Re-MEDIAting the Wild
Support material: proposed artworks
1. Wattie (follow the water)
| Wattie | 2020 | looped video | film and video |
| Artwork, image and photography © Perdita Phillips | the nonhuman | ||
| 1:17 minute loop | |||
| Project: follow the water | 2018–2021 | Albany/Kinjarling, Western Australia |
2. Anticipatory terrain (capricious dreams)
| Anticipatory terrain (capricious dreams) | 2017 | video installation | multiples |
| Artwork, image and photography © Perdita Phillips | the-nonhuman | ||
| two looped videos with stereo sound and subwoofer in black box space | |||
| Part 1 (5:46) projected onto a black wall. Part 2 (1:28) played on iPad nearer to door, about 1.3m above floor | |||
| Project: both/and | 2017–2018 | ||
| Exhibition: Another Green World | 2017 | Western Plains Cultural Centre, Dubbo, Australia | |
Can you imagine what an kangaroo might dream? Or a landscape?
Filmed primarily at Thomsons Lake, Perth, Western Australia, this video installation was comprised of two looped videos. At one end of the black box space the Part 1 (5:46) loop was playing directly onto a black-painted wall. Darker tones of the video were lost into the twilight and highlights became silvery traces in the darkened space. To the side and closer to the entrance was a shorter loop, Anticipatory terrain (capricious dreams) part 2 (1:28), played on an iPad screen at 1.3 m high. The green tones of Part 2 were made to match the muted colours of Part 1.
Anticipatory terrain (capricious dreams) was commissioned for and exhibited at Another Green World, curated by Andrew Frost for the Western Plains Cultural Centre, Dubbo August-October 2017.
Part 1 is shown above (note that it is ‘as projected’ and not ‘as seen on the wall’), and Part 2, below:
Other examples of artworks:
Flourishing without purity (follow the water)
| Flourishing without purity | 2018 | Documentation of performative walk | multiples |
| Artwork, image and photography © Perdita Phillips | the nonhuman | ||
| 47.5 x 47.5 cm | |||
| digital inkjet print on paper | |||
| Project: follow the water | 2018–2021 | Albany/Kinjarling, Western Australia |
From the follow the water project: walking with local environmental scientists.
Entangled (follow the water)
| Natura Autem Vivit, Sed Occisio de Felibus | 2019 | cyanotype print | multiples |
| Artwork, image and photography © Perdita Phillips | risk |
| 114 x 152 cm (framed) | edition 2/3 available | ||
| unique state cyanotype print | |||
| Exhibition: City of Joondalup 2019 Invitational Art Prize | 2019 | Hillarys, Western Australia | |
| Collection: City of Joondalup | 2019 | Joondalup, Western Australia | |
Cyanotypes are an early photographic technique invented by astronomer Sir John Herschel in 1842. Paper is sensitised and then exposed to sunlight to turn uncovered areas of the image blue. Here, natural materials including bones have been combined with hand-drawn stencils. Quendas were once found throughout the southwest of Australia. But, unlike many other local marsupials, they still survive in pockets in the urban areas of Perth. Nature is alive, but [for] the killing of cats.
With thanks to the Friends of Yellagonga Regional Park and photographer Gary Tate.
Fossil (iii)
| Fossil III | 2019 | limited edition fictionella book | multiples |
| Artwork/selected images © Perdita Phillips | knowledge | ||
| as part of the Lost Rocks project | |||
| 96pp, 11 x 18cm | limited edition | $20 each | |
| Softcover book with 30 illustrations | |||
| Exhibition: Lost Rocks | 2017-2021 | Lost Rocks by A Published Event | |
This is not a jellyfish
A short fictionella that starts with thombolites and finishes with the decimation of Banksia Woodlands on the Swan Coastal Plain. A mediation on CaCO3 — when fossils are not — and when history and the future needs revision. You will discover living fossils and quorum sensing, the story of Tennant’s Cabinet, pseudofossils, the Leedermeg, future fossils and lost worlds.
A forecast of storm (Derbarl Yerrigan)
| A forecast of storm (Derbarl Yerrigan) | 2020 | video | multiples |
| Artwork, image and photography © Perdita Phillips | risk | ||
| Swan River dolphin recordings provided by Chandra Salgado Kent, Centre for Marine Science and Technology, Curtin University. | |||
| 8:23 minutes | |||
| a sound listening | |||
| Project: both/and | 2020 | Derbarl Yerrigan (Swan River) | |
| Exhibition: Listening in the Anthropocene | 2020 | Charles Sturt University online | |
The colour of dust (the colour of fire)
| The colour of dust (the colour of fire) | 2020 | mobile | multiples |
| Artwork, image and photography © Perdita Phillips | environment | ||
| 300 x 250 x 2 cm | |||
| acrylic on recycled cardboard | |||
| Exhibition: Stuff | 2020 | Gallery Central, Perth | |
Everything is connected, everything is changing
Artist statement
This work on recycled cardboard attempts to capture the zeitgeist of the Australian summer of 2019-2020: I was in New Zealand in December and saw the sky’s light turn yellow. I saw a headline from an online article in Scientific American that resonated with what I was feeling. Whilst much of the impact of drought and fire occurred mostly in the eastern states of Australia, the fine suspended particulates from the fires have dispersed eastward around the world and back again to where I live in Western Australia.
Marvel, K. (2019). This was the decade we knew we were right: Everything is connected, and everything is changing. Scientific American. Retrieved from Scientific American Blog Network website: https://blogs.scientificamerican.com/hot-planet/this-was-the-decade-we-knew-we-were-right/