Friday 2 Septem ber 2016 · The 2016 Art meets Science Exhibition at the Ecosciences Precinct...

E c o s c i e n c e s P r e c i n c t

D u t t o n P a r k

M o n d a y 8 A u g u s t t o F r i d a y 2 S e p t e m b e r 2 0 1 6

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Art meets Science

E x h i b i t i o n

M o n d a y 8 A u g u s t – F r i d a y 2 S e p t e m b e r 2 0 1 6

Map .................................................................................................................................................................... 3

The Artist in Residence Science Program .......................................................................................................... 4

The Ecosciences Precinct ................................................................................................................................... 4

Overview of the exhibition ................................................................................................................................ 4

2016 Artist in Residence Science residency ....................................................................................................... 5

The AIRS Artists .................................................................................................................................................. 6

Alinta Krauth .................................................................................................................................................. 6

Donna Davis .................................................................................................................................................... 7

Jeanette Stok .................................................................................................................................................. 8

Kay Lawrence.................................................................................................................................................. 9

The additional artists ....................................................................................................................................... 10

Anastasia Tyurina ......................................................................................................................................... 10

Leah Barclay ................................................................................................................................................. 11

Merri Randell ................................................................................................................................................ 12

Helen Wyatt ................................................................................................................................................. 13

Jennifer Wright (Summers) .......................................................................................................................... 14

Sara Manser ................................................................................................................................................. 15

Jennifer Andrews .......................................................................................................................................... 16

Dr Aaron S. Micallef ...................................................................................................................................... 17

Nicola Hooper ............................................................................................................................................... 18

Svetlana Trefilova ......................................................................................................................................... 19

Barry Fitzpatrick ........................................................................................................................................... 20

Tanya Scharaschkin ...................................................................................................................................... 21

Elise Hilder .................................................................................................................................................... 22

The AIRS 2016 Artworks................................................................................................................................... 23

1 Skae Pluma (sky plumber) 2016 ............................................................................................................ 23

2 Glas blong huriken (the glass that belongs to the hurricane) 2016 .................................................. 24

3 A Long, Wired Paddock ......................................................................................................................... 25

4 Truncated I 2016 ................................................................................................................................ 26

5 Subterranean 2016 ............................................................................................................................. 27

6 Precious 2016 ..................................................................................................................................... 28

7 The Secchi Drawings: Myles I-III ........................................................................................................... 29

8 Monday 30th of May, 2016: Eight-hour drawing .................................................................................. 30

9 Sharmane 2016 .................................................................................................................................. 31

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Art meets Science

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10 Kerrilyn: five actions (306-310) 2106 ............................................................................................. 32

11 It's a matter of...#2 ........................................................................................................................... 33

12 Paradoxical Ontogenesis* ................................................................................................................ 34

13 Tunnel Vision .................................................................................................................................... 35

Additional artist artworks ................................................................................................................................ 36

14 Brisbane River & South Bank Pond #1 ............................................................................................. 36

15 Bellmore: Roots ................................................................................................................................ 37

16 Gash 2016 ...................................................................................................................................... 38

17 Mangrove Series: Coastal, Carbon Scrubber, Labyrinth, Pneumatophore, Avicennia Marina, Vivipary, Nursery, Lenticel Artist .................................................................................................................. 39

18 Without healthy soil; there is no life ................................................................................................ 40

19 Branches are not a tree .................................................................................................................... 41

20 The bigger picture ............................................................................................................................ 42

21 Urban Shift No. 3 .............................................................................................................................. 43

22 Council Green ................................................................................................................................... 44

23 Intarsia ii ........................................................................................................................................... 45

24 Littoral Ripple ................................................................................................................................... 46

25 Into the Void 1, 2, & 3 ...................................................................................................................... 47

26 Rats with Wings Diptych & Giardia Budgies Diptych ....................................................................... 48

27 Trichomes ......................................................................................................................................... 49

28 Chromoplast and Stomata ............................................................................................................... 50

29 Precious 3 (Microcosm series) ......................................................................................................... 51

30 Earthly Treasures (Microcosm series) .............................................................................................. 52

31 Jelly Beans and Fullerenes ................................................................................................................ 53

32 Nucleus I ........................................................................................................................................... 54

33 Goth Ray 4 ........................................................................................................................................ 55

34 Stingship Star Ray 4 .......................................................................................................................... 56

35 Climate Change Quilt ........................................................................................................................ 57

36 Fuscospora (syn. Nothofagus) gunnii Australian beech ................................................................... 58

37 River Listening .................................................................................................................................. 59

38 Excavation Site as Image: The Incomplete Dinosaur and other Prehistoria .................................... 60

The Exhibition .................................................................................................................................................. 62

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Art meets Science

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Map

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Art meets Science

E x h i b i t i o n


The Artist in Residence Science Program The Artist in Residence Science (AIRS) Program supports creative collaborative

residencies between professional artists and creative practitioners with scientists

and the diverse science networks, researchers, data and infrastructure based at the

Ecosciences Precinct, Dutton Park, Brisbane.

The Artist in Residence Science program promotes the role and value of arts and

science as key drivers of discovery and growth across Queensland by nurturing our collective and creative

intelligence as we work to understand the environmental challenges facing Queensland.

AIRS is a Queensland Government program, managed by the Science Division of the Department of

Science, Information Technology and Innovation, in consultation with Arts Queensland.

The Ecosciences Precinct Science at the precinct focuses on delivering an improved understanding of our natural resources and

environment, to improve their management, and is helping our key industries, including agriculture,

forestry and marine industries, to develop sustainable growth strategies.

The precinct houses research staff from Queensland Government Departments: Science, Information

Technology and Innovation (DSITI); Agriculture and Fisheries (DAF); Natural Resources and Mines (DNRM);

and Environment and Heritage Protection (EHP), and CSIRO and the University of Queensland through the

Queensland Alliance for Agriculture and Food Innovation (QAAFI).

Overview of the exhibition The 2016 Art meets Science Exhibition at the Ecosciences Precinct includes artworks from the four artists

Alinta Krauth, Kay Lawrence, Jeanette Stok and Donna Davis, who participated in the 2016 Artist in

Residence Science Program, ar three month residency at the Ecosciences Precinct, Dutton Park and the

Queensland Herbarium, Mt-Cootha.

Twelve additional Queensland artists who have recently completed science-based artworks were also

invited to exhibit. These exhibitors include established independent artists and under graduates and

doctoral students from Griffith University and QUT.

The exhibition is diverse. The unique interests and practices of the four AIRS artists and additioanl artists

have created artword intersect with the many science areas and discplines undertaken at the Ecosciences

Precinct. The only uniting theme of the exhibition is that the works are the responses of the artist to their

interactions with scientists, their science activities and the research facilities and field environments in

which they work. The artworks span wide of range of media and artforms including: sculpture; installation;

painting; digital animation; and photography.

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2016 Artist in Residence Science residency After a call for Expressions of Interest in early 2016 four artists, Alinta Krauth, Kay Lawrence, Jeanette Stok

and Donna Davis were selected to participate in a three month residency.

Four directorates within the Science Division expressed an interest in being part of AIRS :

Coastal Impacts Unit at the Hydraulics Laboratory, Deagon

Queensland Herbarium at Mt Coot-tha

Environmental Monitoring and Assessment Sciences and Landscape Sciences both located at the

Ecosciences Precinct.

The selected artists work across a number of artforms and media including digital, new media, sculpture,

drawing, installation and more. They were interested in working with three of the nominated directorates,

the Queensland Herbarium and the two directorates at the Ecosciences Precinct.

Depending upon the interests of the artists and the responses of the science staff they encountered they

collaborated by talking, visiting and exchanging ideas and information by email.

