Nadège Philippe-Janon’s work entangles nature, culture, science and personal narrative, taking a posthuman, ecocentric approach to human relationships with the more-than-human world. In her studio, a diverse range of objects and ephemera including salt, clay, water, glass, found objects, animation, video, light and sound are manipulated, tested and layered. These materials come together in a way that reveals the agency of things and emphasises the interconnected qualities of our environments, decentering humans from the worlds they construct and inhabit.
Often site specific and makeshift, Nadège’s works tend to retain a fragility and transparency that leads the viewer into acknowledging their coexistence in a space, invoking a sense of instability and transience within human ecologies. With an impulse to explore a wide variety of research processes and materials, projects have ranged from harnessing the sun’s heat to melt metals, using weather data to create responsive multi-media installations, attempting more-than-human perspectives via sexting, imagining past and future timescapes through guided meditation, and casting off on the Tasman sea in a handmade boat.


Nadège is an early career artist based in Southern lutruwita/Tasmania. She has been awarded numerous grants including residencies in Australia, Japan, Paris, Mexico City and Jeju Island, Korea. Nadège has delivered major public art projects including Forest Specular –  situated along the Franklin-Gordon river to commemorate the Franklin Dam protests. During her time on the board of Constance ARI from 2017-2022, Nadège voluntarily managed and coordinated various projects across Tasmania. She is currently on the board of Good Grief Studios.
Recent exhibitions include: Futures, Dark Mofo Festival,  (TAS) Peak Whale Oil, Cool Change Contemporary (WA),
Liberty: from here to here, Hobart Current art prize, Tasmanian Museum and Art Gallery (TAS), Jeju Open, iAa Artspace (KR), Surface Tensions FELTspace, (SA), Systematic; touring – Academy Gallery, (TAS); Artspace Mackay, (QLD); and Devonport Regional Gallery (TAS), Ravenswood Women’s Art Prize, Centenary Centre, Gordon (NSW), Bienal de Pisapapeles III, Llorar gallery (CDMX), Mock Sun, Contemporary Art Tasmania (TAS), Real Life Fantasies, West Space (VIC), New Alchemists; touring – UQ Art Museum, (QLD); and Flinders University City Gallery, (SA), and Sound Traces, Tenjinyama Gallery, (JPN).

nphilippejanon (@) gmail.com