Infinite Item

2018 Development and public showing supported by PACT.
2019 Development and showing supported by the Create Space dance residency (an initiative by Ausdance NSW, Sydney Opera House and FORM Dance Projects) at Parramatta Town Hall.
2020 Final stage development and public showing supported by Critical Path
2021 Selected for Sydney Fringe Festival and Stockholm Fringe Festival’s online programs

5min Trailer link: https://vimeo.com/447112042

Full show video available, please contact us for access details.

Full presenter pack available, please contact us for a copy.

About the Work

Infinite Item is a 75-minute performance work (dance-based), devised, directed and performed by renowned artist, Dean Walsh. Dean is also an educator, movement researcher (embodied marine environmental awareness), avid scuba diver, disability arts access practitioner and Warm Data Host.

Infinite Item reveals the plastic waste and lesser known noise pollution urgency that our most vitally important environment is struggling with. This work encourages us to look at the very worst, whilst never losing sight of the very best we can be, and what is possible if we engage our community-based efforts to learn more and do better, individually and together. Whilst there are most definitely “big business” responsibilities to the solution of these problems, we each must play our part in rethinking and changing the complex systems that threaten the health and wellbeing of us all.

These issues aren’t only complicated, they are deeply complex. They are not only intersectional but transcontextual in nature. The lines between cause and effect are not straight, they are enormously detailed and complex and, as such, require adding complexity rather than a continued reductionism within which much of the modern Western world has (dys)functioned.

Infinite Item seeks to convey this fact by utilising found plastic items, all of them (1.2 tonnes), found around Sydney harbour, beaches and local open water, as metaphor for all that this moment in history asks of us - “How much are we going to bear and blame before it’s ‘too late to leave’ from a chaos we can’t equitably return from? Isn’t this the time to “clean up our act” - all of them - and listen into the realms and infinite frequencies we’ve been numbed to for too long now?” As with these synthetic ‘items’ of noise and plastic, the possibilities of reconnection through repurposing, resourcefulness, reconfiguration, inter-environmental regenerative cultures, are infinite.