Nejmere (she/her) is a magandjin based dj/mixologist of everything soft and wet. Before DJing she was well known on local radio spinning tracks on 4ZZZ amplifying DJs and local music makers. 

Nejmere is an igniter of passions and weaver of connections. Her dance floor is full with all your crushes

Michelle Le Plastrier is a multidisciplinary artist with a focus on hand-built ceramics exploring identity, socio-political and environmental issues all in her signature candy coloured style. 

Michelle teaches introductory ceramics across South-East Queensland and has exhibited and produced workshops for galleries, councils and businesses across Australia. 

Michelle was an artist-in-residence through HOTA’s inaugural ArtKeeper program in 2021-22 and exhibited her body of work Dopamine Days at HOTA 2023-24. She won the Environmental Art Award at the 2023 Queensland Regional Art Awards and was a finalist in the 2024 North QLD Ceramic Awards at Perc Tucker Regional Gallery. 

As the evening cools and the city hums, Reverse Garbage invites you into a creative night of reuse and imagination.

In this hands-on workshop, you’ll make your own water bottle sling holder from salvaged materials once destined for landfill. Guided by the worker-run collective at Reverse Garbage, you’ll learn simple techniques to craft a practical, unique, and eco-friendly carrier. Perfect for everyday adventures.

Keep your design minimal and functional, or decorate it with colourful fabrics, ribbons, and quirky finds from our treasure trove of reclaimed goods.

Since 1998, Reverse Garbage Queensland has been breathing new life into industrial discards, championing reuse, and inspiring creativity through sustainability.

Join us to create something useful, beautiful, and planet-friendly and take home a one-of-a-kind sling you made yourself.

Chelsea Carkeet’s projection Home Away from Home (2025) reflects on displacement, drawing from their Indigenous ancestors’ experiences of being evacuated from Gulumerridjin, Larrakia Country (Darwin) during World War II to Magandjin (Brisbane). Marking the 80th anniversary of the war's end, the work uses temporal drawing techniques including darkroom chemigrams and animation to dually represent ancestral connections to Country and reflect the non-linear cyclical nature of Indigenous knowledge systems.

By projecting onto the Judith Wright Arts Centre, the artist intends to bridge the impact of displacement through metaphysical space, transforming ideas about First Nations stories of resistance and regeneration and poses the question of who is really alien on stolen land.

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Outer Space presents Reflections in the Water by Allison Chhorn. Reflections in the Water explores the intergenerational process of remembering through fragments of recreated archival material depicting the Cambodian countryside along the Mekong River. The immersive installation becomes a water sanctuary, highlighting the equally healing and destructive nature of this essential element in the tropical climate of Cambodia.

Through recreated fragments of archival material, Chhorn invites viewers into an ephemeral meditation on memory, loss, and cultural continuity. In her hauntingly poetic reimagining, the ghost of her great-grandparents' Cambodian riverside house, now vanished due to the Mekong’s relentless erosion, becomes a vessel for reflecting on lives once lived. 

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Confusing and uncanny, intriguing and repellent, Max Athan’s 3D-printed sound sculptures hybridise human and animal, doll and machine.

In Breathmachine, a bellows is connected to multiple horns. In Dogwhistle, a human torso is joined to a dog’s head, which conceals a single horn. It suggests an unethical science experiment and recalls the Egyptian god Anubis. The horns in both works are visibly activated using articulated joints and latex lungs, with the works swelling and craning before releasing their semi-musical exhalations. Like early automata, Athan’s sculptures are limited to repetitive gestures, which fill the space with audible breath, living through their ability to keep breathing.

Athans is the 2025 recipient of the Jeremy Hynes Award.

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A schizophrenic out for a walk is a better model than a neurotic lying on the analyst’s couch.

Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia

In their 1972 book Anti-Oedipus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari reimagined the schizophrenic not as a pathological subject but as a figure who ‘deterritorialises’ fixed structures of identity and social organisation. Where psychoanalysis understood desire as repression and sublimation, organised through the familial structure of the Oedipus complex - Deleuze and Guattari proposed ‘schizoanalysis’, a practice that connects bodies, systems, and ecologies in open-ended assemblages. Always intended as a tool for social and political transformation, schizoanalysis was never confined to the clinic.