Three of the artists were able to join some of the scientists on field trips to Purga Nature Reserve near

Ipswich, Moreton Bay, Brisbane River and East Trinity Inlet. One artist Jeanette Stok undertook an 8 hour

marathon drawing event in the foyer of the Ecosciences Precinct capturing in a unique way the flurry of

activity and interaction that is ESP.

All together these four artists created 12 very diverse works that reflect their interaction with scientists

and their different practices.

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The AIRS Artists

Alinta Krauth

Alinta Krauth is a multidisciplinary new media artist who focuses on

projection art, interactive art, sound art, art games, generative art, and

digital literature, and is interested in experimenting with links between

these fields. She is also interested in ways to tie social and scientific

relevance into interactive pieces – particularly with regards to

sustainability and the environment. She has seen her works exhibited

globally.

Above all else Alinta is simply curious about the world and all its creatures

– real and imagined.

My experience of the AIRS residency

This residency not only opened my eyes to information and scientific sectors that I had not experienced

previously, but it also allowed me a platform from which to experiment with new types of art making and

process. For example, as a predominantly digital artist, sculpture and the chemical processes of art itself

are not things that I have often worked with, however this residency gave me the chance to do things like:

patina my own copper, test and alter the reflectivity of different materials, experiment with the science of

light and creation. The meetings and conversations I had with staff at the ESP in the areas of air

monitoring, chemistry, and other landscape sciences have not only influenced the outcomes of this

residency, but have also given me ideas for future artworks.

Email: [email protected] Mobile: 0439540895 Location: Witheren, Queensland Web: www.alintakrauth.com FB: www.facebook.com/alintaland

mailto:[email protected]

http://www.alintakrauth.com/

http://www.facebook.com/alintaland

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Donna Davis

Donna Davis is a multi-discipline artist intrigued with the idea of

connection and networks, her work explores the nexus between art and

science with a particular focus on natural and social ecologies.

Working across sculpture, installation and digital media Donna captures

and creates sites of ecological observation in order to provide new ways

of ‘seeing’; creating new connections in the mind of the viewer that may

challenge their ecological discourse.

She completed her Bachelor of Arts (ART) at Curtin University and has

works held in both public and private collections. She has exhibited widely in both solo and selected group

exhibitions; and has had her work feature in both state and national touring exhibitions.


This residency formed Stage 2 of an art/science mycological research study undertaken with the support of

the Queensland Herbarium, Queensland Mycological Society and Ipswich City Council, at the Purga Nature

Reserve near Ipswich. During the Stage 1 of the project I collected and documented fungi that grew in the

area each week over a 12 month period; these specimens were identified by the Queensland Herbarium

and stored into their collection. This project, a significant first for mycological study presented a unique

opportunity to study fungi-tree relationships due to the particular habitat containing only one dominant

species, the endangered Swamp Tea-tree (Melaleuca irbyana).

My AIRS16 DSITI residency allowed me to continue to work with the Queensland Herbarium with the

addition of Landscape Science Department (DSITI). These partnerships allowed me to creatively

investigate plant and fungi root systems together with reference to soil composition. During the residency

I participated in a field trip to the Purga Nature Reserve to take some soil samples from this unique area to

help build an ecological profile. These collaborations provided insight and inspiration for the creative

process of reinterpreting evidence into meaning manifestations; exploring the intricate network of

connections that exist hidden underground – essential for life aboveground.

Email: [email protected] Mobile: 0408 604 344

Web: www.donnadavisartist.blogspot.com.au

Location: Ipswich

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Jeanette Stok

Jeanette is a Brisbane-based artist currently studying at the

Queensland College of Art. Her art explores personal memories and

experiences of the everyday. She specifically focuses on the

narrative of ordinary lives by employing a variety of techniques and

media, each appropriate for the idea portrayed. These techniques

include drawing, printing, sculpture and video. Additionally, Jeanette

has a PhD in Chemistry and works as a research scientist at the

University of Queensland. During her career as a scientist she has

had the opportunity to live in both the US and the UK.


During this residency I had the opportunity to work with a diverse selection of scientists both in the

laboratory environment as well as in the field. I particularly enjoyed learning about the different

methodologies they employed to monitor the environment and then incorporating these concepts into my

movement drawings. It was interesting to see the rhythm and energy in the routine of their actions and

also in the way that they worked with each other.


Web: https://netistok.wordpress.com

Location: Yeronga

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Kay Lawrence

From within a feminist paradigm Lawrence researches the shifting

boundaries of nature and culture, critically engaging with our

anthropomorphism and consequent ecological issues. As parallels

emerge between the vulnerability of the landscape and humanity, it is

cogent that these connections are investigated through the use of the

body as metaphor for the natural world: its vulnerability, fragility,

ephemerality and mutability. Her works utilising digital mediums,

women’s work, sculpture and drawing, reference the increasing

alienation of humans from nature, many of whom seem to have little

comprehension of the interconnectedness of our daily lives with the natural environment.


My AIRS2016 DSITIA residency allowed me access to scientists in several departments to investigate the

critical importance of the inhabitants of marine tidal zones, particularly mangroves. Field trips with

scientists to Trinity Inlet (Dan Brough) and Moreton Bay (Ralph Dowling, Arnon Accad) provided valuable

insights into the interconnectedness of mangroves within ecosystems and their role in our survival. They

function as shore stabilisers, filters, marine nurseries and super stores of blue carbon. I learned the

specifics of successful mangrove rehabilitation following catastrophic clearing in Trinity Inlet and the

ongoing management of mangrove colonies in Moreton Bay.

Email: [email protected] Mobile: 0419647055

Web: www.kaylawrene.net Location: Paddington

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The additional artists

Anastasia Tyurina

Anastasia Tyurina completed her bachelor’s degree in Teaching Visual

Arts at Moscow State Regional University and master’s degree in

Photojournalism at Lomonosov Moscow State University before

eventually becoming an Associate Professor at National Research

University of Electronic Technology (MIET), Moscow, Russia. She is

currently undertaking her PhD in Visual Arts (Photography) at Griffith

University, Brisbane, Australia. Throughout her academic and artistic

career she was interested in obtaining of new knowledge of the

relationship between science and art. In addition to teaching, Anastasia

Tyurina is a regular contributor to international festivals, exhibitions and

conferences in the Art & Science category.

Email: [email protected]

Mobile: 0432 264 136

FB: https://www.facebook.com/dryingwaterdrops/

Web: https://www.behance.net/brushover

Location: Coopers Plains


Leah Barclay

Leah Barclay is an Australian sound artist, composer and resea rcher

working at the intersection of art, science and technology. She

specialises in electroacoustic music, acoustic ecology and emerging

fields of biology exploring environmental patterns and changes

through sound. Her work has been commissioned, performed and

exhibited to wide acclaim internationally and she has been the

recipient of numerous awards. Leah is the president of the Australian

Forum for Acoustic Ecology, the Vice-President of the World Forum

for Acoustic Ecology and the director of Biosphere Soundscapes, a large-scale interdisciplinary project

exploring the changing soundscapes of UNESCO Biosphere Reserves across the world. She is currently a

postdoctoral research fellow at Griffith University where she is leading a portfolio of acoustic ecology

research at the Queensland Conservatorium Research Centre


Mobile: 0410435996

Web: www.leahbarclay.com

Location: Sunshine Coast / Brisbane


http://www.leahbarclay.com/


Merri Randell

I'm a visual practitioner, I live in Logan and I love trees. I enjoy

challenging and provoking ideas using visual language. My work has

been exhibited extensively and selected works have been finalists in five

prestigious national art awards. Born and raised in Victoria, I've

travelled, lived and worked all over the world. In 2014 I completed a

Doctor of Visual Arts at Griffith University (Brisbane), in 1997 a Master

of Arts in Screenwriting at the University of the Arts (London) and

before that split a Bachelor of Visual Arts between the University of

South Australia and the University of the Northern Territory. My work

playfully challenges colonial Australian cinematic myths which demonise

our landscapes such as ‘Picnic at Hanging Rock’ (Weir, 1979) where the

rock was accused of consuming the schoolgirls - rendering the landscape crimescene and murderer.

