A U S T R A L I A N G A L L E R I E S

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6.!For!applications!where!a!very!small!logo!is!required!we!have!also!supplied!these!three!small!versions!of!the!ART+CLIMATE=CHANGE!and!the!CLIMARTE!logos!to!be!stacked!in!conjunction,!both!having!the!same!width,!as!follows:!!!!

!! !!!!!!!!!!!!! !!!!!!!!!!!! !!

!! !!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!! !

THE WARMING AND

AN ANTHROPOCENE CABINET OF CURIOSITIES

The Warming and

An Anthropocene Cabinet of Curiosities

3 - 24 May 2015

australiangalleries.com.au

artclimatechange.org

Curated by Mandy Martin

Thanks to David Leece for collaboration on the installation of An Anthropocene Cabinet of Curiosities

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6.!For!applications!where!a!very!small!logo!is!required!we!have!also!supplied!these!three!small!versions!of!the!ART+CLIMATE=CHANGE!and!the!CLIMARTE!logos!to!be!stacked!in!conjunction,!both!having!the!same!width,!as!follows:!!!!

!! !!!!!!!!!!!!! !!!!!!!!!!!! !!

!! !!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!! !

Cover, p6-7 (detail): Mandy Martin and Alexander Boynes Blast 2015 pigments, oil on linen and digital projection 180 x 320 cm (16.9 duration 2’ 20”)p2: Mandy Martin in her studio, standing in front of Power Station Dust Storm 2011 pigment and oil on linen 300 x 300 cm Photograph: Greg Weightp20-21: Mark Booth 25.150-88°(1) (detail) 2015 PVC pipe, nylon screws, low sheen acrylic paint, stainless steel table 63 x 80 x 78 cm Photograph: Alex WisserBack Cover: Dale Cox Tract 38 (Burning) (detail) 2013 acrylic on canvas 101.5 x 152.5 cm

Exhibition opening

The WarmingSunday 3 May 2015 3pm to 5pm

28 Derby Street Collingwood VIC 3066

To be opened at 3.15pm by William L. Fox

Director, Centre for Art + Environment, Nevada Museum of Art

An Anthropocene Cabinet of Curiosities3.30pm anthropSLAM

#anthropSLAM to be moderated by Dr Libby Robin, William L. Fox and Dr Peter Christoff

Open 7 days 10am to 6pm T 03 9417 2422

stockrooms@australiangalleries.com.au

australiangalleries.com.au

Member Australian Commercial Galleries Association

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The 25 artists in The Warming have a deep sense of unease,

Unbehagen, about our future. They are the front line supporters of

ART+CLIMATE=CHANGE 2015 at Austral ian Gal leries, which

is now the oldest, most established commercial gallery in Australia.

When climate activists have sorely needed public support,

Australian Galleries Director, Stuart Purves, has been notable

for this.

Artists need audiences. This exhibition is conceived to net a

broad one. Australian Galleries’ most established artists are

exhibited alongside invited artists in An Anthropocene Cabinet of

Curiosities. These artists have been invited to pitch their artwork

at an Anthrop Slam to be moderated by renowned climate

change commentators, Peter Christoff, William L. (Bill) Fox and

Libby Robin.

Libby Robin and Cameron Muir, write of ‘Slamming the

Anthropocene’ in an ar ticle in press with reCollections, the online

journal of the National Museum of Australia. The paper explores

the idea of performing climate change concerns, including

through the idea of an Anthropocene Slam. The idea of ‘pitching’

(or performing) ar t that seeks to change the environment created

a context for this Australian performance event, the Anthrop Slam

assembled solely with creative ar t works.

In November 2014, the CHE (Cultures, Histories, Environments)

team at U Wisconsin (Madison), Gregg Mitman, William Cronon

and Rob Nixon, among others, hosted a new venture, a

very different sort of public event, The Anthropocene Slam:

A Cabinet of Curiosities. The headline item was a major

INTRODUCTION

public lecture from journalist Elizabeth Kolbert, from her

best-selling book, The Sixth Extinction. The ‘slam’ is a concept that

originated with poetry, performance and a competitive spirit.

