🟠 In conversation with Soirée Choreographer, Natalie Weir - Queensland Ballet Academy

There’s a painting by acclaimed Australian artist William Robinson called Creation landscape: The dome of space and time 2003/04 that spans more than six metres in length and offers an immersive, awe-inspiring experience of Australian forestry.

In a palette of green and violet hues, it encompasses not just the majesty of Springbrook National Park, submerged in the Gold Coast hinterland, but somehow, the history of the universe, too. The painting was the starting point for choreographer Natalie Weir’s new work for Soirée, and one of seven of Robinson’s works her piece is inspired by. It was an easy first choice; Natalie says even the title was captivating.

Creation Landscape - Dome of Space and Time, 2003

“The breadth and beauty of William Robinson’s works is so incredible, and I found the stories behind them and his view of the world, and even the title – Creation landscape: The dome of space and time, so fascinating,” she says.

“I read this quote by the artist, ‘I don't paint for any particular time — I just painted for the life we were passing through’. I loved this as a concept, and it has inspired the work.”

It's the fourth year of Soirée, a unique fusion of art, live music by Camerata – Queensland’s Chamber Orchestra and world premiere dance featuring Queensland Ballet Academy. The program now has a following among the Brisbane arts and culture crowd.

Collaborating with dancers in the Pre-Professional Program (PPP), Natalie’s choreography explores seven standalone paintings, with Creation landscape: The dome of space and time at its heart.

“I love that painting. It’s a nature landscape and it’s like looking through a sphere to the future, past and present – sort of like morning, noon, and evening. It’s beautiful,” she says.

“Then there’s another one called Creation landscape – the ancient trees which feels very spiritual. The trees are all gnarly and I read the artist said that we pass through the landscape, but these trees have been there for hundreds or thousands of years. And I found that really inspiring - when you’re in a space like that you can almost feel the past. And so the women in that section will be veiled, almost like spirits in Giselle, like they belong to the bush and the spirits of the past.”

Out of the dawn, 1987

Verandah after Piero, 2019

There are indoor paintings among her choices too, as well as a farmyard piece that exudes chaos.

“Robinson talks about how we forget to stop and look at the world around us; people are on their phones all the time, people are texting each other rather than sitting and having a conversation, and I found that interesting,” she recalls.

“Ultimately, these are all paintings of moments in time in the world and the universe, and for the work, I responded to how they affected me emotionally.”

Known for her collaborative choreographic style, Natalie has been working with the young dancers to create each section.

“I love working with these young dancers, they have no fear, they’re very open,” she says.

“They've been really involved with inventing movement and ideas and exploring partnering, and over time I've seen how brave they've become. They're very creative and embrace the challenges I put forward - I love that energy.”

Of Soirée as a concept, she says it’s a special experience - not just for the audience, but the dancers, too.

“The paintings are always spectacular, and all the choreographers have the artist’s body of work to choose from so there’s a connection between the works,” she says.

“The opportunity for young artists to work with live musicians is incredible – it doesn’t happen very often and Camerata are fantastic. Having them there and that response the dancers have to the energy of the musicians and vice versa is so precious. It’s such a special evening.”

Self portrait with goosefeathers, 2004