In 2014 I was one of the UQ School of Biological Sciences Artist In Residence. The UQ residency was an

important milestone in my career because it supported and furthered my practice, it inspired a body of

work about the Bunya mountains - an important natural conservation area in Queensland, it allowed me to

collaborate and network with young scientists whom I continue to work with, and it assisted me in

formulating an application for a successful local and state government grant (RADF) in 2015

(www.loganbushcareresidency.com). Since then I have collaborated on another project funded by Arts

Queensland (crossXions) which explored eco feminist themes

(http://artguide.com.au/exhibition/crossexions)

Email: [email protected] Mobile: 0400 55 22 67

Web: www.merrirandell.com Location: Cornubia


Helen Wyatt

Following a career in Visual Arts teaching and learning, I am currently

undertaking a Masters Degree (Jewellery and Small Objects) by

research at Queensland College of Art. My work is narrative – drawing

upon ideas and issues associated with particular places–places where

nature and development intersect. Iwork primarily in metal and gems -

making artworks that are worn as jewellery. During 2016 I made

artworks alongside three other artists who were each developing

artworks drawing on aspects of the science of water. That connection

has led to the work on Mangroves exhibited here.

Because my work deals with ideas and issues to do with place – in this case, the edge of the Brisbane River,

the mangroves provided a great opportunity to draw on scientific material. In this instance it is an honour

to be exhibiting in a show where Art Meets Science alongside artists who have undertaken residencies at

this centre at Dutton Park.


Mobile: 0428684794

FB: https://www.facebook.com/f.tannerbaker/

Location: West End &Rozelle (NSW)


Jennifer Wright (Summers)

Jennifer has always been curious and creative. She has degrees in Science,

Education and a diploma of Visual Art. She lives in her grandparent’s

cottage in Toowoomba city and enjoyed her AIRS residence at the

Ecoscience Precinct in 2015.

She has always created artworks often from found objects in parallel with

careers in Science, Education, Film and TV, Editing, Publishing and tutoring

but shifted the focus to art in the last decade.

Her Art practice is focused on science-based issues of our Environment,

Aboriginal reconciliation and social justice.

She volunteers with Arts Council Toowoomba and as President drives public art projects.

During my 2015 AIRS residency I enjoyed many conversations with researchers about the complexity of life

in soils and remote sensing through which I discovered Lake Broadwater (a major focus of my work last

year). It was also interesting to meet the scientists working in air and water quality monitoring with whom

I had worked when editing Australasian Science magazine.


Mobile: 0415883345

FB: https://www.facebook.com/jennifer.summers.106

Location: Toowoomba City


Sara Manser

I am a practicing artist, art researcher and art educator. I have a PhD

in Fine Art from the Queensland College of Art, Griffith University. I

teach a variety of visual art subjects to students in degree and

diploma courses and secondary workshops. My work is based on my

interest in the surface materiality of the urban environment and the

human/non-human ecology that coexists in the city. I regularly

participate in solo and group exhibitions.

I visited the previous exhibition and artist/scientist talks as my PhD is

based around themes of art and Urban Ecology. I was very intrigued

and impressed to see such enthusiasm for the cross-fertilisation of art and science.


Mobile: 0422 266038

Web: http://sarajmanser.wix.com/sara-manser-artist

Location: Wynnum


Jennifer Andrews

Jennifer Andrews has exhibited extensively in solo and group exhibitions and

her practice has also included digital graphics, public art works and

illustration. Jennifer is also founder & principal of Brizart, which offers art

education to all ages. Having completed a Master of Visual Art at QCA,

Griffith University in 2011 she is currently a candidate for Doctorate of Visual

Art at QCA. Her artwork explores ways of using concepts of mimesis, vision

and perception to connect viewers to the natural environment through

drawing and digital images.


Mobile: 0418741223

Web: www.jenniferandrews.com.au

Location: Kenmore


Dr Aaron S. Micallef

Aaron Micallef is an emerging artist working primarily in photography and

hot (blown) glass. Inspired by the movement of light through glass and

ultimately, the capture of its fleeting presence, his hot glass practice is

accordingly complemented by photography. Reinterpretation through the

camera lens captures the subtleties of the diffusion, diffraction, reflection

and refraction of light within blown and cut glass.

Aaron’s artwork taps directly into his background and “other” career in

Science (Chemistry) research, education and communication


Mobile: 0412 591 459

FB: Aaron Micallef – Artist (@aaron.micallef.art.589)

Location: Paddington


Nicola Hooper

Nicola Hooper is a Brisbane based artist who’s practice explores

zoonoses (an infection or infectious disease that is transferred from

animal host to human) 75% of all new human diseases have their

genesis within animal hosts. Nicola’s specific focus explores how

animals are represented in the context of fear of disease. She utilises

mediums such as lithography and drawing to narrate her works. She

has previously completed a MAVA and MAVA (hons), and is

currently is a Doctoral candidate at Queensland College of Art. Her

work has been exhibited nationally and internationally and is held in

public and private collections..


Mobile: 0418183358

Web: www.nicolahooper.com

Location: Shailer Park


Svetlana Trefilova

Svetlana Trefilova completed her Master of Art in Visual Arts with

Honours at Queensland College of Arts, Griffith University in 2014

and is now in a second year of her doctoral candidature. Over the

last years her works have been selected for many important art

shows in South-East Queensland. Her most significant exhibitions

of recent include the solo Inner Scapes exhibition at

Woolloongabba Art Gallery, Brisbane in 2015 and the 4-artist

Watermarks exhibition at Webb Centre Gallery, Griffith University

(March 2016). Svetlana’s solo exhibition Inner Scapes : Fragility at

Tablelands Regional Gallery will take place in September 2016.

As a part of doctoral research in Visual Arts I investigate Australian native plants at a microscopic level. I

am exploring the dualities of the world around us, which is both visible and invisible. During my work in a

microscopy lab, originally aimed at tracing the relationship between the subtle organic shapes in my

abstract paintings and my scientific background, I became involved in an environmental project focused on

Myrtle Rust (Puccinia psidii), a fungal disease which infects plants in the Myrtaceae family that embraces

many native Australian species, including eucalyptus, bottlebrush, paperbark and lilly pilly


Mobile: 0402 466 497 Web: http://svetlana.id.au/

FB: https://www.facebook.com/SvetlanaTrefilova/

Location: Middle Park


Barry Fitzpatrick

Born in St Kilda, Victoria, Barry Fitzpatrick has lived in Queensland

for most of his life. He began a science degree at the University of

Queensland to pursue careers in ecology and marine biology, but

took an art teacher training scholarship part way through,

completing his degree externally doing arts and environment

studies. Regarding this as the perfect hybrid degree, Barry now

splits himself between work as a professional visual artist and an

environmental activist. He has won awards for his painting and

sculpture, and his work is held in public and private collections in

Australia and overseas


Mobile: 0427002640


Tanya Scharaschkin

Tanya Scharaschkin is a Senior Lecturer at Queensland University

of Technology in the area of plant structure and systematics. Her

research and teaching focuses on the understanding the

morphology and anatomy of plants and reconstructing

evolutionary relationships.

Tanya’s artistic projects generally incorporate a botanical theme. Tanya’s artistic endeavours include

botanical art, photography, quilting, embroidery, papermaking, marbling on paper, botanical jewellery

making and gardening. Her artwork is held in private collections, in Australia and overseas.