The first ‘Poetry Slam’ in 1984 was a poetry reading in the ‘Get

Me High’ Lounge in Chicago. The Anthropocene Slam: A Cabinet

of Curiosities borrowed the performance and entertainment idea,

asking contributors to ‘pitch in a public fishbowl setting’ an object

that might represent the Anthropocene in a cabinet of curiosities.

The Madison Slam was a chorus of objects. The objects worked

well together in Madison, commentating on each other.

The ‘Poetry Slam’ originally was a competition with a cash

prize. The ‘Anthropocene Slam’ resisted the competitive

framework. Rather, it invited scholarly collaboration in a playful

context. The shift from competition to chorus was its great

success. Global changes are everywhere, but human responses

are personal, local, and the ‘Slam’ was an event for Madison.

The slam-style ‘event’ works to collectivise the object stories and

to draw out patterns and sympathies between them.

Performing the object stories, and making them local as well

global is one way to enchant the narrative of decline, and to

engage actively with change in ways that lead to adaptation, even

hope, in the face of inevitable changes such as global warming.

Mandy Martin and Libby Robin

March 2015

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7

THE WARMING

Raymond Arnold

G.W. Bot

Dale Cox

Mandy Martin and Alexander Boynes

Sarah Tomasetti and Heather Hesterman

John Wolseley and Linda Fredheim

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Elsewhere World 2015 etching on 300gsm Velin Arches, 7th state edition 3 80 x 210 cm

Elsewhere World depicts Western Tasmanian terrain which is still heavily scarred from mining impacts. Climate change

notwithstanding, nature returns and it is with the possibility of another (elsewhere) world, i.e. one that is lost but one that

might be reclaimed that I’m interested in speculating on in the work. Elsewhere World is a construction that seeks to conflate

the often contrary principles of conservation and development into a type of cross hatched ‘flow’.

BIOGRAPHY

Raymond Arnold has lived in Tasmania for over thir ty years.

His ar twork reflects the unique landscape of the island and

its attendant environmental issues. He established LARQ

(Landscape Art Research Queenstown) in Queenstown

nearly a decade ago. LARQ is a small ar t centre involving

both gallery and print studio which was set up to encourage

ar tists to visit Western Tasmania and contribute to its

environmental repair and community development.

Represented by Australian Galleries, Melbourne and Sydney,

and Bett Gallery, Hobart.

raymondarnold.com.au

RAYMOND ARNOLD

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Air, Fire and Earth Glyphs (detail) 2015 mild steel, seven pieces 260 x 600 cm (dimensions variable)

Over the last few decades I have been working in the landscape and have made thousands of quick sketches which have

grown into a language of the Australian landscape I call ‘glyphs’. Air, Fire and Earth Glyphs 2015, is made from mild steel,

a material which rusts into the rich colours of the earth. The glyphs are a metaphor for our existence on this earth and

passage through it.

BIOGRAPHY

G.W. Bot has held over 50 solo exhibitions. Her work is held

in a number of collections, nationally and internationally,

among them, the National Gallery of Australia; the British

Museum and the Victoria and Albert Museum, London;

The Albertina, Vienna; Bibliotheque Nationale, Paris and the

Museum of Modern Art, Osaka, Japan. Recent exhibitions

include a touring survey show originating from Goulburn

Regional Art Gallery, NSW from 2011-2013; Out of Australia

at the British Museum, London 2011 and Australia at the

Royal Academy, London 2013.

Represented by Australian Galleries, Melbourne and Sydney,

and Beaver Galleries, Canberra.

G.W. BOT

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Tract 38 (Burning) 2013 acrylic on canvas 101.5 x 152.5 cm

My work incorporates a diverse range of visual media, often appropriating readymade objects as materials for alteration and

reinvention. Issues concerning the comprehension, management and commoditisation of the Australian landscape amidst

broader environmental themes are central. Recent paintings of bushfires address issues of climate, the precarious imbalance

of man altered environments and the ancient rhythms of the Australian landscape.

