Time and Tide
Art + Climate = Change festival, 2017.
Alcaston Gallery
2 May - 27 May 2017
Artists - Helen Bodycomb, Penny Byrne, Nellie Ngampa Coulthard, David Frank, Mirdidingkingathi Juwarnda Sally Gabori, Selby Ginn, The Hermannsburg Potters, Hermannsburg Watercolourists, Naomi Hobson, Judy Holding, Shirley Macnamara, Betty Muffler, Guykuda Mununggurr, Idris Murphy, Jasmine Targett, Angela Tiatia, Warraba Weatherall and Tiger Yaltangki.
Time and Tide is a curated intermedia exhibition in which participating artists of diverse experiences contemplate the impacts of climate change as observable reality within environment, culture, migration, and politics. Artists communicate their observations, stories and experiences to influence change against the most significant global threat we face today.
The participating artists enlighten with diverse perspectives sharing their observations of climate change from Indigenous and non-Indigenous Australian communities, Pacific Islands, urban Australia and globally. Artists include: Helen Bodycomb, Penny Byrne, Nellie Ngampa Coulthard, David Frank, Mirdidingkingathi Juwarnda Sally Gabori (c. 1924 – 2015), Selby Ginn, The Hermannsburg Potters, Hermannsburg Watercolourists, Naomi Hobson, Judy Holding, Shirley Macnamara, Betty Muffler, Guykuda Mununggurr, Idris Murphy, Jasmine Targett, Angela Tiatia, Warraba Weatherall and Tiger Yaltangki.
AN OFFICIAL EXHIBITION IN THE ART+CLIMATE=CHANGE 2017 FESTIVAL
Image - Jasmine Morgan Ryan, My Nike will live longer than me, 2017. Artwork held in private collection.
Artwork Presented -
My Nike Will Live Longer Than Me - Right Shoe, 2017.
Glass Crystal, Dichroic Lens
Installation size – L400 W400 H120 mm
Glass – L290 W190 H110 mm
“As I walk I realise my shoes will live outlive me. Long after I am gone, the materials they are made from will preserve them as entities independent of my ownership and one day the environment will reclaim them.”
In My Nike Will Live Longer Than Me, the artist’s shoe embodies ‘the Nike’ as a symbol of the human footprint of consumerism and the longevity of its impact on the environment. Quartz crystals pierce the surface and grow through the shoe, giving a sense of the inevitability of climate and time reclaiming the environment, perhaps independently or hostilely from humanity.
Originating from NASA space technology, the shoe sits on a dichroic-lens. This material makes the form appear animated using reflected light to change colour depending on the angle on which it is viewed. Constantly revealing new aspects of its dimensional interpretation of form and space, the work references how climate science studies nature, allowing us a glimpse into possible and predicted futures.
It is through our ability to fundamentally understand our relationship with nature and co-create with the environment in a positive way that will define our future as a species.
Image - Jasmine Morgan Ryan, Noctilucent Canary, 2017. Series of three prints on silk L620 W700mm - each.
Noctilucent Canary, 2017.
Series of three prints on silk
L620 W700mm - each
The series Noctilucent Canary explores the edges of vision. Employing the idea of a satellite as ‘an all seeing eye in the sky’, telemetry, data and images of Noctilucent phenomena are filtered through a series of lenses and prisms to explore the transitory process through which super-ecological[i] phenomena become visible.
Visible only in Earth’s shadow at deep twilight, Noctilucent clouds[ii] are visual signifiers of climate change in Earth’s upper atmosphere. Increasing in frequency, brightness and extent, Noctilucent clouds are being flagged by scientists as Earth’s ‘atmospheric climate canary’ heralding the visible beginning of the anthropogenic era.
[i] Super Ecology – The concept that the natural and artificial have become inextricably bound within one greater super ecological system.
[ii] Noctilucent (night shining) clouds exist in the upper atmosphere at an altitude of 76,000 – 85,000 meters. There is no record of them existing before 1885.
