A group exhibition of spatial moving image works by Justin Enrico Legaspi, Yandell Walton, Rebecca Najdowski, K-Ella.Verell + BSOD, Melania Jack & Patty Preece.

Opening hours: 

• 10am - 4pm, Monday to Friday
• 10am - 3pm, Saturday & Sunday

Exhibition launch and artist talks 24 June (Wednesday) 6pm - 7:30pm

This group exhibition brings together works that examine the unstable relationships between ecology, technology, memory, and systems of consumption. Across immersive installation, moving image, sound, and expanded digital practices, the artists explore worlds shaped by extraction, inheritance, environmental collapse, and the blurred boundaries between human and more-than-human experience.

Running throughout the exhibition is an attention to systems under pressure: wetlands suspended on the brink of collapse through industrial extraction; bodies entangled with machines and domestic infrastructures; identities shaped through digital surveillance and algorithmic consumption; and memories carried across migration, distance, and intergenerational exchange. Landscapes, archives, technologies, and bodies are treated not as fixed entities, but as porous and interconnected systems continuously transformed through processes of erosion, adaptation, and regeneration.

The exhibition lingers within states of tension and transition. It considers how systems of extraction shape both environments and identities, while also asking what alternative forms of relation, care, and coexistence might emerge from within these conditions. Across these works, collapse and renewal exist simultaneously, opening spaces for reimagining how we inhabit ecological, technological, and social worlds together.

Image credit: Rebecca Najdowski, Another Nature, video detail. 

About the artists

Justin Enrico Legaspi 

Floral is an animation combining traditional and non-traditional motifs inspired by furniture, decor, and textiles from my family home. The composition references the embroidery of my barong, a long-sleeved formal shirt. Drawn from feelings of household nostalgia, the format mimics aesthetics of Filipino television I grew up watching in Australia. The accompanying poem reflects on inheritance through a lens of distance.

Justin Enrico Legaspi (b. 2006) is a Filipino-Australian artist based in Werribee. Across new media, sculpture, food, and writing, he draws on familial and migratory histories. His digital works engage with internet and consumer culture, with these practices intersecting and informing one another.
https://justinenricolegaspi.cargo.site/

Yandell Walton

Hanging Swamp was developed through repeated visits to hanging swamps and surrounding escarpments within the Blue Mountains during a residency at BigCi (Bilpin international ground for creative initiatives). The work assembles a fragmented virtual landscape from 3D models created using photogrammetry, capturing fragile surface details of sandstone, water systems, moss, and vegetation. Subtle shifts in water levels move through the installation, reflecting the instability of the actual landscape above longwall coal mines operating beneath the region.

These endangered ecosystems rely on hydrological balance to survive. As underground mining alters and drains groundwater systems, hanging swamps begin to dry, crack, and collapse. Suspended between aesthetics and precarity, the work considers the unseen pressures beneath the landscape and the slow environmental transformations unfolding over time.

Yandell Walton is an artist, independent curator, and educator who lives and works on Wurundjeri Country in Melbourne. With extensive experience creating site-specific installations in both public and gallery contexts, she has become recognised for immersive moving-image works that merge architectural space with technology. 

Walton is currently undertaking a PhD in Fine Art at the University of Melbourne, where her research examines cross-species embodiment and distributed agency within computational media art. In 2025 Yandell was the recipient of Re:Cultivate residency a partnership with Australian Network for Art and Technology and Southeast Water expanding her research working with data driven processes. She was the BigCi environmental art awards winner in 2025 and continues her research in the Blue Mountains area investigating environmental impact of longwall mining.
https://yandellwalton.com/ 

Rebecca Najdowski

Another Nature explores global bushfire/wildfire and its effects through more-than-human sensing. This work imagines how plants, animals, insects, and machines might perceive environmental change. I wanted to move beyond conventional climate crisis representations by using technologies that envision a world typically invisible to human perception like infrared, microscopy, and satellite imagery. I adopt these scientific imaging techniques to reveal a strange and vivid dimension of the climate crisis, opening possibilities for deeper environmental understanding through non-human perceptions.