BIOGRAPHY

Contemporary ar tist Dale Cox has presented nine solo

exhibitions in the past 12 years and participated in several

curated group exhibitions, including at the National Gallery

of Victoria, Melbourne and The Australian Embassy in

Washington DC, USA. Cox’s paintings and sculptures can

be found in significant public, corporate and private

collections worldwide.

Represented by Australian Galleries, Melbourne and Sydney.

DALE COX

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Blast 2015 pigments, oil on linen and digital projection 180 x 320 cm (16.9 duration 2’ 20”)

MANDY MARTIN

Mandy Mar tin lives in the Central West of New South

Wales near Wallerawang power station, decommissioned

since Dust Storm Power Station was painted. Our collaborative

work is an ode to the day it is demolished! Mandy Martin is

an Adjunct Professor of the Fenner School of Environment

and Society Australian National University.

Represented by Australian Galleries, Melbourne and Sydney,

and Beaver Galleries, Canberra.

mandy-martin.com

Global drivers including mining are sweeping across Australia causing rising carbon emissions and wholesale destruction of

environments. The recent demolition of power stations internationally gives us a glimmer of hope that some countries are

taking action now. Dust Storm Power Station and Blast are our response to The Warming.

ALEXANDER BOYNES

Alexander Boynes is a Canberra-based artist, curator, and

Program Manager at the Canberra Contemporary Ar t

Space. He received his B.V.A. (Honours) at the Australian

National University in Gold and Silversmithing; however,

his practice has evolved to include painting, photography,

print media, light-based work, and video installation.

Alexander is currently developing a full-length performance

work with multi-disciplinary ar t collective PRAXIS, which

he established in 2013 with dancer/choreographer

Laura Boynes, and cellist/composer Tristen Parr.

Represented by Beaver Galleries, Canberra.

alexanderboynes.com

MANDY MARTIN AND ALEXANDER BOYNES

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Ice Rock Prototype for the Slow Melt Project 2015 chroma: glacial meltwater dimensions variable

SARAH TOMASETTI

Sarah Tomasetti’s practice engages the complexity of

our relationship to the natural world, dealing particularly

with sites of rapid change. Recent paintings of glacial

landscapes seek to re-configure the romantic gaze in the

light of contemporary anxieties. Working with pre-industrial

techniques she embeds the mutability of the subject matter

in the fabric of the work.

Represented by Australian Galleries, Melbourne and Sydney

and Beaver Galleries, Canberra.

sarahtomasetti.com.au

‘Slow Melt’ is an ephemeral installation by Peradam Projects, a collaborative platform conceived by ar tists Heather Hesterman

and Sarah Tomasetti, exploring contemporary readings of landscape. Each day during The Warming, a new group of ice

rocks will be suspended to gradually drip out onto the street, each set representing a chromatic documentation of a

different waterway.

peradamprojects.com

HEATHER HESTERMAN

Heather Hesterman is an interdisciplinary ar tist working

with installation, print-based media and landscape design.

Recent projects are concerned with the intersection of

topography, botany and the abiotic within natural and

constructed sites. Informing visual processes with scientific

data, Hesterman re-examines our relationship to landscape

as political, ecological and cultural.

heatherhesterman.com

SARAH TOMASETTI AND HEATHER HESTERMAN

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Left: Reliquary cabinet for a disappearing species - Alsomitra vine 2001 wooden cabinet, metal containers, rock, leaves, fur, watercolour and graphite on paper

163.5 x 45 x 39.5 cm cabinet made by Linda Fredheim Furniture Design, Hobart

Right: Reliquary cabinet for a disappearing species - Eastern Quoll (detail) 2001 wooden cabinet, metal containers, rock, leaves, fur, watercolour and graphite

on paper 163.5 x 45 x 39.5 cm cabinet made by Linda Fredheim Furniture Design, Hobart

JOHN WOLSELEY

Since moving to Australia in 1978, John Wolseley has

immersed himself in the landscape, an approach which has

given rise to a variety of different ways of collaborating with

the land itself. His large scale works on paper, watercolours

and installations are often based around scientific themes

like the movement of tides or sand-dunes or even the forces

of continental drift and evolution. His exhibition Heartlands

and Headwaters is currently on view at the National Gallery

of Victoria from 11 April to 20 September 2015.

