Delaney Martin, Founder Delaney is a visual artist. She makes large-scale installations that create sensory, labyrinthe-like environments for viewers to explore.
Delaney is also a founder of the New Orleans Airlift, a multi-disciplinary arts organization that uses an import/export model of artistic exchange and collaboration to create events and exhibitions that spotlight the creative culture of New Orleans.
The creation of a Society for Tableau Vivant is a long cherished ambition.
Honorary Member: Rosie Cooper, 2010 Guest Director
Rosie is a curator and artist based in London (UK). Her practise as a curator focuses on visual art performance. She often presents work by artists not always seen in relation to live performance.
Previous projects include The Savoy Cafe, a series of site-specific, one-off events that took place in a former East London café left vacant since the mid 1990s and including screenings, performances, talks and exhibitions from: Kalup Linzy (USA), Tai Shani (UK), Katie Guggenheim (UK) and Audrey Reynolds (UK); International Everything, a recurring programme of lectures that focussed on short illustrated talks by non-specialist enthusiasts in an informal setting; and Wild Gift, a curatorial project founded with writer David Lillington that presented a festival featuring newly commissioned works by 8 international artists including Rose English (UK), Fabienne Audeoud (FR), Nike Savvas (AUS) and Elena Kovylina (RO) investigating notions of theatricality across artforms.
In addition to the freelance projects that Rosie undertakes, she is currently curator of Public Programmes at Barbican Art Gallery, London.
Nina Nichols, Member
Nina Nichols is the active president of “The Black Forest Fancies
Non-Profit Organization”, an experimental community arts promotional group, helping to extend the gifted members of the arts community of New Orleans to work with dreamers all over the world.
Nina is a theatrical designer, parade arts teacher, playwright and oddity collection artist working and living in New Orleans. Her work emerges from a fascination with sustainablity, natural diversity, wild pollination and mutation. For her
work with local parade arts workshops, Nina has received grants from the
Andy Warhol Foundation, the Jim Henson Foundation and the Annenberg Foundation. Nina spent two summers in residence at the Dream Community in Taipei, Taiwan teaching parade arts to aboriginal tribes.
Scott Heron is a New Orleans based movement artist. He has been dancing and making dances since 1983. His work has been produced by many downtown New York venues including Dance Theater Workshop, Persormance Space 122, and the Kitchen. He was the recipient of a 2003 New York Dance and Theater “Bessie” Award for his performance work. He is a juggler, stilt walker and slack rope walker and a founding member of Circus Amok, a free queer political troupe in Brooklyn. Currently he is touring an evening length dance work “smithsoniansmith” made in collaboration with Hijack Dance of Minneapolis. In October 2011 he will be premiering a new work in collaboration with Thomas Hauert/ZOO in Belgium and touring Europe.
Thomas Little is a self-trained stop-motion animator. He has made small articulate figurines since he was a child and hasn’t stopped. He likes to use his hands. A gesture made with hands can be formed from clay. That clay can then be made to move like those hands can move. Animating this appeals to a sense of the fractal and secretive nature of the universe. The clay hands move, imitating something unseen that moves them. In the machinery of the film the hands are electricity. Expounding on the deus ex machina not as theatrical device but as a life force, using the potential of hinges, wire and sockets to find an expressive, playful entity. Take miniatures, eyeballs, metal skeletons, fake foliage and arrange these objects to form whimsical expressions of poignant artifice. Use the alchemy of small creatures and camera tricks to explore stop motion puppetry in the realm of cinema, the result of the action but not the action itself, the interstices of action and posture, the negative of performance. Through the grit of hand processing, the skin of the film is seen, making it tactile and handled. The action of the film is given an atmosphere of solarization and electric scratches. The roll of film has become its own biosphere of homemade creatures and improbable logic. This would be the ideal end product.
Owen Brightman has committed many garish, feverish, hair-brained, terrible errors. He hosts spelling-bees but cannot spell. He writes erotic fiction but thinks it’s real. He carries himself in the manner of a hot-blooded young blade but has never known a duel and has spent countless hours embroidering cumrags but cannot abandon the sock.
Owen is a craftastic wrongdoer with interests in the circus and annoyance arts. He has had relations with the Annex Theater, Performance Thanatology, and Black Cherry Puppet Theater in Baltimore / PuppeTyranny and Puppet Uprising in Philadelphia / the Crunchtown Players and Mudlark Public Theatre in New Orleans, where he now resides.
Joy Patterson began life as a bored housewife in Upstate NY until “discovered” by David Lynch and cast as the “Log-Lady” in the hit TV series “Twin Peaks”, written and directed by David Lynch. This unusual beginning has led her to many more decidedly dark career choices best not mentioned in a bio. However, what can be stated here is that she is an active member of the Cephalopod Squad- an undersea crime-fighting team; as well as being considered for the science officer’s position in an outer-space expedition led by fellow Tableaux member Thomas Little.
Kitty is currently on an unpaid sabbatical from teaching to finish rebuilding her house. She has an attic full of costumes and a canoe in her driveway. Kitty is a simple beast. She likes to make people laugh.
Anais Adair, Member