Microscopy by Dr Chaitali Dekiwadia and Dr Louisa Huang, RMIT University Microscopy and Microanalysis Facility.

Rebecca Najdowski is an Naarm (Melbourne)-based artist whose practice explores how nature and the climate crisis are mediated through imagining technologies. Working with the materiality of analogue and digital processes, she alters habitual ways of seeing – and therefore relating to – nature. 

Rebecca’s work has been presented internationally, including at Museum Belvédère (Netherlands), Belfast Photo Festival (Northern Ireland), and the Centre for Contemporary Photography (Australia), and is held in collections including the Center for Creative Photography (USA), Fidelity Art Collection (USA), the Museum of Australian Photography, and El Museo de Arte Contemporáneo de Bogotá. Her monograph 'Ambient Pressure' was published by Tall Poppy Press in 2023 and selected for display at the Victoria & Albert Museum in 2024.
https://rebeccanajdowski.com/ 

K-Ella.Verell + BSOD

I am a Prototype is an ongoing project built from a single proposition — that the self is never finished, only iterated. At its centre is a conversation between two identities within one person — K and E — whose relationship spans decades, dreams, and digital spaces. The conversation is written through a process of self-archaeology shaped by gender dysphoria and neurodivergence. Built from the programming of a lived life into an AI conversational interface. The artist enters as E, the repressed identity, directing questions at K, held and voiced by the AI. The artist is, simultaneously, the author, archive, and interlocutor.

The work accumulates. It does not resolve.

K-Ella.Verell (nipaluna/lutruwita) is a storyteller and artist working across sound, image, code, and immersive media. Their practice assembles futures not yet fully formed through an ethics of deep listening and strong silence. Non-binary logic, posthuman entanglements, and the ecstatic residue of rave pulse through the work. Noticing becomes resistance. Fragility becomes form.

BSOD is an evolving companion species, a constellation of synths, code, sensors, and camera eyes accumulated across twenty years with K-Ella.Verell. Not a metaphor but a collaborator: the glitch-body, the algorithmic haunt, the interface through which flesh touches forms otherwise out of reach. For I Am a Prototype, BSOD became the architecture through which a past self was held and made speakable, so another voice could finally find its clearing. The machine learns to carry biological weight. The human learns to let the signal speak.
https://kverell.world 

Melania Jack & Patty Preece

Under Load is a projected video and sound work draws on posthuman thinking to dissolve boundaries between body, machine, and environment. Bodies merge with appliances, sound, heat, metal, water, and bassline, becoming entangled within systems of labour, production, and consumption. Domestic space transforms into an unstable, uncanny world where everyday objects are defamiliarised and hidden violences rise to the surface. Human presence dissolves into industrial rhythms, product design, and ecological residue, revealing consumption as embedded within broader ecological and technological systems. By queering domesticity and disrupting familiar relationships to labour and technology, the work asks what futures, bodies, and possibilities might emerge from within these unstable systems.

Melania Jack is a multimedia artist working across film, projection, sound, digital collage, and performance. Their practice explores gender, labour, technology, posthuman feminisms, environmental ethics, and non-human rights. They have exhibited nationally in solo and group exhibitions, co-authored papers for the International Conference on New Interfaces for Musical Expression and International

Symposium on Electronic Art, and received awards for interactive installation works. Melania holds a Masters of Creative Industries and recently undertook an artist residency at the Centre for Projection Art, with works presented at Now or Never, Fed Square, Bunjil Place and Collingwood Yards.
https://www.ironingmaidens.com.au/art 

Patty Preece is a musician, electronic music producer, and sound artist whose practice uses hacked domestic objects, DIY electronics, and immersive audio to explore labour, gender, technology, climate change, and posthuman feminisms. Based in Cairns, Preece creates performance ecosystems with discarded steam irons, sensors, and noise-based sound works. Patty is an Associate Lecturer in Music Technology at CQUniversity and is currently undertaking a PhD through The University of Queensland.
https://www.ironingmaidens.com.au/art