Represented by Australian Galleries, Melbourne and

Roslyn Oxley9 Gallery, Sydney.

johnwolseley.net

There may come a time soon when it is only through a display in a museum or gallery that we will be able to encounter

animals and plants that until recently, flourished and thrived. The temple-like structure at the top of each cabinet suggests

it is a shrine or reliquary to two of these highly endangered species – the Eastern Quoll and an Alsomitra rainforest vine.

The lower section presents in ascending order some of the key elements which once made up a functioning eco-system

- rock, earth, leaves, fur and feathers.

LINDA FREDHEIM

Since graduating with a BFA (Design in Wood) in 1992,

Linda Fredheim has become renowned for the way in which

she incorporates complex narrative elements into her

innovative furniture and object design. She often includes

references to historical events or people through the use of

text and image. Fredheim has exhibited widely in museums

and galleries and her work is held in numerous public and

private collections throughout Australia. She is based in

Hobart, Tasmania.

lindafredheim.com.au

JOHN WOLSELEY AND LINDA FREDHEIM

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AN ANTHROPOCENE

CABINET OF CURIOSITIES

Alex Asch

Mark Booth

David Buckland

Mariana del Castillo

Julie Collins and Derek John

Dale Cox

Søren Dahlgaard

Jane Gillings

David Jensz

Barbie Kjar

Janet Laurence

Jen Rae

Lisa Roberts and Marc Pascal

Daniel Savage

Richard Tipping

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The denial 2015 recycled wooden box, printed paper, USA currency, plastic, glass, metal 38 x 30 x 17 cm

(left: back, right: front)

The politicisation of climate change and the subsequent attack on science in general is perhaps the most dangerous

development in human history. I am deeply saddened by the denial and the short-sighted profit machine. Without change,

we are in danger of losing our humanity.

BIOGRAPHY

Alex Asch was born in Boston, Massachusetts and works

and lives in his Queanbeyan studio in NSW. Alex has been

exhibiting nationally and internationally since graduating

from the Australian National School of Art in 1989. In 2015

Alex was included in the Inaugural exhibition of Contemporary

Art at the National Gallery of Australia, Canberra.

Represented by Beaver Galleries, Canberra.

ALEX ASCH

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Foreground: 25.150-88°(1) 2015 PVC pipe, nylon screws, low sheen acrylic paint, stainless steel table 63 x 80 x 78 cm

Background: 25.150-88°(2) 2015 PVC pipe, nylon screws, low sheen acrylic paint, stainless steel table 56 x 85 x 80 cm

Photograph: Alex Wisser

The stark clinical contrast between the organic forms and their inorganic, ar tificial surroundings epitomizes the vulnerability

that exists in the natural world for all living matter. It also references the sterility of a laboratory dedicated to the genetic

modification of plant matter which can no longer survive in its current habitat. The destruction of the environment by global

warming is causing displacement and extinction at an unparalleled rate.

BIOGRAPHY

Mark recently had a major solo exhibition at Bathurst

Regional Art Gallery, and was included in a group show

at Cessnock Regional Art Gallery. He has had solo shows

in Sydney and Melbourne, and has just participated in

Cementa15. Mark has won Sculpture in the Vineyards, and

twice been a NSW Artists’ Grant recipient. He lives and

works in Hill End, NSW.

mark-booth.com

MARK BOOTH

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Cache/Chalk Shard 2012 chalk, photographic emulsion 14 x 21 x 1 cm

The Chalk Shard is part of a larger ar twork, Cache, made in collaboration with the Marine Biologist Dr Debora Ingesias

Rodriguez in 2012. The artwork explores the extraordinary world of cocolithaphores, minute ocean plants that are one

of our major carbon sinks. All chalk cliffs are dead cocolithaphores, millions of years old. The photographic image on this

chalk shard are human cells witnessed as that first divide from one cell into two. The artwork is about time scales and

the mark of the human on planetary systems in this age of the Anthropocene.

