Stina is a bit uncomfortable being listed as a “Suit”, but perhaps she’ll get used to it. Originally from Vancouver, Stina has also been fortunate to make art in Los Angeles, Halifax, and throughout Europe.
She started Atrux as a way to explore a growing interest in sustainable systems, artistic funding models and collaborate with former artistic communities and colleagues. She is immensely proud of her A-Team (also affectionately called “The Suits”) and artists. Her enthusiasm for these artists is exceeded only by her passionate belief that art can be economically and environmentally sustainable, and be a driving force behind social change.
Stina has worked with the people of this micro-community in a variety of contexts. She spent her undergrad at Simon Fraser University studying composition under Owen Underhill and Janet Danielson and was an enthusiastic participant in the Jean Coulthard Radings in 2005. The collaborative environment of SFU lead to sound design work on Main Stage productions for DD Kugler and Marc Diamond and for numerous student productions and she somehow she convinced Penelope Stella to let her take a clown class. This was a vitally important moment in her artistic development where she created her clown, Beatrice Glass.
Stina brought Beatrice to California where she completed a Masters degree at the California Institute of the Arts. She focused on chamber music and studied with Steven Takasugi, Robert Wannamaker and Melissa Hui, but still found time to let Beatrice appear in recitals and parade marching bands down Sunset Boulevard. She continued working with ideas around traditional performance, practice and notational systems and started exploring issues of narrative/space in music.
She also discovered “nationalism” and explored ideas of Canada (beyond that “we’re not American” lowest common denominator ideal) and with that came a shift in focus and an exploration of new forms. She produced the installation “Valencia Clothesline Project, 2006”, and wrote/performed a one-woman show “The Village of the Small Huts”. These projects, combined with a growing understanding of movement, physicality and balance gained through the study of Tai Chi Chuan with Sherry Tschernisch, have been hugely influential in shaping what she believes performance and the artistic process can be.
The greatest performances she’s ever seen or been a part of have also been terrifying. Whether that’s because of the material or the performers or the stage set-up or some other intangible, she’s not really sure. She brings that energy to Atrux and envisions an opportunity for real dialogue between audience and artist, and a community that is prepared to listen.
Stina Hanson
Stina is a bit uncomfortable being listed as a “Suit”, but perhaps she’ll get used to it. Originally from Vancouver, Stina has also been fortunate to make art in Los Angeles, Halifax, and throughout Europe.
She started Atrux as a way to explore a growing interest in sustainable systems, artistic funding models and collaborate with former artistic communities and colleagues. She is immensely proud of her A-Team (also affectionately called “The Suits”) and artists. Her enthusiasm for these artists is exceeded only by her passionate belief that art can be economically and environmentally sustainable, and be a driving force behind social change.
Stina has worked with the people of this micro-community in a variety of contexts. She spent her undergrad at Simon Fraser University studying composition under Owen Underhill and Janet Danielson and was an enthusiastic participant in the Jean Coulthard Radings in 2005. The collaborative environment of SFU lead to sound design work on Main Stage productions for DD Kugler and Marc Diamond and for numerous student productions and she somehow she convinced Penelope Stella to let her take a clown class. This was a vitally important moment in her artistic development where she created her clown, Beatrice Glass.
Stina brought Beatrice to California where she completed a Masters degree at the California Institute of the Arts. She focused on chamber music and studied with Steven Takasugi, Robert Wannamaker and Melissa Hui, but still found time to let Beatrice appear in recitals and parade marching bands down Sunset Boulevard. She continued working with ideas around traditional performance, practice and notational systems and started exploring issues of narrative/space in music.
She also discovered “nationalism” and explored ideas of Canada (beyond that “we’re not American” lowest common denominator ideal) and with that came a shift in focus and an exploration of new forms. She produced the installation “Valencia Clothesline Project, 2006”, and wrote/performed a one-woman show “The Village of the Small Huts”. These projects, combined with a growing understanding of movement, physicality and balance gained through the study of Tai Chi Chuan with Sherry Tschernisch, have been hugely influential in shaping what she believes performance and the artistic process can be.
The greatest performances she’s ever seen or been a part of have also been terrifying. Whether that’s because of the material or the performers or the stage set-up or some other intangible, she’s not really sure. She brings that energy to Atrux and envisions an opportunity for real dialogue between audience and artist, and a community that is prepared to listen.
Because she promises to bring the noise.
Kind of like this: Between the Motion…
Or Maybe like this:
“26 to/get/her” from the one woman show “The Village of the Small Huts”