Web: http://www.botanicalartqld.com.au/artist/96

http://www.redbubble.com/people/craftytiger

Location: Runcorn

http://www.botanicalartqld.com.au/artist/96


Elise Hilder

Elise Hilder is a photographer and art history teacher, with Bachelor

degrees in History and Education from the Queensland University of

Technology (QUT) and a Masters of Art with First Class

Honours (Photography) from Griffith University. She is currently a Ph.D.

candidate at the Queensland College of Art (Griffith University) and

teaches Art Theory. Her photographic documentary-art practice focuses

on contemporary practices associated with archaeology and

palaeontology. She looks closely at the impact of the museum, excavation

process and heritage tourism in shaping visual narratives. Elise has also

worked as an archaeology photographer in Greece, is a founding member

of The Gap Pioneer and History Group and has worked for the Queensland

Art Gallery/Gallery of Modern Art.

The images in this exhibition form part of my visual arts (photography) Ph.D. at Griffith University. Since

2012, I have documented three dinosaur excavations in Winton (Central West Queensland) with the

Australian Age of Dinosaurs Museum, and two megafauna sites in the Capricornia region with the

Queensland Museum. As a photographer, the biggest challenge working on a dinosaur dig is that you

cannot previsualise what your subject matter is going to look like. Yet, it is this unpredictability which

fascinates me. The image Conifer is proof that once you start digging for something, you often have no

idea what else you will find in the process.


Web: www.elisehilderphotography.com Location: The Gap

http://www.elisehilderphotography.com/


The AIRS 2016 Artworks

1 Skae Pluma (sky plumber) 2016

Alinta Krauth

Media: New Media Art: Sculpture, copper, mixed media, digital projection

Humans, as a somewhat viral species

with a fast growing population, tend

to create pollution wherever we go. It is only by focusing on sustainability and environmental monitoring

that we have begun to reverse this act in Brisbane city and surrounds. In this artwork one sees the

depiction of swimming human-faced creatures who reproduce every two seconds. As the population

grows, so does the air pollution around them, and their oxygen level shrinks. If you watch closely over

time, you will catch the faces contorting and gasping for air. As the life cycle continues, they eventually

return to nothingness

This artwork resulted from two separate encounters at the ESP; one with the chemistry sector, where I met

with scientists involved in using paleoclimate methods to create a potential climate record for SE QLD by

reading phytoplankton, and one with the air quality team who introduced me to the different ways they

monitor climate and pollutants locally. This artwork uses influences from both these areas: Images of

phytoplankton originally borrowed from the chemistry sector were used as image and movement guides

for what became my mythical swimming human-faced creatures, and my research on air particulates using

the air monitoring sector’s extensive online data, and in meetings, influenced the pollutant element of this

work and thus the overall theme.

Collaborating scientists:

Chemistry: Rob Dehayr. Sarah. Their team.

Air quality: David Wainwright. Christian Witte.

Email: [email protected] Mobile: 0439540895 Location: Witheren, Queensland Email: www.alintakrauth.com FB: www.facebook.com/alintaland


2 Glas blong huriken (the glass that

belongs to the hurricane) 2016

Alinta Krauth

Media: New Media Art: Found objects plus digital projection.

Glas blong huriken attempts to digitally

create a tiny sci-fi-esque ‘weather lab’

where different types of weather are grown.

Focusing particularly on storms, each glass

holds a faux holographic display inside it. A

small figure sits on each glass piece, a toy

soldier of the weather army, each holding a fantasy hand-held version of a cloud cannon, including the one

now stationed at Charleville. Weather modification of any sort is a concept that sits uneasily with me,

particularly due to the seemingly violent ways in which weather modification occurs. The weather plays a

vital role in climate change, indeed it is our climate, and it is something that affects us as humans directly

through our bodies and senses, as well as emotionally. We belong to the weather, but it should not belong

to us.

The title comes from the Pidgin English word for ‘barometer’ – the glass of the hurricane. Please look at

this artwork at eye-level for best effect.

This artwork resulted from a fascination with cloud seeding and weather modification which I began

learning about in the ESP library during my residency. The ESP’s own reports on cloud seeding in QLD are

from around 2009, but I found myself taken with the strange concept of human playing god with the

weather, and the seemingly violent ways in which clouds were seeded for rain or snow; like army forces

against the sky. To research this beyond the ESP’s library books, I emailed extensively with Ken Brooke and

this also pointed me to some outside sources.

Collaborating scientist: Ken Brooke



3 A Long, Wired Paddock

Alinta Krauth

Media: Digital video animation

This work is an interpretation of climate data

influenced by texts, maps, and graphs found in the ESP

library. In this animation, you enter a seemingly never-

ending wireframe tunnel of undulating walls. The

viewer looks around the cave, watching its walls

spiralling around and folding back on each other

dizzyingly. The undulations of these walls are created by entering data, which the artist has done based on

changing climate data from the last approximately 50 years, not just across Australia, but other parts of the

globe. At certain points, the walls increasingly enclose until no exit can be found. This strong increase and

decrease in visual noise represents rises and changes in global temperature.

This work is an interpretation of climate data influenced by texts, maps, and graphs found in the ESP

library. While no discussions with scientists directly influenced this work, my general interest in global

climate change eventuated in this work. The title, however, is directly influenced by the Landscape

Sciences use of the title ‘The Long Paddock’, and its story.

This artwork originally appeared in the ‘Digital Departures’ exhibition at Caloundra Regional Gallery on the

8th of July-24th July.



4 Truncated I 2016

Donna Davis

Media Pigment print on fine art rag

Truncated I explores our connection and

understanding of the natural world; using

symbiotic relationships between plants

and fungi as the muse.

The physical forms were constructed by

weaving images of fungi onto fallen tree branches, using discarded thread from industry waste; to

reference the idea of a closed loop ecosystem. These forms were then digitally captured and interlaced to

portray just one of the many important ecological processes in the natural world, mycorrhizal associations;

where the roots of plants and fungi connect and share nutrient pathways.

The work simultaneously presents both above and below perspectives, to reflect notions of seen and

unseen, known and unknown. The work reminds us of the dynamic and interconnected sphere of nature,

inviting us to consider a holistic, rather than truncated view of our ecology.

Exploring tree-fungi relationships with reference to an endangered flora community. Mycorrhizal

associations provide mutual benefit to plants and fungi, this project was initiated to investigate how these

relationships may assist in conservation of our endangered native flora species. Stage 1 of the project

provided valuable documentation and data of fungi that occurs in the Purga Nature Reserve over a 12

month period, a significant first and beneficial for future research purposes and conservation strategies.

Stage 1 informed and built upon Stage 2 of the DSITI AIRS project to investigate soil composition and the

role it plays in tree-fungi relationships in this area.

Collaborating scientists: Nigel Fechner, Senior Botanist - Queensland Herbarium,

Contact artist for price Email: [email protected] Location: Ipswich



5 Subterranean 2016

Donna Davis

Media: Mixed media installation: pigment prints, recycled cardboard tubes, recycled MDF, recycled booker rod, nuts and bolts, lenticular mounts, timber.

Subterranean creatively provides an

intimate glimpse into the dynamic and

interconnected nature of the world

beneath our feet.

Together the works convey a sense of flow,

movement and connection in order to

capture the dynamic nature of mycorrhizal

associations and the curious world of soil.

Using creative imagery of plant roots and

fungi mycelium coupled with visual

trickery, the wall works appear to change as you move past them, giving a

sense of movement and life, whilst the large round tubes protruding from

the floor allow the viewer to peer down within to reveal a glimpse into the

secret life of soil.

Examining internal and external root systems of plant and fungi to gain a

deeper understanding of the physical process of connection between tree

and fungi in order to create visual works that capture these important

associations. These wall works explore two types of Mycorrhizal tree-fungi associations: Ecto and Endo

connections.

The floor works explore biotic and abiotic components of soil; investigating soil composition with reference to

horizon A and horizon B taken from analysis of soil samples collected at the Purga Nature Reserve site.