BIOGRAPHY

David Buckland is a photographic ar tist, film-maker, writer

and curator. His work is included in the permanent

collections of the National Portrait Gallery, London; the

Centre Georges Pompidou, Paris; the Michael Wilson

Collection, London and the Metropolitan Museum of New

York. Buckland created and now directs the international

Cape Farewell project. www.capefarewell.com. Bringing

ar tists, visionaries, scientists and educators together to build

an international collective awareness and cultural response

to climate disruption.

bucklandart.com

DAVID BUCKLAND

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Human condition 2015 metal, army blanket, charcoal and glass 95 x 27 x 27 cm

As the climate changes and biodiversity diminishes, man made chemicals accumulate in the environment and in our bodies.

Traces of bad choices and convenient meals manifest as allergies and pandemics. My work explores the human form under

the increasing extremes of our time.

BIOGRAPHY

Mariana del Castillo was born in Ambato, Ecuador. In 1989

she graduated from the Australian National University,

School of Ar t, Canberra and has exhibited extensively.

In 2014 art critic Peter Haynes voted her solo exhibition

‘Scars of a ritual past’ as one of the top five exhibitions to

be seen in Canberra.

MARIANA DEL CASTILLO

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Evidence Based Research - Specimen # 5 (details) 2014 paint, wire, steel and polyurethane 60 x 30 x 30 cm

The purpose of this sculpture is to raise questions, inspire research and promote action. An upside down tree which is

symbolic of a world in denial of the evidence of climate change. Bright red, an aler t, a call to arms, it is on one hand beautiful,

but on the other it provides a disturbing truth about the effects of our denial. It is in conflict with itself, having nature

removed, industrial processes used to extend its purpose, yet the sculpture is all about the environment.

BIOGRAPHY

Julie Collins has been creating sculpture, responding to

climate issues for over 25 years. She has been collaborating

with Derek John since 2001. Together they have exhibited

in 16 solo exhibitions and over 109 group exhibitions within

Australia and overseas. Julie is the current Curator of the

Lorne Sculpture Biennale (2011-2016).

djprojects.net

JULIE COLLINS AND DEREK JOHN

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Logging truck IV 2012 plastic toy truck, acrylic on wood, cord 27 x 96 x 17 cm

My work incorporates a diverse range of visual media, often appropriating readymade objects as materials for alteration and

reinvention. Issues concerning the comprehension, management and commoditisation of the Australian landscape amidst

broader environmental themes are central. Recent paintings of bushfires address issues of climate, the precarious imbalance

of man altered environments, and the ancient rhythms of the Australian landscape.

BIOGRAPHY

Contemporary Artist Dale Cox has in the past 12 years

presented nine solo exhibitions and participated in several

curated group exhibitions, including at the National Gallery

of Victoria and The Australian Embassy in Washington DC.

Cox’s paintings and sculptures can be found in significant

public, corporate and private collections worldwide.

Represented by Australian Galleries, Melbourne and Sydney.

DALE COX

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The Maldives Exodus Caravan Show 2014 cardboard cutout 20 x 21 x 9 cm

In trying to deal with huge complex concepts such as the Anthropocene and climate change; ar t exhibitions such as

The Maldives Exodus Caravan Show can serve as an effective way to communicate new ideas and solutions to the general

public through its creative play, performance and video program. This is the power of ar t and an example of how art can

change the world.

BIOGRAPHY

Danish ar tist and curator Søren Dahlgaard is based in

Copenhagen and Melbourne, his works strive to question

the norm and challenge the way we do basic things.

