1 20 bottles found outside an old shed
|20 bottles found outside an old shed||2017||found objects||inimitables|
|Artwork, image and photography © Perdita Phillips||environment|
|bottles 30 cm high||$3300|
|some bottle containing original water/biological communities|
These bottles were abandoned out the back of an old milking shed for many years. Water found inside some of the bottles is from natural springs and is at least 10 years old, forming individual enclosed photosynthesising biological communities
2, 3 carry me, join me
|carry me, join me||2016||participatory project with wetlands||inimitables|
|Artwork, image and photography © Perdita Phillips||the-nonhuman|
|In collaboration with 8 human participants and 22 waterbodies|
|22 wetlands and 8 participants, 18 water samples (total 40 litres of water) and 22 air samples||$5500|
|bottles 28 and 12 cm high|
|Project: -ing||2015–2016||22 inner Perth wetlands|
|Exhibition: Carry me,||2016||149 Beaufort Street, Perth|
The work of the participants in this social practice project was to convey ‘messages’ of goodwill between wetlands so that a conceptual network of connections could be drawn. Even though many of the waterbodies were highly modified (and many were reconstructed wetlands), they still deserved to be valued biologically and culturally. The shores of the Swan have been greatly changed and many of the wetlands that once existed through Northbridge are no more. This project conceptually linked these isolated places once again.
-carry me, join me is presented as a part of International Art Space’s Know Thy Neighbour program
4,5 Night for Day (The Owl of Bunbury spreads its wings only with the falling of the dusk)
|Night for Day||2015||mixed media installation||inimitables|
|(The Owl of Bunbury spreads its wings only with the falling of the dusk)||Artwork, image and photography © Perdita Phillips||the nonhuman|
|4 x 6 x 3 m||$6600 complete installation|
|Mixed media: wood, Bureau of Meterology rainfall maps of Western Australia from the late 1960s and early 1970s, cut brass, watercolours, digital prints, water samples||$1100 individual owls (subject to availability)|
|Project: Night for Day||2015|
|Exhibition: Bunbury Biennale||2015||Bunbury Regional Art Gallery, Bunbury|
In this work sea level rises and climate changed were linked to owls and change processes. The quote about owls is a paraphrase from Hegel, arguing in his case about philosophy, but here referring to the positive potential to respond to change, even when it is right upon us. The materials of this installation included wood, Bureau of Meterology rainfall maps of Western Australia from the late 1960s and early 1970s, cut brass, watercolours, digital prints, water samples.
This work is about reversals: how it might be possible to change from one state to another. It uses the metaphors of swapping night for day and far for near. It began when I noticed the yellow glow of light coming from the covered up convent windows and wondered what it might be like to see this light as a concentrated field of colour. What then might it mean if we could see the light of the night instead of the day? Like staring all the way around the world at the back of your head, what might it mean to see a possible future that you could not see before?
That of course is a pretty hard (and pretty absurd) thing to do, but we are living in times where society needs to be flexible and responsive to accommodate the changes that are facing us. Here I’ve combined this call for resilience and openness with things from nonhuman worlds. For me, seeing and experiencing nonhuman worlds is important because they can decentre us, and change day for night. Underlying my art practice generally is an interest in ecosystemic thinking and its role in imagining environmental futures.
|detail of digital print|
6 .–. / .- / .- (penguin anticipatory archive)
|.–. / .- / .- penguin anticipatory archive||2013||archive (work in progress)||inimitables|
|Artwork, image and photography © Perdita Phillips||
|box 31.5 x 31.5 cm||edition of 7/7 available||$1100|
|mixed media drawings and digital prints (work in progress)|
|Project: .–. / .- / .-||2013||Manly and Kings Cross, Sydney|
|Exhibition: Novel Ecologies||2013||The Cross Art Projects, Kings Cross, NSW|
What happens when an archive is for the future and not just the past? This work in progress is a collection of digital images, drawings on tracing paper and rubbings on rice paper which together describe visually issues surrounding the Little Penguin colony at Manly, Sydney.
This artwork was generated as part of the .–. / .- / .- artist in residence with The Cross Art Projects 29 August to 9 September 2013 for the Novel Ecologies exhibition curated by Jasmin Stephens.
7 doing so that (tie a knot in it, the world is a handkerchief, a pile of promises)
|doing so that (tie a knot in it, the world is a handkerchief, a pile of promises)||2013||Handkerchief exchange||nonhuman|
|Artwork, image and photography © Perdita Phillips||eclogues|
|Handkerchiefs 28 x 28 cm||Edition of 250 handkerchiefs. Individual handkerchiefs by exchange contract||$1100 installation|
|250 handkerchiefs, paper, pens|
|Project: .–. / .- / .- penguin anticipatory archive||2013–2013||Manly and Kings Cross, Australia|
|Exhibition: Novel Ecologies
||2013||The Cross Art Projects, Kings Cross|
This artwork was generated as part of the .–. / .- / .- artist in residence for the Novel Ecologies exhibition curated by Jasmin Stephens. It worked with the Little Penguin colony at Manly, Sydney. In the exhibition each handkerchief had a label with the words: .– …. .- – / -.. — . … / .- / .–. . -. –. ..- .. -. / .– .- -. – (What does a penguin want). Handkerchiefs could be taking by the audience, but in order to accept a handkerchief participants were asked to make an assurance…
In exchange for a handkerchief I will:
- ask “what does a penguin want?” and do something practical about it
- volunteer 3 days a year for a hands-on outdoor environmental project
- swap permanently from using tissues to using handkerchiefs
With thanks to: Jasmin Stephens, Jo Holder, Phillip Boulten, Thom van Dooren, John MacRitchie, John Stockfeld, Belinda Cannell, Lincoln Johnson, Jim Boyce, Director Judy Reizes and the staff at the Manly Environment Centre. Further details see P A A project
8 Thataway (hola Antarctica)
|Thataway (hola Antarctica)||2014||video loop installation||film and video|
|Artwork, image and video © Perdita Phillips||wonder|
|23 second looped video||edition 7/7 available||$550|
|Project: Thataway||2013||Cape Horn|
|Exhibition: Horizon: Exploring the West Coast with The Clipperton Project||2014–2015||Fremantle Arts Centre, Fremantle|
Documentation of an action for cetacea at Cape Horn.