The Warming and An Anthropocene Cabinet of Curiosities

THE WARMING AND AN ANTHROPOCENE CABINET OF CURIOSITIES

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AU S T R A L I A N GA L L E R I E S

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

Exhibition opening

The Warming Sunday 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 Curiosities 3.30pm 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

o!is!required!we!have!also!supplied!these!three! australiangalleries.com.au GE!and!the!CLIMARTE!logos!to!be!stacked!in! as!follows:!!

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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 Weight p20-21: 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 Wisser Back Cover: Dale Cox Tract 38 (Burning) (detail) 2013 acrylic on canvas 101.5 x 152.5 cm

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

public lecture from journalist Elizabeth Kolbert, from her

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

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

ART+CLIMATE=CHANGE 2015 at Australian Galleries, which

originated with poetry, performance and a competitive spirit.

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

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

When climate activists have sorely needed public support,

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

Australian Galleries Director, Stuart Purves, has been notable

of Curiosities borrowed the performance and entertainment idea,

for this.

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

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

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.

Curiosities. These artists have been invited to pitch their artwork

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

at an Anthrop Slam to be moderated by renowned climate

prize. The ‘Anthropocene Slam’ resisted the competitive

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

framework. Rather, it invited scholarly collaboration in a playful

Libby Robin.

context. The shift from competition to chorus was its great

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

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.

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

Performing the object stories, and making them local as well

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

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

a context for this Australian performance event, the Anthrop Slam

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

assembled solely with creative ar t works.

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

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

Mandy Martin and Libby Robin March 2015

very different sort of public event, The Anthropocene Slam: A Cabinet of Curiosities. The headline item was a major 5

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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

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RAYMOND ARNOLD 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 Ar t 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, Hobar t. raymondarnold.com.au

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

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G.W. BOT 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 ear th. The glyphs are a metaphor for our existence on this ear th 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 Alber t Museum, London; The Alber tina, Vienna; Bibliotheque Nationale, Paris and the Museum of Modern Ar t, Osaka, Japan. Recent exhibitions include a touring survey show originating from Goulburn Regional Ar t 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.

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

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DALE COX 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.

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

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MANDY MARTIN AND ALEXANDER BOYNES 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.

MANDY MARTIN

ALEXANDER BOYNES

Mandy Mar tin lives in the Central West of New South

Alexander Boynes is a Canberra-based ar tist, curator, and

Wales near Wallerawang power station, decommissioned

Program Manager at the Canberra Contemporar y Ar t

since Dust Storm Power Station was painted. Our collaborative

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

work is an ode to the day it is demolished! Mandy Mar tin is

National University in Gold and Silversmithing; however,

an Adjunct Professor of the Fenner School of Environment

his practice has evolved to include painting, photography,

and Society Australian National University.

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

Represented by Australian Galleries, Melbourne and Sydney,

Alexander is currently developing a full-length performance

and Beaver Galleries, Canberra.

work with multi-disciplinary ar t collective PRAXIS, which

mandy-mar tin.com

he established in 2013 with dancer/choreographer Laura Boynes, and cellist/composer Tristen Parr.

Represented by Beaver Galleries, Canberra. alexanderboynes.com

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

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SARAH TOMASETTI AND HEATHER HESTERMAN ‘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

SARAH TOMASETTI

HEATHER HESTERMAN

Sarah Tomasetti’s practice engages the complexity of

Heather Hesterman is an interdisciplinary ar tist working

our relationship to the natural world, dealing par ticularly

with installation, print-based media and landscape design.

with sites of rapid change. Recent paintings of glacial

Recent projects are concerned with the intersection of

landscapes seek to re-configure the romantic gaze in the

topography, botany and the abiotic within natural and

light of contemporary anxieties. Working with pre-industrial

constructed sites. Informing visual processes with scientific

techniques she embeds the mutability of the subject matter

data, Hesterman re-examines our relationship to landscape

in the fabric of the work.

as political, ecological and cultural.

Represented by Australian Galleries, Melbourne and Sydney

heatherhesterman.com

and Beaver Galleries, Canberra. sarahtomasetti.com.au

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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, Hobar t 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

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JOHN WOLSELEY AND LINDA FREDHEIM 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, ear th, leaves, fur and feathers.

