studio artist

Tina Havelock Stevens

Above: Tina Havelock Stevens, Photo: Joshua Morris

Tina Havelock Stevens’ (b.1967) multifaceted practice encompasses still and moving image, improvisational performance, sound, music, and social engagement. Her background as a documentary filmmaker and post-punk musician is deeply embedded in her observational and intuitive approach to exploring time, the human condition, and place. Havelock Stevens often uses a drum kit as a compositional conduit for spaces that are imbued with histories and belief systems that she then channels through immersive audio-visual installations. She  is interested in the absence of exactitude in human nature. Wind and water frequently appear in her work, not only for their beauty and mystery but as focal points for belief systems and the happenstance of bodies in space. The artist’s intention is to create works that animate an experience of the world through the articulation of its structural rhythms.

Recent major projects include Hear Here, a permanent immersive sound installation for the Sydney Football Stadium (2022); the largescale audio-visual installation Thank You for Holding at Carriageworks for Sydney Festival (2021); NATURE EXTEMPORIZE, a survey show at The Substation, Melbourne (2021); THUNDERHEAD, a solo show at Perth Institute of Contemporary Art for Perth Festival (2020); and Hasta La Bella Vista Baby, a major commission for C3West on behalf of the Museum of Contemporary Art Australia [MCA], (2019). Havelock Stevens has also exhibited and performed in national and international exhibitions and performances including at Newcastle Art Space (2023), Bundanon Art Museum (2022); Yokohama Triennale, Japan (2020); Gertrude Contemporary, Melbourne (2020); MONA FOMA, Hobart (2020, 2013), The National 4: Australian Art Now, MCA, Sydney (2019); Manila Biennale (2018); Mill 6 Chat Foundation, Hong Kong (2016); Performance Space, Sydney (2023, 2015) and Bulletspace, New York (2014).