Collaborating scientists: Nigel Fechner, Senior Botanist, Queensland Herbarium, Kelly Bryant & Luke Finn,

Landscape Resource Officers, Soil and land resources, Landscape Sciences, Department of Science, Information

Technology and Innovation




6 Precious 2016

Donna Davis

Media: Mixed media installation: timber, fabric, glass, rubber, soil

Precious explores the perceived

value associated with soil with

reference to the Purga Nature

Reserve. The work displays four distinct soil layers collected from the site

during a field visit, showing the compositional changes that occur

through horizon layers A to B.

The Purga Nature Reserve is home to the endangered Swamp Tea-tree

population together with a diverse array of fauna, flora and fungi

species, forming its own unique bio-network; and soil, plays an intrinsic

role in this ecological system.

Our ecological discourse in relation to soil composition is unassuming

and often overlooked. This work however, plays with this notion;

displaying four unique soil specimens in glass vials set in a satin lined treasure box. This simple act of

presentation imbues a sense of reverence; promoting their ecological hierarchical status whilst allowing

them to stand as markers to the delicate and valuable nature of our soils.

This work investigates soil composition with reference to core soil samples collected from the Purga

Nature Reserve to test soil type, structure, slaking, texture and pH from four horizon zones: A1, A2j, B21

and B22.

Collaborating scientists: Kelly Bryant & Luke Finn, Landscape Resource Officers, Soil and land resources,

Landscape Sciences, Department of Science, Information Technology and Innovation




7 The Secchi Drawings: Myles I-III

Jeanette Stok

Media: Installation Aluminium frame, sand bags, acrylic, rope, charcoal on paper

To monitor the quality of waterways around Queensland, teams of

scientists go out to specific areas and conduct measurements

using different instruments. This installation is based on

photographs taken of Miles while on one of these field trips. It

incorporates images of his actions while he was measuring

different parameters. This work examines the connections

between his physical actions and the ideas of transparency, time

and place.

The Secchi disk is a simple instrument that is used to measure

water transparency. It is a 30 cm disk with black and white

quadrants and is lowered into the water until you just can't see it.

It is especially interesting because despite advances in technology

since its invention over 100 years ago, it is still used as a standard

today.

Collaborating scientists:

John Ferris and Myles Waller, Aquatic Ecosystem Health, Science

Division, Department of Science, Information Technology and

Innovation

Contact artist for price

Email: [email protected]. Mobile: 0410 044 883


Location: Yeronga


8 Monday 30th

of May, 2016: Eight-hour

drawing

Jeanette Stok

Media: Installation and video (5.12 min), photographs, pen on chart-paper

Monday 30th of May, 2016 8.30am until 4.30pm

On Monday the 30th of May I set up a table in the

foyer of the Ecosciences Precinct.

For eight hours I recorded the movement of people

through that space.

The movement was recorded on a roll of chart paper

with a blue pen.

Every five minutes I moved to a new section of chart

paper.

Every hour I had a five minute break.

When a person engaged with me directly I switched to

red pen as my focus was solely on one person.

26.4 m of drawing was generated over eight hours Observed and participating scientists: Those present on Monday 30th of May, 2016


Email: [email protected].

Mobile: 0410 044 883


Location: Yeronga


9 Sharmane 2016

Jeanette Stok

Media: Drawing Charcoal/pastel on paper, 59.5 x 84 cm

This work was based on a five minute

video of Sharmane performing

chlorophyll measurements using a

technique called Absorption

spectroscopy. In an attempt to mimic

the absorption of light by chlorophyll in

this experiment, I covered the paper

with green pastel and then used an

eraser to remove Sharmane’s

movement. I then traced the same action with a charcoal line. The resulting image gives you some idea of

the spaces she inhabited throughout the ex periment, as well as the constant movement involved.

One of Sharmane’s responsibilities is to monitor chlorophyll levels of water samples that are sourced

from around Queensland. This information is used to understand what level of plant/algae life is in the

waterways and how it may be changing over time. The technique she uses to measure the chlorophyll is

called Absorption spectroscopy, which measures how much light energy chlorophyll absorbs at certain

wavelengths.

Collaborating scientist: Sharmane Wickings, Aquatic Ecosystem Health, Science Division, Department of

Science, Information Technology and Innovation



Mobile: 0410 044 883


Location: Yeronga


10 Kerrilyn: five actions (306-310) 2106

Jeanette Stok

Media: Drawing pen on rice paper, 12.5 x 91 cm (x5)

Scientific investigations often require repetitious methods. To carry out

these methods the scientist’s body is often tracing the same physical

movement with each experiment. Kerrilyn kindly allowed me to

document her filtering soil samples in preparation for further analysis.

This work explores the relationship between what Kerrilyn is doing and

how she is physically moving in time in order to perform this task. It

allows us to see how even repetitive actions create both clarity and

knowledge.

In order to measure the carbon content in soil, Kerrilyn needs to remove

the humus from the soil using a mechanical filtration device. Each sample

was filtered for three minutes and then dried using a freeze drier to

remove the water before carbon analysis.

Collaborating scientist: Kerrilyn Catton,

Landscape Sciences, Science Division,

Department of Science, Information

Technology and Innovation



Mobile: 0410 044 883


Location: Yeronga


11 It's a matter of...#2

Kay Lawrence

Media: Calico support, digital image on cotton, embroidered

Bodies occupy a liminal position between nature and culture,

being a product of nature on one hand, and also a medium

carrying social, political and cultural constructs on the other. It's

a matter of...#2 uses our anthropomorphist tendencies to

explore the fragile balance in which our ecosystems exist. The

human body, as metaphor for nature, addresses the struggle to

maintain balance. The threads which continue from the

mangrove roots figuratively represent the interdependence of

ecological relationships and the flow on effects of human

actions.

Monitoring, measurement and maintenance of mangrove

forests and wetlands is critical to the maintenance of healthy

catchments, marine life and human survival. These processes

identify areas requiring protection and restoration; and increase

scientific understanding of mangrove ecosystems and resilience.

Collaborating scientist: Ralph Dowling, Arnon Accad, Queensland

Herbarium, Science Division, Department of Science,

Information Technology and Innovation



Web: http://www.kaylawrence.net/ Location: Paddington


http://www.kaylawrence.net/


12 Paradoxical Ontogenesis*

Kay Lawrence

Media: Sculpture - concrete, reinforcing iron, mangrove driftwood

Mangroves are not held in high

esteem by many. Deemed

unsightly and unnecessary by

many and consequently

sacrificed to large scale clearing

for agriculture and commercial infrastructure development. Trinity Inlet was

cleared for sugarcane production and tidal ingress restricted.

Remediation of the Trinity Inlet was necessitated due to the emergence of

acid sulphate soils following mangrove clearing and prevention of tidal

ingress through construction of bund walls. This restoration was a world first

and consequently attracts international and academic attention.

Remediation over the past decade, using lime and natural tidal flows has

achieved a fully functioning wetland site.

Collaborating scientist: Dan Brough, Kelly Bryant Landscape Sciences,

Science Division, Department of Science, Information Technology and

Innovation




*Ontogenesis -The development of an individual organism or anatomical or behavioural feature from the

earliest stage to maturity.




13 Tunnel Vision

Kay Lawrence

Media: Archival digital image print on fine art canvas

Wetlands are generally not highly regarded. Deemed

unsightly and unnecessary by many they have in the past

been consequently sacrificed to large scale clearing for

agriculture and commercial infrastructure development.

This short sighted approach has taken no account of the

vital role they play in keeping our ecosystems healthy.

Mangroves, saltmarsh plants and seagrasses are of vital

importance to fisheries productivity; providing marine

habitats for fish and invertebrates, detritus and nutrients to

adjacent estuarine habitats and food web support for larval crab, gastropod production and fish.

