https://dominicredfern.net DOMINIC REDFERN Sat, 26 Apr 2025 05:12:52 +0000 https://dominicredfern.net en https://dominicredfern.net/Dominic-Redfern-1 Mon, 26 Jun 2023 08:53:42 +0000 DOMINIC REDFERN https://dominicredfern.net/Dominic-Redfern-1 https://dominicredfern.net/Man-Cave Sat, 26 Apr 2025 05:12:52 +0000 DOMINIC REDFERN https://dominicredfern.net/Man-Cave Man Cave Invite text: Masculinity, particularly the white kind, is in a form of crisis or at best, self-reflection. The decrepit temple of Man Cave addresses the contemporary masculine as a species of the grotesque - messy and unresolved, monstrous, tragi-comic, and smelling a bit like socks. Plumbing the depths of colonial amnesia, Dominic Redfern channels his Celtic roots to find the rot has set in. Favourite comment from the opening: “I’m in a 2nd year engineering student’s bedroom, we’re probably going to have sex. But it won’t be good.” Biliana Agin, Psychologist Man Cave is an audio visual installation utilises the tradition of the grotesque as a means of exploring masculine gender identities. The term grotesque comes from the Italian for cave, ‘grotto’. This naming relates to the re-discovery of some previously unknown subterranean parts of Nero’s palace, the Domus Aurea in the 16th century – sparking the origin of the grotesque tradition in its modern incarnation. As we go through an ongoing period of reckoning with the ‘white supremacist capitalist patriarchy’ (to quote bell hooks), masculinity is in a form of crisis or at best, self-reflection. Man Cave addresses this moment with curiosity and without apology. It seeks rather to explore the masculine as a species of grotesque. Just as the contemporary masculine defies traditional norms or easy definition, so the work is messy and unresolved, monstrous and tragi-comic. AI is being deployed as apposite co-creator in its uncanny moment. Like the contemporary masculine, another chimeric creature – lurking everywhere yet elusive, AI is an unquantified threat that is nonetheless an impossible to ignore element of contemporary society. This in-betweenness is captured in the corrupted aesthetic of broken technology, broken morphologies, broken texts, and ‘bad’ design. The grotesque is a thread in western art that deals very specifically with that which defies definition, escapes language. It has also, since the 18th century, come to be associated with the abject, the unsightly, the unpleasant, the distasteful, the impolite. Contemporary masculinity is well suited for exploration in this slippery tradition of the not quite right. Man Cave does not offer solutions but writhes around in this messy moment to create a decrepit temple of the Res Artis Project Space. <img width="7939" height="5295" width_o="7939" height_o="5295" data-src="https://freight.cargo.site/t/original/i/95642c9cbcd2b62fc17cbc060a985e702d7e5563bf333a95989227f2acf55982/Cave-Man-Redux-detail.jpg" data-mid="235207933" border="0" src="https://freight.cargo.site/w/1000/i/95642c9cbcd2b62fc17cbc060a985e702d7e5563bf333a95989227f2acf55982/Cave-Man-Redux-detail.jpg" />Installation detail<img width="2067" height="1378" width_o="2067" height_o="1378" data-src="https://freight.cargo.site/t/original/i/bc9643e5d440e70370021f3ca049914f2813e676e2d6d4d00f04db70848da377/Install-View-Man-Cave-Dom-Redfern-2025.jpg" data-mid="235207959" border="0" src="https://freight.cargo.site/w/1000/i/bc9643e5d440e70370021f3ca049914f2813e676e2d6d4d00f04db70848da377/Install-View-Man-Cave-Dom-Redfern-2025.jpg" /> Installation view <img width="7743" height="5165" width_o="7743" height_o="5165" data-src="https://freight.cargo.site/t/original/i/6c98f685d8b9abe632f071eb8a08e1fafc7cdc17ed6575b9bce70a7554f9c6d4/0E0A7536-Edit.jpg" data-mid="235207968" border="0" src="https://freight.cargo.site/w/1000/i/6c98f685d8b9abe632f071eb8a08e1fafc7cdc17ed6575b9bce70a7554f9c6d4/0E0A7536-Edit.jpg" /> Installation view https://dominicredfern.net/Immaculate-Dust Tue, 02 Jul 2024 00:12:42 +0000 DOMINIC REDFERN https://dominicredfern.net/Immaculate-Dust Immaculate Dust (w. Michael Graeve) <img width="640" height="427" width_o="640" height_o="427" data-src="https://freight.cargo.site/t/original/i/9cfdd09f51b70deca8d5f1cb4a9458b951cb5952ed250d9a9343667f0a8c190c/_E0A5363-Edit.jpeg" data-mid="213947180" border="0" src="https://freight.cargo.site/w/640/i/9cfdd09f51b70deca8d5f1cb4a9458b951cb5952ed250d9a9343667f0a8c190c/_E0A5363-Edit.jpeg" />Noise and fidelity moving towards loss but increase of each other. Crossings along lines of signal misapprehended. Colouring of screens rendered adjacent, planes of tonality upended. Weightless distortion, constructed gravities, captives to slipping. Michael &amp; I were so pleased to be able to work with Yongping Ren and Ben Woods during the first