“We make places of strangeness so we can facilitate a state of enchantment. This enables us to engage with our desires and fears in the safety of the magical unknown.”
(Loose quote from Kristina Andersen talk, “Making Magic Machines or Practising at the Unknown”, Medea research centre, Sweden, 2012)
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Everything else besides us, 2025. The multitude of beings, vegetal, fungal, algal, lichen, insect, etc., all experiencing this world in a way I don’t know. Humans always forget they don’t know what they don’t know. And in that, I hope, there’s hope.

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Karla Pringle currently lives on Wadawurrung Country, Victoria, Australia, after relocating from Kabi Kabi Country, Queensland, in 2024.
Her practice is grounded in material and relational engagements with place, exploring how understanding emerges through sensory experience, somatic awareness, mutualism, material wisdom, and temporal variability.
Informed by a lived experience of disability and complex trauma, Karla explores the deep interconnection between body and environment―both as sites of simultaneous wonder and horror. Through relational inquiry and an examination of climate aetiology, she seeks to understand their effects on shared biotas and how resilience and perception emerge from these entangled forces.
Temporal and seasonal observations form a continuous thread in her methodologies―she thinks a lot about ‘the weather.’ Through sustained observation, reflection, and reverence, she fosters deep relationships with place, hoping to reweave and re-pair the rapport between bodies of land and flesh. In doing so, she seeks to mend ancestral, colonial, and patriarchal violence held in her body and the land she inhabits.
Karla maintains a daily practice of embodied sketching, combining sensorimotor mark-making, proprioceptive understanding of her environment, and automatic drawing. Her work is shaped by diverse influences, including archaeoacoustic studies, biology, environmental philosophy, maker traditions, trauma therapies, sortitus acts, and surrealist methodologies.
She works across a wide array of materials, media, and methods, guided by conversations and collaborations with place, its interconnected inhabitants, and material forces. Natural phenomena―currents, patterns, sensory information, sound waves, seismic activity, and our psychogeographic responses to these systems―are central to her investigations. She weaves diverse elements through replicative devices and blends ‘mean’ and digital times, creating non-normative spaces where ineffable or speculative experiences can be held.
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