Bonnie applies her skills and creativity in the areas of film production and visual direction across a variety of media platforms. She holds a degree in Film and Television Production from QUT. Her work has been screened Australia-wide on free-to-air and cable television and festivals such as the Other Film Festival, Now Now, Golden Plains, Trasharama, Wild Spaces, Queensland New Filmmakers Awards and the Sydney Fish Market. Internationally, she has contributed to films screened at Exploding Cinema/Collision Festival (UK), Xpace2000 (Singapore), Hamilton Underground Film Festival (NZ), Lambtree Grove Project (UK), Odense Ser Rodst (Denmark). Bonnie has also toured extensively nationally and internationally as a high-energy avant-garde musician and performance artist. She has appeared as a part of the theatrical grindcore band Unaustralians, ecstatic music collective Sun of the Seventh Sister and internet syncopoop phenomenon Knicker Onasis.
Bonnie’s visual art practice spans painting, collage, digital imaging, graphic design, dressmaking and sculptural installation. She has exhibited in Australia and the UK. Bonnie’s textural aesthetic has influenced her 16mm and 8mm direct film work, whereby she has created a process of painting on to and manipulating the celluloid emulsion.
In June 2006, Bonnie and her artistic associate Nylstoch, co-founded the music and cinema laboratory Venting Gallery. Since its inception, Venting Gallery has extensively documented the underground Australian art scene and created an extensive audio, video and printed archive. As a continuation of this work, Venting Gallery has produced a series of 1000 films about experimental music in Australia titled Rituals of the Captured Moment.
Currently she has helped establish the Foundation for Contemporary Music & Culture Inc. - a non-profit organisation who supports and nurtures marginalised artists and those of divergent aesthetic.
“Initially, I treated working on Orchids: my intersex adventure as a form of hanging out with my sis, and doing a low budget doco gig, both of which I was quite familiar with. It was easy to work on in a practical sense, but then afterwards I sometimes found myself in an emotional shit shower. In the end, I thought it was a great opportunity to publicly bust open the illusion of a binary gender mentality that still exists, and, with luck, the film will create a context for other intersex crew to appreciate their own form as it exists.
“The camerawork – I just did what we agreed on, what I was told, and then when I got sick of doing what I was told, I did what I felt like. With the super 8 cinematography, I wanted to find ways of locating visual metaphors to illustrate certain situations in our lives. We had many negotiations as to the degree of abstraction that was suitable for the film. Really, I just wanted to offer another way for people to access the concepts presented by the rest of the film – allow them the ability to engage with the emotional symbols and their aesthetic intelligence.”