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Opening 7.30pm on 10 October
site-responsive works throughout Collingwood Yards and current exhibitions at onsite galleries including Westspace.
Collingwood Yards:
35 Johnston St, Collingwood
Dates: 10 - 13 Oct 2024
Hours : 7:30pm -10:30pm
FREE
Jack Lee
How Far the Light Reaches, 2024
Titled after Sabrina Imbler’s book of the same name, this work explores themes of resilience, survival and care through a gender and diversity lens. Thermal imaging footage is weaved together to highlight the environmental impact of global warming, and its effect on marine creatures with temperature-dependent sex determination biology. Incorporating abstracted text by Donna Haraway & Peter Godfrey-Smith, the work also brings to light the limitation of human perception, as well as intelligence as a subjective embodied experience and ultimately the consequences of the
Anthropocene.
Nahbananas
Noitsuahxe, 2024
Noitsuahxe; is derived from the word 'Exhaustion,' which is mirrored to symbolise hope for restoration. Presented in a dictionary entry, the title emphasises both its function and
significance. Neon lights piercing through shards symbolise the digital realm while signalling the urgency of the climate crisis. The dispersion of leaves illustrates the shift from a lush closed forest to a barren open landscape, highlighting the vulnerability of our ecosystems.
Additionally, the kaleidoscopic imagery, created from digital documentation of Victoria’s logged areas, evokes a rhythmic motion and provides a meditative space for contemplation.
Un_Calculated (aka Rewa Wright & Simon Howden)
Cosmic Signaletic Messages, 2024
When we look into the cosmos, what messages do we see? Humans have been observing the stars and interpreting messages for millennia. Through audio-reactive animations whose geometry echoes phenomena from astrophysics (like pulsars,
quasars, and galaxies) UnCalculated Studio’s new animation ‘Cosmic Signaletic Messages’ generates visual messages from the stars and invites the audience to interpret.
Harrison Hall
RDX, 2024
RDX is royal seance for the destruction of the world, its name is derived from hexahydro-1,3,5-trinitro-1,3,5-triazine, aka Cyclonite aka RDX aka Royal Demolition Explosive, a beautiful molecule of symmetrical design and order, commonly used
throughout history to disastrous effect. Nitrogen, Oxygen and Carbon move in a ritualistic exchange that is simultaneously luminous and somber, a dance of
balanced dualism. This 3D animated short is set in an alternate micro-universe 120 years ago, where a seance is performed that examines the femtosecond of creation, augmenting a moment in time where the environmental, social and political
landscape of the world dramatically shifted forever.
Amy Manson
Flower as Data, as Memory,2024
Flower as Data, as Memory contemplates how non-human life forms might
remember and store information, somewhat analogous to a computer. Flowers
change, evolve and flash on and off like neurons or logic gates. Created using a
combination of hand drawn animation and digital processing, this work attempts to
playfully visualise the space in which the natural and the synthetic intersect.
Rali Beynon
Obsequies, 2024
Obsequies is an atmospheric animated video work exploring the loss of Australian
flora and fauna due to ecological destruction and a lack of awareness for environmental conservation. A healthy frog population in their natural habitat is a strong sign of biodiversity so the main focus of the work is a withering image of the extinct/critically
endangered Mountain mist frog from Northern Australia. Connecting to environmental issues in Victoria, the frog is constructed with animated digitally hand- drawn Spider Orchids of which some species have become extinct as well.
Obsequies, translating to “funeral rites” is a colorful yet melancholic work as the orchids forming the frog slowly fall away, dissipating into a swirling vortex.
Jenn Tran
‘A Kite Poem’, 2024
A kite poem is a visual meditation on climate urgency. Digitally rendered kites,
textured with lichen, stone, grass, and bark, form a school swaying gently in soft
wind. This ensemble creates a communal poem for our Earth, blending natural
elements with digital art to convey an environmental message of unity and
awareness.
Emma Pattenden
Waterways, 2024
An ongoing exploration of Melbourne’s hidden natural ecologies, focusing on its historical waterways and their continued presence in the urban landscape. Created as part of the Centre of Projection Art 2024 residency, the work explores our interconnected relationships with non-human ecologies. By capturing the interactions of fresh and salt water with ink and watercolour, the artwork mimics changes in these
water systems. It reflects the dynamic nature of Melbourne’s waterways, highlighting their reemergence during heavy rains, flooding urban spaces, and reminding us of their enduring presence within the city’s landscape.
Sophia Dacy-Cole
Petri, 2024
A response to the soil crisis, Petri is a portrait of the Southern Australian soils, taken in Wamboin, on Ngunawal and Ngambri Country. This installation invites viewers to step into soil’s own scale. These microscopy images, and these sounds were taken at the property I live on, in Wamboin, Australia, just northeast of Canberra. The images were taken from tablespoons of topsoil, dug out of the humic leaf litter layer
and photographed under the scope while still wet. The sounds were taken from that same layer: the microphone buried between layers of damp sedimentation.