RISE 2.2: Considerations of saltwater, fish, mangroves & people, oil & plastic
Northern Australia, Torres Strait Islands & Indonesian Archipelago
11 June to 6 August 2022, CROSS ART PROJECTS, Sydney
Groundswell Touring Exhibition curated by Carmen Ansaldo Sept 2020-Oct 2021
Northern Centre for Contemporary Art, Darwin, North
, 4 Sep-10 Oct 2020
Araluen Art Centre, Alice Springs,
Northern Territory, 5 Mar- 3 May 2021
Nyinkka Nyunyu Art and Culture Centre,
Tennant creek, Northern Territory, 15 May- 31Jul 2021
Godinymayin Yijard rivers Arts & Cultural Centre, Katherine, Northern Territory, 17 Sep-30 Oct 2021
Perc Tucker Regional Gallery, Townsville Queensland, 11 Feb-1 May 2022
Wondai Regional Art Gallery, Wondai, Queensland, 3 Jun- 29 Jun 2022
New England regional Art Museum, Armidale, New South Wales, 2 Sep- 16 Oct 2022
Shoalhaven Regional Gallery
Nowra, New Soth Wales 4 Mar- 22 April 2023
Bunbury Regional Art Gallery WA, Bunbury Western Australia, 2 Jul - 27 Aug 2023
Link: Artback NT Groundswell information
We Eat We Are Touring Exhibition curated by Sarah Pirrie 2019-2021
Northern Centre for Contemporary Art, Darwin, Northern Territory, 1 May-21 May 2021
Araluen Art Centre, Alice Springs,
Northern Territory, 13 Mar- 26 April 2020
Godinymayin Yijard rivers Arts & Cultural Centre, Katherine, Northern Territory, 20 Sep-26 Oct 2019
Link: Artback NT
We Eat We Are
Rocksitting Place Mat are rocking in and out
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Rocksittling Place Mats
Sarah Pirrie| Artist|
SCROLLING- work in process
Something is missing and in doing so something is revealed.
Watching Tidal Shifts, we can see the ever-present wave force, moving in and out of the silk scrolls’ frame with each multitasking wave, objects are shifted into flickering beings, are “carried” within, are shaped and reshaped and are temporarily aligned.
Tidal Shifts materially engages with a 2000-year-old Chinese tradition of Gongbi style realist painting and the projected filmic imagery of wave action and sea foam. Cinematic realism is the interlocutor of painting. The entanglement of these modes through representation, editing and projection recognises acts of filtering or veiling for the effect of both concealment and revelation.
Anat Pick and Guinevere Narraway in their 2013 book
Screening Nature: Cinema Beyond the Human
articulate film’s relationship to its own ecological materiality including “its locations, onscreen lives, mise-en-scene, narrative, structures, spectators, exhibition spaces, its carbon footprint and chemical building blocks, from celluloid to silicon”. This idea is developed comprehensively by Nadia Bozak in her 2012 book,
The Cinematic Footprint: Lights, Camera, Natural Resources
digital projection and silk scroll combine in their imprint on the world through countless extraction. From the manufacturing of silk, import and export process of ocean roads to the animal by-product stearic acid in the plastic parts of computers which aid the making and projection process. All this hidden doing, this biophysical footprint is cut together-apart within Tidal Shifts’ pictorial rendering and through selective anthropogenic material collecting from East Point Reserve beach. Items collected are both recognisable and fragmented plastics and metals. Each found their own way to the wrack, via monsoonal runoff, through accidental or intended discard and through coastal currents and tidal flows. Collected from the wrackline the biophysical presence of this matter becomes painting within the narrative fragment of a continuous scroll and filmic wave.
In the manner of Gongbi tradition, underpainted forms in white, water-based paint have been rendered on the back of the ‘cinematic capture net’ that is the silk scroll. The process of tuō sè or back painting is usually done to reveal the meticulous painting of realistic natural on the front of the silk. In Tidal Shifts without the contextual painted front, tuō sè presents a speculative lessness of form. Something is missing and in doing so something is revealed. This is only reinforced by the revelation, concealment and rendering of the tide itself. This artwork is the proposed beginning of a new silk road series which will address in-between spaces of painting and cinema, coastal wrack exchange and trade. In this series histories and futurities that reflect on contexts and worlds to make explicit efforts of mutual attention and activities of endurance.
Post Production 19 Dec 2020
Matthew van Roden and Sarah Pirre
Artwork produced during micro residency at PirrieSpace
Medium: polystyrene wrack, chroma key green paint
considers the constant accumulation of polystyrene wrack on our coastal beaches in a disconcerting quest for dematerialisation. The United Nations Environment Program (UNEP) defines dematerialisation as
the reduction of total material and energy throughput of any product and service, and thus the limitation of its environmental impact
Over time polystyrene amalgamates with coral, sponges, and mangrove propagules to form tidal arrangements that confuse characteristic distinctions between organic and manufactured. The wrackline exposes visual similitudes as shipping and manufacturing products are reduced to flotsam and jetsam
Sun bleached, microbially decomposed and tidally abrased, both coral and polystyrene lie together on the shore in their various states of post- production composting.
Chroma key green is a post-production visual effect of composting. In the filmic world keying green allows the dissolution of figure and ground combining visual elements from separate sources into a single image.
sublimates the polystyrene and coral in an anti-visual materialisation display, to pose the question; Which one will disappear first?
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