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ADC Pre-Professional Program

“How do you remove a mask that’s grown into the skin?”

Veil is a mixed-media work exploring the illusion of utopia and how the line between self and system disappears, for it was built at the cost of eroding individuality.

Cast: Te Atawhai Kaa, Courtney Seigert, Rhiannon Stacey, Hayley Corderoy, Tara Kinajil-Moran, Lily Jones, Isla McPate

Bio:

Bella DaCosta is an emerging contemporary dance artist currently based in Brisbane (Meanjin). She is in her final year of full-time training through Australasian Dance Collective’s Pre-Professional Program and is a recent graduate of the New Zealand School of Dance (2024). Her practice is rooted in curiosity and adaptability, with a growing interest in exploring versatility across movement styles and crafting work that resonates with and inspires audiences. She has had the opportunity to work with a number of notable artists and choreographers, and through such has been mentored in learning various repertoire and vocabulary of distinguished companies including Hofesh Shechter, Akram Khan, Australasian Dance Collective, and Sydney Dance Company. These experiences continue to shape her evolving choreographic voice and performance practice as she emerges into the contemporary dance industry.

ADC Pre-Professional Program

Cyclical and distorted, SYNTHETIC SATISFACTION is an indulgent investigation of non-conformist individualism and gratification cultivation in contrast to a performative social reality. Deconstructing indoctrinated constructs of external validation seeking and self-sacrificial social mirroring, this work is an exploration of an introspective euphoria composed for no one in particular.

Simultaneously begging the question of whether true subconscious spontaneity is achievable, SYNTETHIC SATISFACTION uses improvised exploration to delve into the lack of purity implicit to the harvest of satisfaction with intention, contemplating whether anything can be unknown or genuine when it stems from the limits and awareness of our conscious discourse. Hence, creating an effect of existential self rumination, we investigate how we can abandon compromise and stimulate satisfaction internally when within a collective social context.

Performers: Tara Kinajil-Moran, Isla McPate, Lily Jones, Bella DaCosta, Rhiannon Stacey and Hayley Corderoy

Bio:
Relocating to Sydney from the Central Coast in 2023, Hayley began her full-time contemporary dance training at Brent Street, completing her Advanced Diploma of Professional Dance (Elite Performance) and graduating with Honours under the guidance of Jessica Hesketh. Hayley has undertaken secondments with Dancenorth, Australian Dance Theatre and Australasian Dance Collective, as well as performance opportunities including winning ‘Most Innovative Choreography’ alongside collaborative artists Zia Husbands and Hannah Mansfield in Form Dance Project’s Sharp Short Dance choreography competition (2023), performing Stephanie Lake repertoire ‘Pile of Bones’, reworked by Samantha Hines (2023), performing in the Gideon Obarzanek production of ‘Soliloquy’ (Sydney Festival, 2024) alongside performer and choreographer Stephanie Lake, and ‘Chronoception’ by Charmene Yap (2024). Hayley then relocated to Brisbane in 2025 to extend her training through the inaugural ADC Pre-Professional Program, from which she will graduate at the conclusion of this year. Most notably throughout this time, Hayley performed alongside the company in ADC’s 40th anniversary season ‘Blue’ in Sam Coren’s restaging of Hofesh Shechter’s ‘In Your Rooms’.

ADC Pre-Professional Program

Ripe is a controversial coming of age piece which recognises the unspoken challenges of young women within society. Following a dancer who embodies a troubled being, her broken angel wings illustrate the loss of innocence, corrupted by prying eyes beyond the drapes. 

For a pomegranate is consumed as a symbol of violence, and yet it is a display of ripeness in which she possesses, ready to be torn apart by humanity. The ultimate fear of being ripped open and found unsightly, she is unravelling, layers deteriorate, peeling off. 

Eroticising the grotesque, exposing the boundary between beauty and repulsion. How much can one bleed before it cannot be washed away? For the woman in her is mad, cursing at the world.

Bio:

Born in Scotland and raised in Meanjin, Queensland, Isla Mcpate is a dedicated contemporary dancer with a diverse background in valuable training and performance. Classically trained with Ashfield Ballet School, she completed up to advanced levels of the Australian Teachers of Dance (ATOD) syllabus in Ballet, Jazz and Contemporary. This training provided her with a crucial foundation for technique and discipline as she continued to hone her craft at Annette Roselli Dance Academy, further enriching her technical vocabulary. Her training spans multiple techniques, including ballet and contemporary, techniques such as counter technique, Cunningham, Gaga and partner work. 