Collaboration: Melissa Dixon, Fisheries Assessment, Department of Agriculture and Fisheries






36


Additional artist artworks

14 Brisbane River & South Bank Pond

#1

Anastasia Tyurina

Media: Photomicrographs

The main purpose of my doctoral visual art project is to

uncover the inherent features of water that are invisible

to the eye through using the Scanning Electron

Microscope (SEM) and, by doing so, to use the process of

evaporation as an alternative and unusual artistic method

of visually presenting the composition of water. This

process revealing nature of water (water chemistry)

allows me to play with it like an artist. I am not aiming to

produce scientific records through my use of the SEM;

instead, I am using scientific photography methods to

create aesthetic images.

I investigate how to interpret scientific images captured

by the SEM of micro-scale drops of water from different

aquatic systems after evaporation. I do so in an attempt

to discover morphological features of the patterns related

to water contamination. During experiments for my

project, the structure of the water impurities visually

transforms and leads to a unique connection between

evaporation and solidification. This natural process of

drying reveals the unique informative capacity of droplets as well as the shapes, patterns, details, and

characteristics of water. It can be seen as an alternative and unusual method of visually presenting the

composition of water

Contact artist for price Email: [email protected]

Mobile: 0432 264 136 FB: https://www.facebook.com/dryingwaterdrops/

Web: https://www.behance.net/brushover Location: Coopers Plains

https://www.facebook.com/dryingwaterdrops/

https://www.behance.net/brushover

37


15 Bellmore: Roots

Merri Randell

Collaborating sound artists: kangaroovindaloo, timgormly, razzvio, redjim, ighuaran

Media: digital photography + audio-visual manipulation resulting in a looping video

‘Bellmore: Roots‘ (2015) seeks

to represent my experience of

the Bellmore Park BushCare site

- vast in scale and detail, the

same forms captured from

different angles and

perspectives - all shown at once

- all connected. Through the

addition of sound and motion

the landscapes come alive and

embody the typically hidden

respiratory, digestive and

reproductive botanical events of

these places. ‘Bellmore: Roots‘ was created for the Logan BushCare residency

The aim of my work is to raise awareness, promote appreciation and challenge preconceptions about the

value of natural areas (Teerk Roo Ra, the Bunya mountains, Logan BushCare) and veteran trees

(veterantreegroup.blogspot.com.au). I think its important to de-comodify nature. I believe if we respect

nature and its right to survive we can in turn believe in our own right to survive in an era intent on self-

destruction through over-consumption. My hybrid landscapes consume, breathe and reproduce - visually

and audibly - so that these typically hidden botanical events can be experienced and appreciated.

This artwork was created in response to the BushCare sites managed by the Logan City Council as part of

the Logan BushCare Residency. This project was supported by the Regional Arts Development Fund (RADF).

RADF is a partnership between the Queensland Government and Logan City Council (LCC) to support arts

and culture in regional Queensland. On this project I worked closely with LCC BushCare specialists Peter

May and Sally Clasen.

Price: $700 (edition of 5) Email: [email protected] Location: Cornubia Mobile: 0400 552 267 Web: www.merrirandell.com

38


16 Gash 2016

Merri Randell

Collaborating sound artists: aiwha

Media: digital photography + audio-visual manipulation resulting in a looping video

GASH was created for a project funded by Arts Queensland. In this

artwork the crossXions group exhibit theme of eco feminism is

explored but it is also a deeper exploration of the artists personal

notion of identity. ‘GASH’ is an open gaping wound, a life-size waterfall

of exposed roots pulsing, quivering and twitching - it is an impossible

uncanny grotesque hybrid monstrosity which writhes and moans in its

struggle to survive in a compulsively cruel concrete capitalist society.

This is a scar story of compulsions seeking to break free of the

kairological loop.

This artwork is based on digital photographs collected at the Bunya

mountains while participating in the UQ School of Biological Sciences

Artist In Residence program in 2014. During this residency I

collaborated with ecologists: Dr Margaret Mayfield, Dr Tobias Smith,

Dr John Dwyer, PhD candidate Lachlan Charles, Lois Eden, Selena

Hobbs and theorist Dr Allison Holland.

Price: $700 (edition of 5) Email: [email protected] Location: Cornubia Mobile: 0400 552 267 Web: www.merrirandell.com

39


17 Mangrove Series: Coastal, Carbon

Scrubber, Labyrinth, Pneumatophore,

Avicennia Marina, Vivipary, Nursery,

Lenticel Artist

Helen Wyatt

Media: Wearable objects in 925 silver, brass, gemstones and stainless steel

Mangroves perform valued roles as nurseries for fish, for

purifying air, water and river mud as well as protecting

banks from erosion. They are often derided and few people,

other than scientists, seem to recognise their importance.

They are also a rich visual source for me as artist. There is a

great opportunity for making their value known through

art.

Using drawing and photographs, I documented the visual qualities and

relationships of mangroves growing on the edge of the Brisbane River in

West End. I then investigated the ecological role of those particular

mangroves and their biological characteristics. Mangrove Watch – a

website posted by the Centre for tropical Water and Aquatic Ecosytem

Research provided some of the information about the mangroves relevant

to my location of study. I selected the forms, surface treatments, text and

colours to create intriguing objects that would draw the viewer in and

create the desire to find out more.

Collaboration: Informal contact with:Coordinator MangroveWatch Hub

Centre for Tropical Water & Aquatic Ecosystem Research (TropWATER)

James Cook University



FB: https://www.facebook.com/f.tannerbaker/ Location: West End &Rozelle (NSW)

40


18 Without healthy soil; there is no life


Media: Acrylic on canvas

Where I live much of the rich soil is being concreted over with

development. This piece is about the ghosts of the root

systems and biota that are needed for life. Soil organisms

sequester carbon and I wanted to express the importance of

soil in this landscape devoid of life.

2015 was the FAO International Year of soil, yet development,

compaction, mining, intensive agriculture and deforestation

interferes with the intricate webs of life in that thin layer of soil

that gives us life. Balanced micro-, meso- and macrofauna, and

decomposers like fungi are essential to a healthy top layer of

soil. Leaf litter stores carbon and mitigates climate change.

Collaborating scientists: Kelly Bryant, soil biologist – healthy

soils = healthy people. Ben Harms and WeiJin Wang: Soil

nodules and the nitrogen cycle. Also Nick Macleford from DAF

and Phil Norman DSITI about biodiversity in the soil. Phil Norman- Nematode wars and the need for

balance in healthy soil. Helen Nahrung - Entomologist: Beetles

References:

http://www.soilfoodweb.com.au/index.php?option=com_content&view=article&id=77&Itemid=113

Food webs in leaf litter: great diversity of organisms live in the litter and soil layer.

Redrawn from: Dorricott KE and Roberts BR (1993) Wildlife Conservation on Planned Properties: a

guidebook for Queensland landholders. University of Southern Queensland

Price: $620 Email: [email protected] Mobile: 0415883345



41


19 Branches are not a tree



Divisions between people, countries, and inward looking

ideologies that separate us are dangerous. Science tells us of the

benefits of communities, collaboration, tolerance and

understanding that people are part of the biosphere and one

family on our Earth.

A tree is not just separate branches but needs the leaves for

photosynthesis and respiration and the roots for water and

nutrients. I filled the void in the landscape with segregated

radiating groups of branches including those of Australia’s native

conifer, Agathis robusta in the centre to express this idea. Our

biosphere is like tree of life where all the branches come together.

Science statement: Web of life; Soil, water and atmosphere

research ; Climate change

Price $620


Mobile: 0415883345



42


20 The bigger picture



Remote Sensing scientists are looking at the

bigger picture and in this work I wanted to

present a small glimpse of how wonderful it is

to see the bigger picture of the interaction of

water and land.

