperative it is to become your true self, and hence be unapologetic.
Devised through a mentorship with Adelaide Fringe stalwarts Amelia Ryan and Michael Griffiths, Unapologetic is authentically raw, quirky, evocative, and totally relatable.
"One" collaborative installation with Tailor Winston at The Mill, Adelaide. May to June 2022.
Artist interview here: https://www.themilladelaide.com/the-virtual-gallery-one-tarsha-cameron-and-tailor-orianajulie-winston
"Do You See What I see?" in development-commenced July 2017.
February 7-9, 2020: performance developmental phase with Dance Hub SA Seed Residency.
ArtsSA Covid Recovery funding development phase 2021: two intensive dramaturgy weeks with Director Paulo Castro, followed by two week collaborative development November 1-14, 2021, culminating in a showing on Nov 14, 2022. Currently seeking funding to present. Watch this space!
"Unseen/seen" Arthur Art Bar SALA 2021
Endurance performance drawing within installed space. Completed over 5 evenings in August.
SALA finalist
"The Peggy Buxton Story" - Ink Pot Arts, May 2019
'Tarsha has worked independently to develop a sensitive performance, that began with a compilation of news reports about a murder trial in the late 1800s. I have been struck by her commitment to in depth research and how the extent of her research is reflected in the depth of the story that she shares with the audience. Her decision to layer this story telling with a piece of sound that she developed sees the work shift into a contemporary space that is both uncomfortable and arresting. The work is layered and interesting and presents the perspective of a woman who was voiceless in her death in a dignified and nuanced way.'
Jessica Foster
Artistic Director
“Dogmatic" ; a commentary on women's roles.
May, 2019.
“Together We Are Apart”, part of the 2019 Adelaide Fringe within the “happening” Blue Ginger Lounge, illuminated the potential dysfunction of gender roles while memorialising recent and ongoing harrowing through soundscape and sculptural installation, and interactive performance art. Verbatim theatre and self-devised poetry and monologue provided the text for the character.
“Cocoon” – November 2017.
Video performance art and sculptural installation take on Portia Nelson’s poem.
I walk down the street.
There is a deep hole in the sidewalk.
I fall in.
I am lost... I am helpless.
It isn't my fault.
It takes forever to find a way out.
I walk down the same street.
There is a deep hole in the sidewalk.
I pretend I don't see it.
I fall in again.
I can't believe I am in the same place.
But, it isn't my fault.
It still takes me a long time to get out.
I walk down the same street.
There is a deep hole in the sidewalk.
I see it is there.
I still fall in. It's a habit.
My eyes are open.
I know where I am.
It is my fault. I get out immediately.
I walk down the same street.
There is a deep hole in the sidewalk.
I walk around it.
I walk down another street.
― Portia Nelson, There's a Hole in My Sidewalk: The Romance of Self-Discovery
(cited 2/4/19: https://www.goodreads.com/quotes/95085-i-walk-down-the-street-there-is-a-deep-hole)