Presently, Isla is continuing her creative development as an inaugural member of Australasian Dance Collective’s (ADC) Pre-Professional Program, under the guidance of Alison Currie and Amy Hollingsworth. As part of the program, Isla has undertaken valuable opportunities such as understudying ADC's professional company in the 2025 season of 'Blue'.

ADC Pre-Professional Program

Phenomenal Phenomena plays with the implausible human desire to be to others what they are to themselves. Through the display of cloned bodies, both physically and materially, the work explores whether it is possible to have an identifiable self when we have the possibility to be both everything and nothing. With the knowledge that we encounter the present on the basis of the past, and with plans and expectations for the future, the work presents three embodiments that are seemingly similar, possibly the same? This aims to challenge the audience’s understanding of their perceptual experience and metaphysical assumptions by investigating how much of how the world appears to us is influenced by the objective versus the subjective.

Choreographer: Courtney Seigert

Performers: Hayley Corderoy, Bella DaCosta, Courtney Seigert

Music: Wil Bolton ‘Samphire and Sea Lavender’

Bio:

Courtney Seigert, originally from Tarntanya/Adelaide, was a part of the Australian Dance Theatre Youth Ensemble under the direction of Andrew Searle between 2020-2022. She then relocated to Dharawal/Sydney, where she graduated from Ev & Bow (2024). During this time, she worked with Omer Backley-Astrachan, Samantha Hines, Gabrielle Nankivell and Ariella Casu. Additionally, she was a part of the first development of Overture by Tegan Jeffrey-Rushton, which she also performed at FORM Dance Project’s IDEA Now Festival later that year. Courtney enjoys integrating her other interests, such as drawing, philosophy and the natural world, into her dance practice and allowing them to inspire and inform each other.

ADC Pre-Professional Program

Manus Dei (hand of god). The hands that speak of fear and comfort and make us feel so many things, always fearing the divine intervention and begging for moments of peace. This work centres around the exploration of our hands and our connection to them both unconsciously and intentionally, and has been inspired by the manifestation of this specifically through folklore and mythology.

Choreographer: Te Atawhai Kaa

Performer: Courtney Seigert

Composer: Saem Millward

Bio:

Te Atawhai Kaa began her fulltime training in 2022 at Enpointe Dance Academy studying classical ballet in both Royal Academy of Dance syllabus and Vaganova. After completing her high school education through an accelerated program two years early with top marks, she was offered a place at the New Zealand School of Dance where she studied contemporary dance from 2023 - 2024, graduating with a Diploma in Elite Performance. Te Atawhai then accepted a place in the inaugural year of Australasian Dance Collective’s Pre-Professional Program where she will complete her fourth and final year of fulltime training. She has danced professionally in multiple shows including World of Wearable Arts (2023), Pacific Dance Festival (2024), and most recently in ADC’s 40th Anniversary season of Blue in the remount of Hofesh Shechter’s In your rooms at QPAC. Her choreographic debut took place in 2024 where she created her first work Monnier on Gabrielle Arnold for the inaugural year of the Pōneke Dance Festival. The piece centered around ideas of psychosis and being in an unsound state of mind.

ADC Pre-Professional Program

Behind the Gaze is a contemporary dance work that delves into the mystic world of mirrors, broken reflections, and the soul’s entrapment within fractured glass. Through abstract and emotive movement, the piece traces the journey of four figures as they confront distorted versions of themselves. Caught between illusion and truth, light waves bend, bodies refract, and time seems suspended as the dancers move through veils of reflection. Revealing the unsettling perspective that once a mirror cracks, part of the soul is left behind, and so too does the line between reality and distortion. At its core, Behind the Gaze is a meditation on what we choose to see, is truly never all there is.

Cast: Tara Kinajil-Moran, Hayley Corderoy, Isla Mcpate and Lily Jones

Music: Drip Music w/score by Katherine Balch

Bio:

She began her dance training at a young age, exploring a wide range of styles. In 2021, Lily was accepted into the Queensland College of Dance’s part-time classical program under the direction of Daniel Gaudiello, which led to a year of full-time ballet training in 2022. She successfully completed her RAD Advanced II exam in 2024, having previously received consistent High Distinctions and Distinctions throughout all her classical examinations.