JOHN WOLSELEY

LINDA FREDHEIM

Since moving to Australia in 1978, John Wolseley has

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

immersed himself in the landscape, an approach which has

Linda Fredheim has become renowned for the way in which

given rise to a variety of different ways of collaborating with

she incorporates complex narrative elements into her

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

innovative furniture and object design. She often includes

and installations are often based around scientific themes

references to historical events or people through the use of

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

text and image. Fredheim has exhibited widely in museums

of continental drift and evolution. His exhibition Heartlands

and galleries and her work is held in numerous public and

and Headwaters is currently on view at the National Gallery

private collections throughout Australia. She is based in

of Victoria from 11 April to 20 September 2015.

Hobar t, Tasmania.

Represented by Australian Galleries, Melbourne and

lindafredheim.com.au

Roslyn Oxley9 Gallery, Sydney. johnwolseley.net

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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)

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ALEX ASCH 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 shor t-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.

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Foreground: 25.150-88째(1) 2015 PVC pipe, nylon screws, low sheen acrylic paint, stainless steel table 63 x 80 x 78 cm Background: 25.150-88째(2) 2015 PVC pipe, nylon screws, low sheen acrylic paint, stainless steel table 56 x 85 x 80 cm Photograph: Alex Wisser

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MARK BOOTH 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 Ar t Gallery, and was included in a group show at Cessnock Regional Ar t Gallery. He has had solo shows in Sydney and Melbourne, and has just par ticipated in Cementa15. Mark has won Sculpture in the Vineyards, and twice been a NSW Ar tists’ Grant recipient. He lives and works in Hill End, NSW. mark-booth.com

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

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DAVID BUCKLAND The Chalk Shard is par t of a larger artwork, Cache, made in collaboration with the Marine Biologist Dr Debora Ingesias Rodriguez in 2012. The ar twork 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 ar twork 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 Por trait 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. bucklandar t.com

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

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MARIANA DEL CASTILLO 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 ar t critic Peter Haynes voted her solo exhibition ‘Scars of a ritual past’ as one of the top five exhibitions to be seen in Canberra.

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

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JULIE COLLINS AND DEREK JOHN 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

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

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DALE COX 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 in the past 12 years presented nine solo exhibitions and par ticipated 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.

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

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SĂ˜REN DAHLGAARD 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 ar t 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

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

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JANE GILLINGS 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 Ar t Gallery, Sydney. jane.gillings.com

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440 2015 coal and steel 8 x 10.5 x 7 cm

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DAVID JENSZ 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 Ar t, RCAE, Wagga Wagga NSW, 1980. Postgraduate Diploma (Sculpture), Canberra School of Ar t, 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 ttime at the Australian National University School of Ar t (since 1988).

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

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BARBIE KJAR “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 ar tist with a national and international exhibition record spanning thirty years.

Her work is held in major collections including The National Gallery of Australia, Canberra, Ar t 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, Hobar t. barbiekjar.com

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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

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JANET LAURENCE ...”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 wor king 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 43

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

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JEN RAE 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

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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

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LISA ROBERTS AND 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

MARC PASCAL

Lisa Rober ts is a visiting fellow with the Faculty of

Marc Pascal studied Fine Ar ts at the Victorian College of

Science, University of Technology Sydney and visiting

Ar ts, later followed with a degree in Industrial Design at

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

the Royal Melbourne Institute of Technology. He is inspired

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

by nature and explores new techniques and materials in

Indigenous perspectives and Antarctic perceptions.

his innovative designs and lighting. Pascal was a lecturer in

Her PhD was practice-based and led to the development

Industrial and Applied Design at RMIT and has a number of

of a lexicon of primal gestural forms.

years’ experience in designing commercial lighting before

lisarober ts.com.au

establishing his own design practise in 1994. marcpascal.com

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

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DANIEL SAVAGE 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

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

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RICHARD TIPPING 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 Ar ts.

Represented by Australian Galleries, Melbourne and Sydney. ar tpoem.com

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