Between arrival and departure, 2020
Water, mirror, footage of the sun from NASA’s Solar Dynamics Observatory, crystal sphere, plastic sheet, fan, Ferrofluid, Neodymium magnets, motors, wood, papier mache, molten rubbish and discarded objects, birdsong field recordings
The ending is both a spectacle and a slow burn.
When a star dies, it becomes a gigantic crystal ball. The sun, our nearest star, in that paradoxical way that seems to underlie all things, is capable of delivering both life and death, hope and despair. Wavering between the two million degree sun surface and the seductive sunset. The sun will rise again tomorrow. It will melt the ice tomorrow.
When plastic melts, it comes alive, crinkling and curling at random. It smacks and squeals, releasing cancer-causing pathogens into the air. It fuses with rock and dirt. It doesn’t go away. A pool of Ferrofluid resembles the dirty black brown of petroleum. Capable of acting as both liquid and solid, when magnetised it forms a cluster of spikes oddly similar in shape to that of the massive drill heads used in extraction industries.
Engaging with our fraught relationship with the environment, Between arrival and departure enmeshes the present and the future, and plays with material histories, hidden forces both within and beyond control, and the growing environmental crises that have become impossible to ignore. Seemingly disparate objects are interwoven within a system of cosmic, political and physical networks, at once ordered and chaotic. Perhaps a manifestation of eco-anxiety, Between arrival and departure is an immersive space that seeks to confuse and destabilise, soothe and alarm. Earth is equally fragile and resilient – at the edge of the apocalypse, the bird song is louder than ever.
Created for the inaugural Hobart Current art prize 2021, a partnership between the City of Hobart and the Tasmanian Museum and Art Gallery