This body of work seeks to explore ways of describing the land through the representation of movement. This notion of movement refers to lifetime tracks or migration paths. These tracks and traces can be seen as a thread through the land, one that weaves a connection through diverse habitats.

The sand tracings seen in the work Traces of Traversal have been cast in multiples and then stacked. They become positive and tangible imprints of ephemeral and transient tracks. The pieces are assembled in the form of a topological view, becoming undulations of land itself.

Residuum I, Residuum II and Fragmentation are composed from the residue of the remnant saltmarsh habitat that forms part of the lifetime track of the orange–bellied parrot. The fragility of the pieces is reminiscent of the demise of the habitat. The mounds or cairns mark a resting place, a point on a journey; stepping stones through the land.

Longline to Extinction (southern bluefin tuna) was created by an accumulation of pressings from the cast of a tuna. The pieces document the form. The interweaving of the pieces reflects the water itself, a continual layering over time.

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Traces of Traversal 1999

Bone china
3400x780x340mm
Photo Mark Ashkanasy

The sand tracings become tangible imprints of movements through the land that are transient and unseen. The pieces are assembled in the form of a topological view, becoming undulations of the land itself.