Australia’s leading environmental artist Fiona Hall (Hobart) provided a large carpet called ‘Clearing’ from 2008. It links to the agricultural theme of the Tribunal by exploring the loss of flora and fauna of the bushland for large-scale farming. (CAMOUFLAGE)
Extending the interest in fauna by Fiona Hall, Joseph Burgess (Brisbane) provides a video artwork of a large bird, part of the megafauna that once roamed Central Australia, as a giant lit lantern puppet powered by a scissor lift parading through Alice Springs. (BLEACH)
Spoken word poet Caresse Creswell and video artist Di James created ‘Bleach’ as a response to the Great Barrier Reef 2016 Rights of Nature Tribunal case. It’s an invitation to engage in political action differently, with smiles from our hearts, to come from the place of our love. It‘s an invitation to create a selfie swarm that mimics the coral spawning. #bleachforthereef (BLEACH)
Jude Roberts and Helen Hardess (Brisbane) take the underground water reservoirs as a point of research and explore the way that the western world’s scientific apparatus impact eco-systems, these forms as ‘Stygofauna nests’ drawing samples of bore water for analysis. They recreate plankton nests in waxed paper to reveal the deep time histories and hidden relationships of groundwater systems and the life forms they support. (GLOW) (MESH)
Libby Harward is a Ngugi woman from the Quandamooka whose work layers the sounds the plants hear, in the composition of a new noise rite for Nature’s Right Performance curated by Danni Zuvela for the Liquid Architecture program ‘Why Listen to Plants?’ at our Spring Hill Reservoirs show.