Draws on the work of the Remote sensing

group at the Ecosciences precinct

Price $250


Mobile: 0415883345



43


21 Urban Shift No. 3

Sara Manser

Mixed media: Hydrocal, plaster, graphite, ink and gold leaf

The layers of pollution we create in our cities merge and

collide with the natural growth of bacteria, mold and

many other unseen life forms. And we are part of the

ecology of the city.

I have taken an artistic perspective in researching urban

ecology.

Science collaboration: Professor Darryl Jones, a

behavioural ecologist at Griffith University school of

environmental studies



Mobile: 0422 266038


Location: Wynnum

44


22 Council Green

Sara Manser

Mixed media: Cement render, acrylic, bees wax on board

The surfaces of the city reveal time and weathering, but

they also endure pollution and graffiti. Councils go to great

lengths to control the artistic expression of street artist by

painting over the offending marks with often mis-matched

colours. This work is inspired by the green, patchy walls

along the railways of Brisbane.

I have taken an artistic perspective in researching urban

ecology.

Science collaboration: Professor Darryl Jones, a behavioural ecologist at Griffith University school of

environmental studies



Mobile: 0422 266038


Location: Wynnum

45


23 Intarsia ii

Jennifer Andrews

Media: Digital Print on Photo Rag Pearl paper with Epson Ultrachrome K3 archival pigment inks.

Nature is often commodified and stage-managed in contemporary mass produced images. In response I

aim to engage the viewer not just with the image, but also with nature through the image.

This close up of a tiny ripple created by wash from boats on the Brisbane River shows the dynamic forces of

nature existing in something so easily overlooked. Using digital technology as a perceptual aid I aim to

create an ambiguity, which invites the imagination to participate in interpreting the image.

The Reith Lectures, 2003, by neurologist Vilayanur S. Ramachandran and the writings of Barbara Maria

Stafford have been pivotal to the development of my images. I became aware that the complex link

between vision and perception enables paths for exploring visually what constitutes a faithful

representation of the world. I have applied this awareness to art works aimed at perceptually connecting

viewers to the natural environment.

Price: $850.00 Email: [email protected]

Mobile: 0418741223 Web: www.jenniferandrews.com.au

Location: Kenmore

46


24 Littoral Ripple

Jennifer Andrews

Media: Drawing: Water colour, ink, charcoal and graphite on rag paper

Nature is often commodified and stage-

managed in contemporary mass produced

images. In response I aim to engage the

viewer not just with the image, but also

with nature through the image.

This close up of a tiny ripple created by

wash from boats on the Brisbane River

shows the dynamic forces of nature existing

in something so easily overlooked. Using

digital technology as a perceptual aid I aim

to create an ambiguity, which invites the imagination to participate in interpreting the image.

The Reith Lectures, 2003, by neurologist Vilayanur S. Ramachandran and the writings of Barbara Maria

Stafford have been pivotal to the development of my images. I became aware that the complex link

between vision and perception enables paths for exploring visually what constitutes a faithful

representation of the world. I have applied this awareness to art works aimed at perceptually connecting

viewers to the natural environment.

Price: $950.00


Mobile: 0418741223 Web: www.jenniferandrews.com.au

Location: Kenmore

47


25 Into the Void 1, 2, & 3

Dr Aaron S. Micallef

Collaborating artist: Joanna Bone (blown and engraved glass)

Media: Digitally manipulated photograph; Giclee print on Rag Photographique

The “Into the Void” series evolved from the digital re-interpretation of my

colleague Joanna Bone’s exquisite blown glass. Returning to the marine

environment for inspiration, the work emphasises the perfect (yet imperfectly

realised) geometry of the living world; particularly the pattern, delicate contour

and the radial symmetry elements of echinoderms, such as the humble Sand

Dollars (Clypeasteroida sp.).

Reminiscent of bioluminescent organisms emerging from the deep to be

discovered by modern science, the work reminds us of the limits of our

knowledge of marine ecology, even as habitat and species are lost forever

through human activity.

My more recent research in Chemistry relies heavily on Single-Crystal X-Ray

Diffracti on, which allows us to “visualise” the packing of molecules and ions in

crystalline materials. The arrangement of these nano-scale building blocks is

inherently linked to the fundamental properties of the material and its potential

application as a functional material. The identification and analysis of symmetry

elements and pattern in the crystal structure are crucial aspects of this work.

Applying these considerations in the context of the macroscopic biological

world leads to an obvious and immediate link to the mathematics and geometry

embodied in the anatomy of living organisms.

Price: $260 each (please contact artist for other print sizes) Email: [email protected]

Mobile: 0412 591 459

FB: Aaron Micallef – Artist (@aaron.micallef.art.589)

Location: Paddington

48


26 Rats with Wings Diptych & Giardia

Budgies Diptych

Nicola Hooper

Media: Hand coloured Lithograph on Arches Aquarello Paper

Pigeon’s, sometimes judged to be have long been

demonised because of their association with disease, they

have even been labelled in popular culture as rats with

wings, diptych

The reality is you have more chance of contracting a

zoonotic disease from your pet, than a wild animal. Hence

the artwork titled Giardia Budgies Diptych

Budgies, whom most of us adore, we ignore the fact that

they are hosts.

Science collaboration: Development of mosquito

repellent citronella artists books and advice from Dr

Peter Doherty



Mobile: 0418183358

Web: www.nicolahooper.com

Location: Shailer Park

49


27 Trichomes

Svetlana Trefilova

Media: Digital art video (7.05 min)

Trichomes mean “hair”. They are fine outgrowth or

appendages on all parts of plants. They are of diverse

structure and functions and can be found on leaves,

stems, roots, petals, stamina or pistil. Some of them may

be visible or invisible to the naked eye. Video is made

under magnifications x100-x600.

A work from my microscopy video series based on footage taken in Griffith University biological lab while

working on a Myrtle Rust project. It embraces the topics of microscopy, biology, and environment






50


28 Chromoplast and Stomata

Svetlana Trefilova

Media: Digital art video (7.31 min)

Stomata are two special cells that surround a tiny pore

called stoma. Stomata cells open and close this pore

during plants breathing process, or photosynthesis.

Stomata cells are found in epidermis of leaves, stems

and other organs. This video demonstrates stomata

cells of a few Australian native pants magnified by

x400. This is an amazing mechanism of organic nature.

A work from my microscopy video series based on footage taken in Griffith University biological lab while

working on a Myrtle Rust project. It embraces the topics of microscopy, biology, environment.






51


29 Precious 3 (Microcosm series)

Svetlana Trefilova

Media: Ink on paper framed

The Microcosm series of ink paintings is built around

the artist’s impression of microscopic objects in Petri

dish and the sudden beauty of the organisms otherwise

invisible to human eye. The Precious subseries views

these objects as gems of nature.

A semi-abstract work inspired by my project with

Griffith University biology lab where I studied

Australian native plant structures under microscope. It

embraces the topics of microscopy, biology.

Price: $200





52


30 Earthly Treasures (Microcosm series)

Svetlana Trefilova


The Microcosm series of ink paintings is built around

the artist’s impression of microscopic objects in Petri

dish and the sudden beauty of the organisms otherwise

invisible to human eye. Earthly Treasures sees the

subject set against a soil-coloured background

emphasising that the beauty is contained even in the

most everyday environment.

A semi-abstract work inspired by my project with

Griffith University biology lab where I studied

Australian native plant structures under microscope. It embraces the topics of microscopy, biology.

Price: $200





53


31 Jelly Beans and Fullerenes

Svetlana Trefilova


The painting is based on artist’s impression of cellular-level microscopic objects. Their diverse shapes and

textures never stop fascinating me and act as an unending source of

inspiration

A semi-abstract work inspired by my project with Griffith University

biology lab where I studied Australian native plant structures under

microscope. It embraces the topics of microscopy, biology.

Price: $200





54


32 Nucleus I

Svetlana Trefilova


The small Nucleus series is based on artist’s impression of plant cell

nuclei under microscope. A core of the tiniest living object appears

as a huge and mysterious world waiting for exploration.

