Ash West

Parasite, 2022

Found objects, apoxie sculpt, gelatin and glycerine

The skin is merely a permeable boundary separating the body from the world. Uniting concepts of the body and its relation to the world with parasitism, this work considers the parasite as a primordial, one-way relation at the base of all human interaction. Particularly interested in the way the parasite plays guest, this work uses the meal and dining space to mimic the interchange between guest and host; plumbing the depths of human existence and the obscure revolts of being. Examining how the boundaries between self and other are transgressed when a space is overtaken by the body, this work asks: what comfort does one find in their disgust?

@hellolittlegoblin

Eva Payne

Dust, 2022

Porcelain hand-made surgical abortion tools, sound

On the 24th of June 2022, the court case enabling women access to safe abortion, Roe V Wade, was overturned in America. Unsafe abortions claim 13% of all maternal mortality rates, which will increase due to legislation. While women currently have access to abortion in Australia, this is not always guaranteed. NSW only decriminalised abortion three years ago; in WA it is still under criminal code, and there are still financial impediments. The artwork thrusts the audience into an uncomfortable environment and blames them for it. Each cacophonous crunch is emblematic of and projects the injury inflicted upon bodies with uteruses when confined by inhumane legislation. Recontextualising the topic of reproductive rights into the Australian landscape, Dust forces the audience to adopt the role of the bystander as they walk over and destroy ceramic surgical tools used to perform a safe abortion. Ultimately, the work translates to protest and a call to action. The audience’s destruction of objects integral to knowledge and rights indicates neglect of action in the community; situating the audience as accountable as bystanding is thus underlined as a form of participation and violence.

@evamaesart https://www.eva-payne.com/

Jy Martin

Translations, 2022

Found natural materials, Glass, projected single channel video, sound

A multi-modal installation, Translations uses the audience to develop their relationship with the material and subjects they are confronted by. This, in turn, allows the exposure and creation of relationships between humans, technology and environments. The work satirises technologies influence on the natural world, while simultaneously advocates for the possibility of harmony between the scientific and the environmental. The video component of the installation embraces and imposes a natural language onto the audience. This language shifts between the real, imagined, and invented, and this verisimilitude of visual and auditory languages underlines how the human desire for taxonomies causes an imagining of phantom events. This, married with the real and distorted extends this translation and discourse between technology, humans and nature.

@jymartinii

Cassia Glynn-Bray

To Infinity, 2022

Acrylic, LEDs

See inside my dreams

Hold me to infinity

I’ll hold you back

@cassia.does.art