Examples of work

Horizontal gene transfer, quantum entanglement, I’m mouldy plastic, my garden and the internet, 2021.
Overlays of plant ink prints, bacterial inks, dual handed sensorimotor drawing, mould, eyeshadow, internet body outlines embodied with the forest I was born near, Jinibara Country.

Our skins, after. 2021.
Frottaged Bunya with charcoal from surrounding fallen burnt trees. Dual handed sensorimotor fingertip drawing with graphite powder and water. Tending to bodies of land and flesh.


Following a dry river, 2020.
Site specific video and sound installation of ‘We were paradise’, Incinerator Gallery, Art for social Change. Set on the boundary of Kabi Kabi, Jinibara and Wakka Wakka Country. A banner with outlines of commodified bodies (porn) re-embodied in commodified landscapes (stolen land), sensorimotor site drawing, dredged coral concrete circa18C, snake skin, plant ink shroud, digital collage, printed on silk, hung on site.
from Karla Pringle on Vimeo.



Bacterial mono pressing, body contact and fermented plant inks. 2020. For Artist for Plants, online exhibition.
Collaborative documents exploring narratives between human biomes, plants, and micro-environments. The inky images pressed onto mulberry bark paper become communities of living, migrational intelligences, each with their own presence.


Bracken holding Drynaria, 2019
Na’rawi (Kabi Kabi language, Waves) moves Wallum, 2019
Ninderry (Kabi Kabi language, place-name) and Cycadia, 2019

Montaged outlines of internet pornography reembodied.
Digitally printed 100% Silk Satin hanging from Eudlo (Kabi Kabi language, Silky Oak)
Herland II Exhibition, Women’s Library, Newtown, Sydney.


‘Waterfall of bones’ 2019. install shot, from ‘When I was the forest there was nothing I could not love’. Rubicon Gallery, Melbourne. Sensorimotor dual hand painting and drawings overlaid on silk. Bodies, trauma, instinct, nature, affect, cycles, patterns, bacterial intelligence, love and symbiosis. I work to reconcile my complex history with my environment.


Analogue Environmental Sound Synthesiser, 2019.
Synthesising the sounds of the Human vascular system (heart) with the sounds of the environment. A ceremonial platform providing an analogue prosthetic for listening at the lake. Participants are invited to enter a collaborative and immersive bodily synthesis with the environment. The Analogue Environmental Sound Synthesiser sculpture acts as mediator between environmental spatial sounds and the individual human biome. It amplifies and brings into consciousness the biophony (which includes human and more than human sounds) connecting spaces in between points of the body and the landscape. This sculpture was commissioned by Noosa Regional Gallery as a part of Floating Land.


Karla Pringe, Where the waves begin, 2019 Trocadero Art Space, Melbourne.
Environmental and sensorimotor marks printed on silk satin, carved, burnt and stained tenugui. With a nod to tasseography, ritualistic marks are collated and printed on silk, hung from a carved, burnt tenugui stained with blood, holy water, weed pigment, and ink. I draw with both hands, simultaneously focusing on my pelvic area as an exercise in integration and body awareness. I’ve had to learn to walk again and my pelvis, like the land it stands on, is a contested site holding trauma. As I work, untold histories unfold, silences end, alternative records emerge, and I see why I was made to believe I come from ‘no place’.


Be/Coming Home, 2019 MailBox Art space, Melbourne.
Sensorimotor drawing in Kabi Kabi land printed on silk hung with Eudlo (Kabi Kabi language, Silky Oak). These are records of the deep reverence that can exist between bodies of land and flesh – petitions against the destruction of their unity. Love poems to Country, teaching me to come home, teaching me to become home.



Monument to being, 2015 Tacit Gallery, Richmond, Midsumma Festival.
These tableaus of daily gatherings are scattered with light from half filled bottles, photographed, printed and painted into – repeated, again and again and again. The layers of domestic ephemera are woven through physical and digital platforms, seasonal and binary meantimes and knitted into experiential tapestries.