A semi-abstract work inspired by my project with Griffith University

biology lab where I studied Australian native plant structures under

microscope. It embraces the topics of microscopy, biology.

Price: $200





55


33 Goth Ray 4

Barry Fitzpatrick

Media: Oil on board

In Goth Ray 4, I explore the remarkable internal

architecture of the sting ray – significant animals

living in our coastal ecosystems. I have used a

digital x ray image of the ray’s cartilage skeleton –

a technique employed by taxonomists to help

them classify rays – and overlain this across

architectural elements of a medieval cathedral,

each structure representing a precise application

of physics principles for particular, though very

different, functional outcomes. One echoes the

other, one about water and the other about light.

Price: $4500


Mobile: 0427002640

56


34 Stingship Star Ray 4

Barry Fitzpatrick

Media: Oil on board

In Sting Ship Star Ray 4 I look more externally at the

ray, employing flow patterns which suggest both the

electro-sensory system of the ray and images coming

out of recent science research involving vortex analysis

of flow patterns over sting ray forms which create

favourable pressure fields in front and behind as the

ray moves through water. While this research seeks to

gain new knowledge from sting ray technology for

human use in future engineering applications, the

painting prompts us to reflect on the fact that the

stingray has possessed this technological efficiency for

millions of years.

Price: $4500


Mobile: 0427002640

57


35 Climate Change Quilt

Tanya Scharaschkin

Media: Textile. 100% hand stitched, no machine sewing or quilting

SUSPENDED FROM WALKWAY ABOVE

The only native winter deciduous tree in Australia is

Fuscospora (syn. Nothofagus) gunnii, but there are

numerous dry-season deciduous trees. The leaves of some

evergreen tropical and sub-tropical trees turn red before

falling but these trees do not shed all their leaves at the

same time as do deciduous trees. Climate change

predictions predominantly focus on changes in sea level

and temperature, but what will the vegetation around us

look like? Will there be more deciduous plants and will

they produce spectacular display of colour, like that of the

North American autumn?

Leaves from a number of subtropical evergreen native

Australian trees were used as templates. The arrangement

of colours in this quilt shows transition from evergreen

subtropical colours (greens, browns) to autumnal deciduous

colours (vibrant yellows, oranges, rusts).





Location: Runcorn


58


36 Fuscospora (syn. Nothofagus) gunnii

Australian beech

Tanya Scharaschkin

Media: Botanical art; Pen & Ink

The only native winter deciduous tree in Australia is Fuscospora (syn.

Nothofagus) gunnii. Its leaves turn yellow-orange en mass and

produce a stunning autumnal display of colour.

Price $200 each




Location: Runcorn


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37 River Listening

Leah Barclay

Media: Augmented reality sound installation

River Listening is an augmented reality

sound installation reimagining the world

beneath the Brisbane River in sound. The

installation can be experienced by walking

throughout the Ecosciences Precinct with a

mobile device and listening to geo-located

sounds. These geo-located soundscapes are

layered with hydrophone (underwater)

recordings and creative responses to the

Brisbane River. To experience River

Listening download the free app Recho and your phone will act as a compass guiding you on a sonic

exploration.

Follow the hashtag #RiverListening on twitter for live updates on site and tweet @LeahBarclay if you have

any questions about the art and science of listening to rivers. www.riverlistening.com

This installation is part of our interdisciplinary project exploring the art and science of listening to rivers

across the world. River Listening explores rivers as the lifeblood of communities and underscores the value

of listening in our current state of ecological uncertainty. The project explores the creative possibilities of

aquatic bioacoustics and the potential for new approaches in the conservation of global river systems. It is

directed by Dr Leah Barclay and was developed in collaboration with The Australian Rivers Institute across

four Queensland river systems in 2014 and has since expanded to river systems across Europe, the USA

and Asia-Pacific region.


Web: www.leahbarclay.com Location: Sunshine Coast / Brisbane

http://www.qld.gov.au/dsitia/about-us/business-areas/science-precincts-projects/ecosciences/

https://itunes.apple.com/au/app/recho/id865541527?mt=8

https://twitter.com/hashtag/riverlistening

https://twitter.com/leahbarclay

http://www.riverlistening.com/


http://www.leahbarclay.com/

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38 Excavation Site as Image: The

Incomplete Dinosaur and other Prehistoria

1: Sauropod (Cretaceous Period, Winton Formation) 2013

2: Seekers and Diggers (Winton Formation) 2014–2015,

grid of four images

3: Conifer (Cretaceous Period, Winton Formation) 2015

Media: Photography

Elise Hilder

As a photographic image, the excavation site represents

more than just a hole in the ground where evidence is

collected and recorded for archives and technical reports.

These images explore how field photography can

communicate the experience of excavation through

pictorial means––the aesthetics of digging––reframing

the excavation site as a pictorial space in the landscape

rather than a purely scientific one. This space is

sometimes documented with directness and an eye for

detail, whereas at other times the camera is drawn to

that which is enigmatic or incomplete.

The photograph Sauropod emphasises the visual

obscurity of plaster jackets which contain fragmentary

fossilised bones. It also draws attention to certain rituals

of science in the field, such as collection and

classification, which involves the wrapping and marking

of specimens.

Conifer focuses on the raw, excavated fossil found in situ

within the larger land scape of contemporary Winton––

juxtaposing then and now. It also depicts a scientific

landscape, in which the land is marked, cut and opened up to extract prehistoric evidence.

Arranged in two diptychs, Seekers and Diggers focuses on the myriad of seemingly small, insignificant

moments that make up palaeontological fieldwork. While palaeontology is concerned with uncovering the

past, the human enterprise of digging is very much a contemporary pursuit. These images therefore

consider palaeontological excavations as anthropological spaces probed by people working the land today.

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Photographic diptychs or combination panels allow the dig site to be visually reframed: the combination of

multiple images means that space can be extended, foreshortened or realigned. This method mirrors the

reconstruction of the site by palaeontologists themselves, who piece together fragments of the past.

Overall, my work not only considers how prehistoric sites are transformed through scientific intervention

but more importantly, how the photograph itself can transform our reading of such sites.

Science collaboration:

Throughout prehistory, Queensland changed as a result of continental drift, tectonic uplift, and climatic

shifts. Between 145–66 million years ago, during the Cretaceous period, dinosaurs flourished in the conifer

dominated forests of Central West Queensland. Today, the remote township of Winton, located in the

often drought-ridden Dinosaur Triangle, is a hub of activity. Scientists and dinosaur enthusiasts alike gather

here annually to dig deep into this past. The plaster jackets on the back of the truck in the image Sauropod

contain the bones of a long-necked titanosauriform dinosaur. In the last fifteen years the Dinosaur Triangle

has produced some of the most complete sauropod skeletons ever found in Australia.

Dr Stephen Poropat, Palaeontologist and Research Associate for Australian Age of Dinosaurs Museum of

Natural History.

Dr Chris Mays, Palaeobotanist, Lecturer and Research Associate at School of Earth, Atmosphere and

Environment, Monash University.

Elly Butterfield, Honours Student, School of Earth, Atmosphere and Environment, Monash University.

Mr David Elliott OAM, Director of the Australian Age of Dinosaurs Museum of Natural History.

Science organisation: Australian Age of Dinosaurs Museum of Natural History, Winton.

http://www.australianageofdinosaurs.com/


Web: www.elisehilderphotography.com Location: The Gap

http://www.australianageofdinosaurs.com/

http://www.elisehilderphotography.com/

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The Exhibition

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Friday 2 Septem ber 2016 · The 2016 Art meets Science Exhibition at the Ecosciences Precinct...

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Transcript of Friday 2 Septem ber 2016 · The 2016 Art meets Science Exhibition at the Ecosciences Precinct...