Aqueous Landscapes is an exhibition that explores the complexity and nuances of the constructed edge of Sydney Harbour, showing how the foreshore is used and experienced on both land and water. The exhibition is shaped by a monumental textile drawing, Unravelled Foreshore #1, that evokes the bays and inlets of a harbour journey as it curves through space. The drawing depicts an unfolded view of the Sydney Harbour foreshore over 45 metres, and undulates across multiple scales to reveal in detail the character of life in these distinctive public spaces. This drawing, developed from a photographic survey conducted by boat, captures the contemporary architectural, cultural and environmental conditions of Sydney Harbour at the rich interface of land and water. A short film, Intertidal Sections, also features in the exhibition. Imagery of water, edge and sky is spliced and then multiplied to reflect the material, ecological and atmospheric diversity of the Sydney Harbour. Aqueous Lanscapes was co-curated with Helen Lochhead, designed by Trigger Design and produced with Joshua Sleight. 

This work was a floor-based temporal installation that grew from a quiet obsession with the ceiling in the Australia Square foyer. The ceiling was understood as a repetitious pattern of solid and void. The installation questioned the stark solid-void duality and investigated the invisible or barely-perceived physical matter that occupies the void spaces. The voids were reconsidered as positive volumes that have the capacity to cast a ‘shadow’ upon the floor. Fine particulate matter, a tangible physical component of air and a standard indicator of air quality, was captured and arranged on the floor plane in an intricate geometric pattern that placed the floor in direct visual dialogue with the ceiling.  

The installation was comprised of two parts separated by external glass wall – one part was inside the foyer, and the other part continued outside. Inside, the voids of the ceiling grid were referenced on the floor using areas of finely crushed glass arranged directly on the floor. The crushed glass is considered as particulate matter, a luminous representation of the invisible suspended matter of the air. Outside, the solids of the ceiling grid were hand cut out of water-soluble embroidery film to form a geometric ‘web’, which was interspersed with areas of black silica. During the evening, performers and the audience sprayed a fine mist of water on the film, slowly dissolving the work until it disappeared completely. In this work, solid and void were inverted, reversed and imaginatively multiplied across the horizontal planes of the building. 

'The Rocks' is a ground-based installation that invites audiences to consider the way in which they read and mark landscapes. Alphabets formed from tent pegs are arranged and photographed in different conditions and used to form hidden texts. In the manner of a word search puzzle, the audience is encouraged to discover words within the work that provoke thought around the territorialisation, custodianship, and temporality of the land.

This work creates an alternative landscape in a quiet corner of a garden. Set within the auditory landscape of vehicles passing along the motorway beyond, this striking image of a distant landscape transports the viewer elsewhere through its scale and circular form. The landscape is familiar yet remote, attractive yet hostile, and it speaks to an unrequited desire to be elsewhere.

The Registry of Itinerant Architectures is an online register that records encounters with wild, mobile, fleeting and unlikely structures in varied geographic, social, cultural and political settings. It exists on the edge of interdisciplinary art and architecture practice, resisting and disrupting the conventions of architectural experience and record-keeping. The Registry incorporates a dynamic mix of moving image, text and artefact, brought together in an open-access online environment that is available for instant and ongoing global dissemination.

The Registry of Itinerant Architectures is developed by the mobile artist — the Registrar —who walks or moves with mobile communities and repeatedly attempts to apprehend forms of itinerant architecture through observation, imagination, narrative and memory. In doing so, the Registry of Itinerant Architectures poses a twinned question: is this architecture, and who is the architect?

Forms of itinerant architectures may include mobile natural and built architectures, fleeting and invisible structures, condensations and sedimentations, weather events. This is a playful artistic practice that is mobile itself precisely as it investigates other mobilities; the Registry moves with and creates itinerant space with its subjects. Evidence of itinerant architectures is published at www.itinerant.academy to formulate a steady and cumulative body of work. A global audience considers each work as a proposition and then accepts it or rejects it, actively co-creating the Registry over time.