This exhibition considers relational ontologies through material-kinship, each artist exploring human inseparability from the organic and synthetic world. By thinking-with agentic, fluctuating and porous materials, the artists centre cyclical patterns of making and re-use, hoping to shift perspectives of anthropocentrism and engage with instability as a generative force.
Exhibition text by Dane Mitchell
Erin Ginty is an artist working between Boorloo and Naarm. Her practice dwells within more-than-human relations and underground soils: swampy sites where the natural and urban tangle together. Ginty explores these fields through sculpture and installation, working with raw and fired clays, glass found on walks, studio leftovers and soupy, breathing video. Curious towards regenerative ecologies, she often breaks down materials to re-use or transform them, echoing actions learnt whilst gardening in her backyard. By negotiating with uncertainty, co-becoming and continually sifting her hands through muddy matter, Ginty’s practice hopes to reach embodied, responsive ways of knowing.
Emily Yeonsoo Jung is a Korean born Naarm based artist who develops cyclical sculptural systems that metabolise material and immaterial residue through release, delay, and transformation. Drawing from ritual architectures and structures of loss, her work treats absence as a charged condition through which residue can be softened, transformed, and returned to circulation. Employing rice water, glass, pewter, steel, and other mutable substances, Jung composes breathing structures that filter, disperse, and reform material across spatial and psychic thresholds. By pushing the properties of her materials, she investigates in-between states where presence and absence, material and immaterial conditions, are reconfigured.
Lou Wills is a Naarm based artist whose practice spans sculpture, performance and photography. Seduced by agencies of the material body, Lou traces temporal relations between object, gesture and substance. Focusing on points of connection, they attempt to strap, fix and bind materials as they destabilise. These unsettled conditions are seen as potential, whether it be in the rusting of steel or the drooping of sugar, Lou engages material autonomy in their enquiries between object, desire and the body.