year of RUN ARTIST RUN’s operation. The experience was a delight from start to finish. Images courtesy of our dear friend, Ming Liew. <img width="640" height="427" width_o="640" height_o="427" data-src="https://freight.cargo.site/t/original/i/9642549f1112b843bc5b080b51de31af83e57b285200dfc2f318df53da688e2e/_E0A5348-Edit.jpeg" data-mid="213947181" border="0" src="https://freight.cargo.site/w/640/i/9642549f1112b843bc5b080b51de31af83e57b285200dfc2f318df53da688e2e/_E0A5348-Edit.jpeg" /> https://dominicredfern.net/mark Thu, 29 Jun 2023 04:27:09 +0000 DOMINIC REDFERN https://dominicredfern.net/mark <img width="4134" height="2277" width_o="4134" height_o="2277" data-src="https://freight.cargo.site/t/original/i/4fdc7a0953448d14f816df3515821eeb1d777dec165d4a9c4ae17e656a84209f/mark-1-copy.jpg" data-mid="183641889" border="0" src="https://freight.cargo.site/w/1000/i/4fdc7a0953448d14f816df3515821eeb1d777dec165d4a9c4ae17e656a84209f/mark-1-copy.jpg" />mark (video still)Rituals of Emboidied Knowing, Chapman &amp; Bailey, Abbotsford, VIC, 2023 For this 3 channel installation I researched the deep history of representation and the first deliberate marks made by humans. The oldest, recorded, deliberate mark made by a human for its own sake is a zigzag etched into a mussel shell found at a dig in Trinil, eastern Java,&nbsp; (dated to between 540,000 and 430,000 years old). By comparison, the famous cave paintings of Spain and France are 20-30000 years old.I have considered mark making because it is of deep significance to the history of both art and symbolic language. Over the course of the Templeton project for which this exhbition was a celebration I considered and discussed ritual as a means of negotiating the unknown. As attempts at meaning making, language and art provide means to create exograms – external renderings of that which is otherwise internal, they navigate and delineate the division between the known and the unknown. In my work, mark, I have used digital distortion techniques and fragmentation to evoke the emergence of language and representation out of the noise of a pre-linguistic state. <img width="3650" height="4724" width_o="3650" height_o="4724" data-src="https://freight.cargo.site/t/original/i/e158df230a4cb44162fd32f09237185e53dc84a74771a1327e593c2e8b7f7fa6/mark---credit-Emma-Byrnes-copy.jpg" data-mid="183641888" border="0" src="https://freight.cargo.site/w/1000/i/e158df230a4cb44162fd32f09237185e53dc84a74771a1327e593c2e8b7f7fa6/mark---credit-Emma-Byrnes-copy.jpg" />mark (Installation View)Rituals of Emboidied Knowing, Chapman &amp; Bailey, Abbotsford, VIC, 2023Photo by Emma Byrnes https://dominicredfern.net/noise Thu, 29 Jun 2023 03:44:28 +0000 DOMINIC REDFERN https://dominicredfern.net/noise <img width="6592" height="4152" width_o="6592" height_o="4152" data-src="https://freight.cargo.site/t/original/i/6161092bafe4a427ee5d8be9f6dbaac1a181b2a0ddfc2d012a08d4124315b827/Dominic-Redfern--noise--2022--Archives-of-Feelings--2022--RMIT-Gallery--Photo-by-Tobias-Titz--7--copy.jpg" data-mid="183641653" border="0" src="https://freight.cargo.site/w/1000/i/6161092bafe4a427ee5d8be9f6dbaac1a181b2a0ddfc2d012a08d4124315b827/Dominic-Redfern--noise--2022--Archives-of-Feelings--2022--RMIT-Gallery--Photo-by-Tobias-Titz--7--copy.jpg" />noise (Installation View)The Big Anxiety, RMIT Gallery, Melbourne, VIC, 2022Photo by Tobias Titz noise was an audio-visual installation generated from an archive of detailed interviews with people suffering from severe post-natal depression or major depressive disorder (including myself). I created the sonic component of noise from quotes from these interviews, as a means of giving voice and witness to the experience of these most generous people. Depression, being a condition of mental health, hides, insidiously, within our thoughts, within our self, and so we often cannot distinguish what is us and what is the condition. It means for each of us depression wears a different mask. However, the experience of depression does have many identifiably common elements: feelings of worthlessness; excessive guilt; anhedonia – or the loss of pleasure in all elements of life; as well as the sapping drain on one’s physical and mental resources. Yet for me, accurate, resonant representations of the experience of depression in culture remain elusive. noise is my attempt to evoke the intrusive nature of depressive thought scripts and the way they can make you feel like you are dragging your mind and body through some kind of noxious molasses. I created fake broken screens and combined them with an actual broken screen for the install. I love the aesthetic of broken LEDs but they are a little unstable and I needed a degree of control amongst the chaos. The sound, whilst utilising distortion