Spring Hill Reservoirs – work in progress


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)

“4x5x100 = 2000 prayers for the earth”

Suzanne Bartos (Lithgow) combines her interest in social issues, psychotherapy and theatre for this work that invites visitors to spin each of the “prayer wheels”, made from repurposed oil drums five times. If one hundred people participate then 2000 prayers for the climate have been made. (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)

Pseudophryne Cementia

Dale Collier is a Darkinjung/Wiradjuri socio-politically engaged practitioner. This moving image work is about connecting to country through culture that is strange and unfamiliar. It attempts to diffuse the boundaries between contemporary art and creative action whilst considering nationhood in relation to finite resources and sustainable practice. (MESH)

Stygofauna nests

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)


Anastasia Tyurina (Brisbane/Russia) examines the microscopic environment of contaminated water that she animates into large painterly projections. (GLOW)

Bayeux capitalism: world alienation, legal personhood & the environment

Jenny Brown (Katoomba) in this second storyboard begins with Indigenous academic Mary Graham’s quote: ‘I am located therefore I am.’ Hannah Arendt’s identification of some of the determinants of world alienation plot a course from this Indigenous position. Further catalysts have been added to show the more elaborate throughline that has developed since Arendt’s time and to explore the range of corresponding laws and actions that have contributed protection or destruction to our relationships with the environment. The work’s teletext strip is provided HERE. (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.