These recent works illustrate the development of ideas leading to my proposal. The first 3 images are compositions working towards the sheets that surround the carved mistletoe campfire/hearth. Following those, I’ve included a video work containing sounds and imagery that are supportive to this new installation, and finally an installation shot from a previous exhibition.
A tiramisu of star jumps, 2021. Outlined layers of stock photo humans moving/exercising, sweating/shedding micro fauna, leaving traces in place. Woven through patterns of plants and animals. A meeting of patterns, biomes, traces and places, nothing quite one, but many. Do they star jump or are they star jumped?
Stories in between our bodies, 2021. Outlines of internet stock photography of humans moving, overlaid through patterns of place; plants, animal marks, borer marks, fungi, moulds, etc, overlaid in Kabi Kabi Country I frequent.
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.
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.
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.