effects for the document soundtrack, in the installation was played through old amplifiers and torn ancient speakers which gave the audio the bulk of its distortion – great thanks to Michael Graeve for loaning me his babies. The archive of interviews that feature in this project were generously supplied by Professor Renata Kokanovic, who was a chief investigator on the project that generated them. Some elements were published at https://www.healthtalkaustralia.org/depression-recovery/ https://dominicredfern.net/First-Forms Mon, 30 Aug 2021 01:22:19 +0000 DOMINIC REDFERN https://dominicredfern.net/First-Forms <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/9352ed2c70657c519457acae375e334565cde7e6718d1992af3bdd1ed32cbcc7/ExperimentaLifeForms_Plimsoll---Experimenta---771_lowres_Remi.jpg" data-mid="183262616" border="0" src="https://freight.cargo.site/w/1000/i/9352ed2c70657c519457acae375e334565cde7e6718d1992af3bdd1ed32cbcc7/ExperimentaLifeForms_Plimsoll---Experimenta---771_lowres_Remi.jpg" />First Forms (Installation View) Experimenta Life Forms, Plimsoll Gallery, UTAS (Hobart, TAS) 2021 Photo by Remi Chauvin This is another of my text works and I think the text I created for the work tells you all you need to know about this project. There is a gallery mock up of the six screen work as a video below the text. - Life is electric: the passing of electrons from a larger molecule to another, smaller one. Breathe in oxygen, out comes carbon dioxide and water. And so, it goes around. Where did animate life begin? We still chase the long tale. Darwin wrote to a friend, "But if (and oh what a big if) we could conceive in some warm little pond with all sorts of ammonia and phosphoric salts, light, heat, electricity etcetera” And it seems it was something just like that, as far as science can tell at this distance. Long before that, the earth formed gravitationally, spinning up out of the dust and gas of the big bang to settle in its orbit around the sun 4 and a half billion years ago. There was no water on it. Or perhaps there was, we’re currently not sure. But in those salty ponds, as Darwin’s ‘if’ surmised, somewhere around 4 billion years ago the great engine of life began to turn. The means of electricity that Darwin spoke of, that vital spark, was ready and waiting, for water is the greatest source of electrons on earth. So, in that Archean ocean, on a scorching earth, wrapped in carbon dioxide, something began to stir and a small electrical circuit emerged. Microbia. What science calls cyanobacteria took carbon dioxide, the water of the primordial oceans and, using the sun’s energy, the source of all energy on the earth’s surface, they turned it into oxygen and sugar. All the sugar that wasn’t used across those billions of years is locked up in the earth, as shale oil. That magical process, born in cyanobacteria we call photosynthesis. It evolved once, just once, in cyanobacteria, we do not know where from, we do not know what came before it. This little nanomachine spread from there to every photosynthetic plant and microbe we know. The oldest evidence we have for it is found in the Pilbara. It is in the form of stromatolites, 3.7 billion years old. I have held one in my hand. It looks like an iron rich stone. From this, all things come. These are stromatolites. The little creatures that make them, layer by micromillimetre layer, are those same microbes. They filter sand and calcium carbonate from the sea water and glue it together, slowly, slowly at a rate of about 1mm per year, reaching for the sun. Stromatolites, which look like stones, begin as an algal matt. Microbes weave this algal matt, this slime, slowly into soft lumpy rocks…, which look like they are eroding but are really growing. https://dominicredfern.net/Postcard-to-Cuba Wed, 24 Apr 2019 07:31:27 +0000 DOMINIC REDFERN https://dominicredfern.net/Postcard-to-Cuba Postcard to Cuba (2019) Video 9 min 38 sec, Stereo Sound This work was created for a program of Australian artists shown at the 2019 Havana Bienalle. I always try to do something site responsive when exhibiting and although this was a single channel work I nonetheless worked to make it Cuba specific. The artist statement below goes some way to explaining my thinking for the work which I hope provides a kind of snapshot, or postcard, of my home. __ This is my Hügelkultur: we just call it “the hugel”. Hügelkultur is a German word meaning mound culture, or hill culture, describing a type of garden bed created by laying down wood in a strip or mound and then burying it in mulch. It becomes a habitat for insects and lizards and so attracts birds, and over time becomes a very fertile garden bed, typically for growing food. They are supposed to be less than a metre high, practical