Creative Australia Support Material
FOUNTAIN 2025
(Betty Russ and revolving collaborators - Kairan Ward, Michael Donnelly, Andy Hodges)
December, Lismore Regional Gallery, Bundjalung
Live audio recorded for Noisy Hour (public programming to engage noisy lookers) at Lismore Regional Gallery as part of Claire Milledge’s exhibition Complex notophyll vine forest: ground-proof
Hollow Mountain, Tender Junction 2024
as part of SEASON ONE: Terrestrial, A Land for the Living with Janet Laurence, Victoria Pham, Karrabing Collective.
May - June, Bathurst Regional Gallery, Wiradjuri
Within a surreal landscape inspired by speculative science fiction, the vegetal emerges as a potent symbol of humanity's relationship with the more-than-human. Science fiction both quells and enhances eschatological terror, offering nuanced exploration of the imminent climatic future. An immersive installation incorporates life systems supporting bio materials, enveloping the observer in an environment that blurs the boundaries between reality and speculation. Through this multisensory experience, viewers are invited to contemplate the complex interplay between human agency and the earth, prompting reflection on the implications of our actions for the future of the planet.
Image Credit: Silver Salt Photography
A Leakage of Wholes (iterations) 2022
Sep - December, Metro Arts, Meanjin
While mining the polyvalent discourse of retro speculative science fiction as a site of research, I am frequently encountering the vegetal as a signifier of what has been and what is to come.
Weeds, or rather, plants allegedly out of place, have an immutable loquacity in the knowledge they hold of the capitalocene, and tell clairvoyant, veracious narratives of where we are headed.
Image credit: Louis Lim
Inside, A Collapsing Building 2023
Betty Russ and Michael Donnelly for Arts Northern Rivers’ Site Lab public art commission.
August - Sep, post-flood abandoned bank, Bundjalung
Buildings provide us shelter and foster our sense of permanence and stability. They extend our private, internal spaces into the collective network, echoing the structures of thought, exploding our systems of reference and understanding into the spatial, material world our bodies occupy.
Buildings also assimilate our physiological and psychological frailties with the hostilities of the natural world, allowing us safety and comfort in a landscape alive with diversities, many operating against our interests. The notions of permanence and sustainability that buildings provide exist solely as a construct, maintained by our subjectivity in discourse with our surroundings. What is left when we no longer maintain our communion with the places we’ve built?
On entering the building, made devoid of activity following a catastrophic ecological event, the sense of a speculative post-human intervention is evident. Formed by the broken and rearranged materials once used to house capital exchange, are material utterances of pre-destruction activities, and post-human growth. Ad-hoc water vessels, pumping sustenance to and from micro-worlds, inhabit pockets of space within the cavernous shell. An awareness from within the apparently non-sentient amalgamations of matter, trigger response to human presence, sensing movement and responding with sound and light. Understanding of objects and apparatus is familiar, yet against interpretation.
Image credit: Fabian Pertzel
A Leakage of Wholes (iterations) 2023
January -March, Firstdraft, Gadigal
Popular culture uses speculative science fiction, fantasy and horror as a means to both ferment, and ignore, mounting eschatological terror. Within the context of imminent global catastrophe, speculation around plant consciousness and monstrous plants, as manifested in both philosophy and popular culture, is a site of productive tension concerning the vegetal, the more-than-human, and the future. I am drawn to the unreal, unimaginable, the weird and eerie, queerness, and provocative ideas that emerge from, making experimental investigations of other possible worlds to describe these tensions.
Image credit: Jessica Maurer