He has held solo exhibitions in the UK, Denmark, Brazil,

Poland, Spain, New Zealand and the Maldives and is the studio

ar tist in residence at Ger trude Contemporary in Fitzroy,

Melbourne 2014-15. His work is held in numerous public

collections including KIASMA Museum for Contemporary

Art, Helsinki, Finland; The Danish Arts Foundation, Denmark;

and the Museo National Brasilia, Brazil.

sorendahlgaard.com

SØREN DAHLGAARD

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Mantis Shrimp 2014 discarded plastic, hot melt glue, wire 25 x 15 x 39 cm

The Mantis Shrimp is an excellent example of one of the reasons why we need to protect our oceans from all the effects of

global warming. This relatively small crustacean is the subject of much research, from its spectacular vision to its incredible

attack mechanism. We have so much more to learn.

BIOGRAPHY

Jane Gillings’ work can range from detailed realism to

large-scale sculptural installations, with consumption, and loss

the primary themes. Gillings resurrects materials that are

ordinarily thrown away, to amplify our assumption that they

are endless.

Represented by NG Art Gallery, Sydney.

jane.gillings.com

JANE GILLINGS

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440 2015 coal and steel 8 x 10.5 x 7 cm

Climate scientists predict a tipping point for the level of carbon dioxide in the atmosphere of 440 par ts per million.

Some readings suggest that we are past 400.

BIOGRAPHY

David Jensz was born in 1957. Diploma of Art, RCAE,

Wagga Wagga NSW, 1980. Postgraduate Diploma

(Sculpture), Canberra School of Art, 1985. Jensz has had

25 solo exhibitions in Australia, America and Thailand since

1980, including most recently at O.K. Harris Gallery, New

York, in 2010 (also 1997, 2000 and 2004). His work was

selected for major survey exhibitions including: McClelland

Sculpture Prize (2003, 2012) Helen Lempriere National

Sculpture Award (2005, 2006) National Sculpture Prize,

NGA (2001, 2003, 2005). ACT Government commissioned

him to make several Public Sculptures: Fractal Weave,

Civic Square 2006, Life Cycle Bunda Street (2010)

and Culture Fragment, Woden (2012). He teaches par t-

time at the Australian National University School of Ar t

(since 1988).

DAVID JENSZ

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Shrinking reef 2014 perspex and rubber sea creatures 43 x 93 x 9 cm

“Nowhere is our fragile weave more apparent.” - Peter Hay

The Great Barrier Reef world heritage area is one of the most biologically diverse areas in the world and climate change is

now recognised as the greatest long-term threat to the reef with implications for the 1600 species of fish. The puzzle piece

references the vivid colours and diversity of species in this threatened wonderland.

BIOGRAPHY

Barbie Kjar is a Tasmanian based artist with a national

and international exhibition record spanning thir ty years.

Her work is held in major collections including The National

Gallery of Australia, Canberra, Art Gallery NSW, Sydney

and many others. She has held 30 solo exhibitions since

1985. Her international residencies include France, Spain,

Japan, USA, Greece, Cuba and Mexico. She is primarily a

Printmaker but also works in the disciplines of Sculpture,

Drawing and Painting.

Represented by Australian Galleries, Melbourne and Sydney;

Beaver Galleries, Canberra and Bett Gallery, Hobart.

barbiekjar.com

BARBIE KJAR

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The Back of My Mind: The Dream Weaver (from The Fugitive series) 2012-15 bone, glass, seed, thread, mesh 5 x 25 x 25 cm

...”These are the days of violent extinctions, of global dimming and moving dust bowls, of habitat fragmentation, ice melt, and

plundered lives.

If we could hear the call of those who are slipping out of life forever. There we might encounter a narrative emerging from

extinctions, a level of blood that connects us”…

Deborah Bird Rose, Wild Dog Dreaming: Love and Extinction, University of Virginia Press, Charlottesville, Virginia, USA

BIOGRAPHY

Janet Laurence is based in Sydney and working

internationally. A recipient of both a Rockefeller and

Churchill Fellowship for environmental ar t. Working with

science, imagination, memory and loss, her practice examines

our conflicting relationship with the natural world. Creating

immersive environments that navigate the interconnections

between life forms. She explores what it might mean to

heal, albeit metaphorically, the natural environment, fusing

this sense of communal loss with a search for connection

with powerful life-forces.