for gardening. Mine is as tall as I am in places. You will also notice it is not covered in mulch. I built it here because our backyard has lots of trees and generates a lot of fallen wood as trees die or lose branches. I thought the hugel could catch water run-off from our sloping block. In time I have the intention of planting mushrooms in it. I started it five years ago, but I can’t bring myself to cover it or even stop building it. I just love the look of the thing. It is visually complex, even chaotic, with occasional order in the form of the repetition of the various trees and shrubs that make up its substance. This balance between order and chaos is exactly the kind of thing that I like to make videos of. Indeed, I have been telling myself I will make a video of it for three years now, and this postcard to Havana from my backyard provided the impetus to get it done. If I were to come to Cuba I would visit the urban food gardens of Havana and, if possible, the organic farms that have begun to colonise the old sugarcane fields. So, instead of visiting the gardens of Cuba, I thought Cuba might visit my garden. My wife wants the hugel covered up with mulch, as intended. She is terrified of the tiger snakes that are probably living in it, and the children are banned from going too near it. Where we live, south-eastern Australia, is a global hot spot for bushfires. There are fires in our region every year. The town I now live in was entirely burnt out when I was a teenager. I remember my father coming to wake me and tell me of the Ash Wednesday death toll. Since then we have had worse fires in our region, a day called Black Saturday a decade ago, when our city was the hottest place on earth and many more people died. As climate change gets worse, our fire seasons are longer and the fires burn hotter. Although many of our plants can survive, or in some cases even depend on burning, now the fires burn so hot that the earth is cooked. The fungus the plants need to regenerate is lost and the forest can’t return. People are understandably nervous about fire in my town. Whilst there is no science to support the practice, many of my neighbours gather all loose material off the ground into piles and burn it. They are encouraged to do so by the local fire brigade. It is called “fuel reduction”. I hate to see all the piles of bark and leaves and fallen branches around my neighbourhood, waiting for fire season to end so they can be burnt. This rotting material is where the vital fungus and microbes live and make soil. The last thing Australian soil needs is to be scraped of organic material. We have a very thin soil profile in most of Australia and it had never seen hard hooved animals until the Europeans arrived. It is old, old dirt. Where I live there is a thin layer of flinty grey earth before it gives way to clay. It is an old and fragile place and has been cleared and over grazed. I leave the plant material to rot down in place a lot of the time. Some of it I move to our hugel. It seems paradoxical to me to fight the effects of global warming by burning more plants, releasing more carbon and creating more atmospheric pollution. This hugel is a form of quiet and slow resistance: I am trying in my small way to build soil. I must admit now, though, I just love the object itself. Uncovered, I can watch it rot down ever so slowly, making earth. https://dominicredfern.net/Creek Wed, 24 Apr 2019 05:10:31 +0000 DOMINIC REDFERN https://dominicredfern.net/Creek Creek 5-Screen Video Installation, Multi-Channel Sound Creek takes as its subject the ways in which our values inform our aesthetic responses to nature. More specifically, our idealised conception of nature, the places we look for it, and what we wish to find. In creek, I take a close look at the weed-choked and intermittent Riddell’s Creek as it flows past the back of my house. Polluted and flowing at a trickle, Riddell’s Creek is packed with life which, in its diversity and tenacity, is as beautiful as any other of nature’s expressions. With more and more of our collective energy turned towards the problems of a changing climate and diminishing bio-diversity, our engagement with the natural environment becomes increasingly nuanced and our sense of the ‘right and wrong’ types of nature necessarily evolves. Trading upon art’s capacity to question and see anew, creek proposes that whilst wicked problems necessarily look complex and fill us with dread, they might yet be beautiful. In their precariousness and messiness, they may offer our moment something more than the idealised pristine wild. Certainly, they challenge us to evolve with them. https://dominicredfern.net/Weeding Mon, 18 May 2015 01:30:52 +0000 DOMINIC REDFERN https://dominicredfern.net/Weeding