Lily is currently training with Australasian Dance Collective as a member of their inaugural Pre-Professional Program cohort. A highlight of the program has been understudying ADC Company Artists in their remounting of In your rooms by Hofesh Shechter, performed at Queensland Performing Arts Centre as a part of the company's anniversary season, Blue. Lily is passionate about discovering beauty in the everyday and seeks new ways to expand her experiences across all aspects as a dancer and artist.

ADC Pre-Professional Program

Bad Things Come in Threes is an adaptation inspired by The Nightmare Before Christmas by Tim Burton. Rhiannon draws from the iconic scene where the mischievous trio Lock, Shock, and Barrel are sent by Jack Skellington to kidnap Santa Claus. The original music from the scene, composed by Danny Elfman, accompanies the performance. The distinct personalities and group dynamics of the three characters served as the primary stimulus for the choreography, which explores their playful chaos, tension, and dark humour through movement.

Choreographer: Rhiannon Stacey in collaboration with cast

Cast: Te Atawhai Kaa (Lock), Courtney Seigert (Shock), Bella DaCosta (Barrel)

Bio:

Rhiannon Stacey, born in Perth (Boorloo), Western Australia, began her classical ballet training in the Vaganova method at Charlesworth Ballet Institute. She excelled in her ATAR dance exam and was invited to perform her choreography at the SCSA Annual Performance. At 17, she was accepted into WAAPA’s Bachelor of Arts (Dance), where she focused on ballet, contemporary, and cross- disciplinary practices. During her studies, she worked with leading Australian choreographers and completed a semester at Taipei National University of the Arts, learning traditional Chinese dance. After graduating in 2024, Rhiannon joined the Australasian Dance Collective’s 2025 Pre- Professional Program, participating in workshops and classes with established choreographers. As a teacher, she encourages self-empowerment through improvisation and choreographic freedom. She believes these elements help build confidence and a deeper understanding of dance. Her choreography explores dark, whimsical worlds that reflect her personality, aiming to immerse both dancers and audiences alike.

ADC Pre-Professional Program

Daughter of Eris by Tara Kinajil-Moran is inspired by the mythological Lethe river of forgetfulness. Drawing on themes of memory, identity, and transformation, the piece follows four individuals as they navigate a path toward surrender. Beginning as distinct beings each with their own movement language and emotional landscape, the dancers are gradually drawn toward a central veil, a symbolic threshold. As they pass through, they enter a shared state of stillness, synchronisation, and sameness, shedding fragments of what once defined them. The work invites audiences to reflect on what it means to forget: is it loss, or is it release? Through minimalist design, textured choreography, and ritualistic transitions, Daughter of Eris offers a meditative exploration of how the self dissolves. Not suddenly, but slowly, like water over stone.

Performers: Tara Kinajil-Moran, Lily Jones, Te Atawhai Kaa, Rhiannon Stacey 

Bio:

Tara Kinajil-Moran is a contemporary dancer from Wellington, New Zealand, with a strong foundation in performance and creative exploration. She was a Classical and Contemporary Scholar/Associate with the New Zealand School of Dance, and later completed Brent Street’s Full Time Contemporary Program (2023–2024) under Jessica Hesketh, graduating with an Advanced Diploma of Professional Dance. Tara’s notable performance credits including Pile of Bones (2023) by Stephanie Lake (reworked by Samantha Hines), Hi (2023) by Holly Doyle, Chronoception (2024) by Charmene Yap, and The Great Restructure (2024) by Stephen Tannos. She has received secondments with Tim Podesta Collective (Forte), Dancenorth (2025), and Stephanie Lake Company (2026), and expanded her practice through international workshops at P .A.R.T .S. in Belgium and SEAD in Austria (2025). She is currently furthering her artistic development through the Pre-Professional Program at Australasian Dance Collective, under the mentorship of Alison Currie, in which she notably had the opportunity to understudy ADC’s professional company in Hofesh Shechter’s In your rooms (restaged for ADC by Sam Coren)(2025).