Represented by Arc One Gallery, Melbourne.

janetlaurence.com

JANET LAURENCE

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PUT A BEAR ON IT 2015 plastic bag, plastic polar bear mask, 100L polystyrene balls and air pump 87 x 118 (diameter) cm

The polar bear - the world’s largest and fiercest land predator, used to be a symbol of the cold. But today, it is a symbol

of warmth. As the atmosphere warms, ocean levels rise and biodiversity loss mounts, the polar bear as a ubiquitous icon

of climate change prevails.

Put a bear on it. Make it a polar bear. How many plastic polar bear trinkets will it take to change the course of a

warming climate?

BIOGRAPHY

Jen Rae is an interdisciplinary ar tist and PhD researcher

at RMIT University. Her recently submitted PhD project

investigated processes of cultural response to the

communication of complex environmental issues through

two main forms of studio-led research. Jen’s studio ar tworks

include large-scale drawings, sculpture and photography.

Her collaborative artworks include performance, installation

and public ar t.

jenraeis.com

JEN RAE

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Will she feed the fish?

Inside a Diatom navicular lies Homo phagus.

She travels by boat to an after life.

(Navicula = boat-shaped) 2015

recycled Biomesh, hand-drawn with ink, machine-stitched 71 x 31.5 x 27 cm

In collaboration with light designer Marc Pascal

I make objects and animations in conversation with climate scientists and other ar tists, to better understand relationships

between us and the ocean. I lead the Living Data program to share knowledge of responses of living things (including us)

to our changing climate.

LISA ROBERTS

Lisa Roberts is a visiting fellow with the Faculty of

Science, University of Technology Sydney and visiting

scientist (aka ar tist) with the Australian Antarctic Division,

Tasmania. Roberts has studied dance, visual arts, animation,

Indigenous perspectives and Antarctic perceptions.

Her PhD was practice-based and led to the development

of a lexicon of primal gestural forms.

lisaroberts.com.au

MARC PASCAL

Marc Pascal studied Fine Arts at the Victorian College of

Arts, later followed with a degree in Industrial Design at

the Royal Melbourne Institute of Technology. He is inspired

by nature and explores new techniques and materials in

his innovative designs and lighting. Pascal was a lecturer in

Industrial and Applied Design at RMIT and has a number of

years’ experience in designing commercial lighting before

establishing his own design practise in 1994.

marcpascal.com

LISA ROBERTS AND MARC PASCAL

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Twinkie 21st century 2015 Twinkie, live cockroaches, perspex box, brass plate 14 x 30 x 14 cm

This work is an ar tefact for a fictional future, my intention is to ask the question, what will be left behind if the world, as we

know it, disappears and how would that reflect on who we were?

In the context of this exhibition new questions arise, is this piece a memorial for a world that was lost or an almost forgotten

memory of the wasteful society we gave up?

BIOGRAPHY

Daniel Savage is a Canberra based ar tist working

across photography, performance, video and installation.

He recently finished a year-long residency at the

Canberra Contemporar y Ar t Space culminating in his

third solo exhibition.

danielsavage.com.au

DANIEL SAVAGE

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Watermark 2012 marine-grade plywood and automotive paint edition 4 15 x 97 x 10 cm

The word flood appears in thick solid letters, styled in Helvetica Bold Italic, with only the top third showing, like a headline

literally going under. The title Watermark means both a mark showing the height to which water has risen, and a design

impressed into paper which is visible when held to the light, guaranteeing authenticity.

BIOGRAPHY

Richard Tipping makes ar tworks with his own poetic texts.

These include engraved stone sculpture, lightworks in neon

and LED, and altered and original reflective sign designs.

Tipping has exhibited widely in Australia, and internationally

in London and New York. In Germany, Watermark (’flood’)

is on permanent outdoor display in Sylt, as is the original

large-scale sculpture in Brisbane at the Powerhouse Centre

for the Live Arts.

Represented by Australian Galleries, Melbourne and Sydney.

ar tpoem.com

RICHARD TIPPING

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