Weeding (2015) 3-Screen Installation : 20" : Stereo : Digital Mock-Up Art Gallery of Ballarat Weeding is a three-screen video installation, taking Gorse as its subject. It was created for the Guirguis Art Prize of 2015. The work combines three existing trajectories in my work: narratives of place, botanical studies of signature species and performance. Over the duration of the work I clear, and document, Gorse from along a section of the Canadian Creek as it runs through Golden Point, close to the place where gold was first discovered in Ballarat. The site is significant, addressing as it does Ballarat’s history and origins in the colonial period. Along this stretch the creek is quite degraded and becomes an unseen, banal backdrop for commuters, joggers and dog walkers. It is being used as a dumping ground by the less civic minded and is over run with weeds that choke its flow. The work has two key components: the clearing, which is at ‘human’ scale; and my studies of the various weeds throughout the site with particular attention given to Gorse. Gorse, as an introduced species, allegorises and evokes early encroachments by non-indigenous people, plants and animals into the area. It is the primary weed of significance for the Ballarat region. Like so many of our problem plants, the British, wanting a reminder of home, purposely introduced it for use as a hedge and ornamental. Weeds, exotics, invasives or ‘introduced species’, like Gorse, occupy a special place in the Australian psyche. Whilst they emerged as a concern from the earliest days of Australia’s colonisation, post WWII they became a national priority. The war on weeds that emerged as we moved to the suburbs and began to cultivate native gardens in greater numbers can be seen as part of an embrace of our unique flora and a shirking off of the cultural cringe as post war generations grew in confidence. The flip side is that weeds represent an aspect of white-fella guilt - we are the ‘invasives’. Weeds can serve to remind us of the vexed history of our settler societies. In our current historical moment bio-diversity is considered a key concern and indicator of global change. Weeds are an important element in that story, representing the colonising influence of humanity across the globe and the transportation of non-native species into environments where they threaten local species and so reduce bio-diversity. But weeds are simply plants where we don’t want them. ‘Weed’ is not a scientific term; it’s a cultural one. What’s more, there are prominent voices speaking out for weeds as a productive element in the fight to restore soils and protect environments in Australia. Further complicating the picture, Gorse is a legume and as such aids in fixing nitrogen in the soil. The huge increases in atmospheric nitrogen since the industrial revolution are a major element in the global warming story, leading to ozone depletion and acid rain. So is Gorse a good thing? Importantly it is neither good nor bad. Weeds are simply life forms occupying an ecological niche, just like human beings - similarly successful and pervasive. Weeding uses these contradictory ideas about Gorse as a departure point for a video installation that considers the thorny problem of the irreversibility of changes made to the Australian ecosystem whilst simultaneously problematizing our attitudes by privileging the beauty, and innocence, of Gorse. Above: an entire copy of one of the video channels at fullscreen. https://dominicredfern.net/The-Beach-at-Skara-Brae Mon, 31 Jul 2017 04:52:54 +0000 DOMINIC REDFERN https://dominicredfern.net/The-Beach-at-Skara-Brae <img width="4134" height="2325" width_o="4134" height_o="2325" data-src="https://freight.cargo.site/t/original/i/ad7617b42fa1f5de7c3abc9664d26b14666ea5c9fb48fc0a2628dc7b48125b1b/rope2.png" data-mid="183262621" border="0" src="https://freight.cargo.site/w/1000/i/ad7617b42fa1f5de7c3abc9664d26b14666ea5c9fb48fc0a2628dc7b48125b1b/rope2.png" /> <img width="4134" height="2325" width_o="4134" height_o="2325" data-src="https://freight.cargo.site/t/original/i/a81e9d73610251ee1cdf58203d07b1c6b5708fb0b161409de9018207628f4bd2/Cyclone-Fence-Mid-1.jpg" data-mid="183262622" border="0" src="https://freight.cargo.site/w/1000/i/a81e9d73610251ee1cdf58203d07b1c6b5708fb0b161409de9018207628f4bd2/Cyclone-Fence-Mid-1.jpg" />The Beach at Skara Brae (2013 - 17) 3-Screen Panoramic Installation&nbsp; This work was shot in Orkney in 2013 and was shown in 2017 as a 3 screen panoramic installation as part of Ocean Imaginaries. As always, documenting video installation proves difficult but the three elements are embedded in the version above. Thanks to Anne Bevan and Linda Williams who were important supporters of this project. The work has a text element, which is a step away from my previous monologues and something I haven't worked with for some years. Rather than offer of an account of the work here, I have put a transcript of the text below. - The bay frames the sea, the sea rises up to meet the land. This is Skaill Bay, on Mainland, in Orkney, just off the northern tip of Scotland. These waves, washing in from the North Sea have pushed this edge back and forth for millennia. In the 19th century, when every gentleman of leisure displayed scientific curiosities in the drawing room, a big tide revealed a neo-lithic stone village, previously covered by dunes right at the feet of the laird of Skaill Manor, an amateur archaeologist. Amongst his collection too were Captains Cook’s dishes, traded when Resolution and Discovery called in at Orkney on their return from Cook’s ill-fated third voyage. Like Cook’s voyages the village was not a discovery so much as a laying claim, for rectangular barrows on the Downs of Skaill were reported in a traveller’s account written in 1767, and the village stood first upon this land some 5000 years ago, when it was some distance from the sea, with good grazing and farming to be had between Skaill Loch and the strand. Now it is daily threatened by the sea that nibbles at its footings, just metres from the tide. The grasses reach to bind the sand in place, a million, million sentries holding position and stretching to claim a salient where none can be found. A woven remnant of cyclone fencing begins to assimilate, taking its cue from the grasses. The tide’s age long tussle with humans can be read in the layers of anthropogenic stone sandwiched in the dune, topped by dry stone walls, the remains of the most recently contested site, an old mill. The mill harnessed the water that flowed in the waterway, the bourne, from Skaill Loch to the Bay, water that is now its undoing. An entire spool of packing strap, fallen from a passing ship, has reordered itself into a fisherman’s nightmare. A skein with ends lost, quivering at the shoreline. Submarine nets have been recycled and redeployed in a rear-guard action to maintain the foundations of the mill. The submarine nets are left over from world war two when they worked to keep U-boats out of the nooks and crannies that lead to Scapa Flow which waters sheltered British fleets from the North Sea in both world wars, as they have done back into pre-history. &nbsp; Here it fights to keep the stone and the sea apart, or at least on separate sides of a line, with order in, disorder out, so that one narrative may prevail over another and stayed fixed, here at the edge. In its efforts, the submarine net captures yet more nets, those of the fishing fleets who still work the North Sea. As it loses its integrity, it frays, reaching like the grasses, for purchase. Striving to impose the order built into its form again and again, it binds all it meets to its purpose, re-organising it in its own image. Adrift from its purpose, it is caught up or caught upon, it becomes that which it seeks to contain. It drifts from its orderly grid into the tangled chaos of the non-human just beyond the doorstep. The villagers of Skara Brae, too, fought disorder on their own doorstep as their village was consumed by the encroaching tides of sand and their own rubbish, eventually driven from their homes by the waves of entropy. By a tide covered, by a tide revealed, by a tide now cast asunder. Pollen in the geological record tells us people came to farm in the rich land between the loch and the sea. Amongst the bounty of the tide is this ancient technology, these giant algae. It is an ancient medicine, food and fertiliser. It was harvested here for centuries to manufacture Potash and later Iodine as well as to create a Sea Tangle tent, an aid for abortions. It is still called Tangle weed. Like the flesh and bark it resembles, the tangle weed occupies the boundary between inside and out, within and without. Like all these technologies tangle sits grasping at the oscillating edge, it clings and captures, restraining, constraining, casting a net across chaos to draw its vitality into our grasp. <img width="5000" height="3501" width_o="5000" height_o="3501" data-src="https://freight.cargo.site/t/original/i/0d3296003d53dd38425bfd355d5fb4a1c80797d5137f895b4ee309505aa6ab44/The-beach-at-Skara-Brae-Redfern-CLIMARTE-Ocean-Imaginaries-2017_o.jpg" data-mid="183262623" border="0" src="https://freight.cargo.site/w/1000/i/0d3296003d53dd38425bfd355d5fb4a1c80797d5137f895b4ee309505aa6ab44/The-beach-at-Skara-Brae-Redfern-CLIMARTE-Ocean-Imaginaries-2017_o.jpg" /> Images: 1 - 2. Stills from The Beach at Skara Brae3. The Beach at Skara Brae (Installation View)4. Digital mock-up of the 3-screen installation