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Left to right: Emily Simek, Remix, 2022. Yu-Fang Chi, Intertwine, 2021-2022.

Climarte, Naarm/Melbourne.

Image courtesy of Eric Jong.


Evanesce brings together a group of artists who are in conversation with climate emergencies and change through their individual practices. Presented with care and support from the team at CLIMARTE, Centre for Projection Art highlights the care-based research about the climate crisis employed by these artists to proactively address their concerns within an artistic framework. The term EVANESCE means to pass out of sight, memory, or existence and is frequently used in the present, referring to extinction that can be accounted for mainly by climate change. Over two weeks, the exhibition aimed to create a dialogue that investigated different approaches to addressing these concerns.

Accompanying the exhibition is an e-zine designed by Juliet Miranda Rowe and featuring written works by Diego Ramirez, Sophie Cai, and Katie West. You can read and download the E-Zine here.

This exhibition also aligned itself with our supporting partner CLIMARTE’s launch of ART+CLIMATE=ACTION (A+C=A), a program to produce and present powerful climate justice artwork on an ongoing basis. CLIMARTE hosted our artist talk on the 5th of June to launch A+C=A, making the Centre for Projection Art/CLIMARTE collaboration the first project to be listed in the A+C=A program.

We were thrilled to present this exhibition and event with our supporting partner CLIMARTE and invited our audience to join us over the course of two weeks to engage with the presented artworks.

Climarte Gallery

Wednesday 25 May - Sunday 05 June

Gallery Hours: Wednesday - Friday, 12pm - 5pm,

                           and Saturday, 1pm - 5pm

Window projections and video works will be viewable daily until midnight



Taloi Havini, Habitat: Konawiru, 2016. Image courtesy of the artist.

Taloi Havini, Habitat: Konawiru, 2016. Single-channel video with colour & sound.

The Habitat series are multi-channel video installations exploring intersections of history, the environment and nation-building within the matrilineal social structures of her birthplace, the Autonomous Region of Bougainville. Havini’s Habitat series is an ongoing investigation exploring the legacy of resource extraction and Australia’s fraught relationship in the Pacific.

Yu-Fang Chi, Intertwine, 2021-2022. Image courtesy of Cheng-Lin Wu

Yu-Fang Chi, Intertwine, 2021-2022. Installation & video projection.

Intertwine explores the use of local recycled materials to develop a series of installation. The work includes weaving objects and video, hanging, displaying around the space. Through the arrangement of shape, colour and angles of the installation, the structure will change gradually from 2D pieces to 3D objects. Plane and volume, stillness and movement, order and chaos—the contrast within the work simultaneous opposition and attraction create a sense of magnetic tension. This project applies recycled materials in collaboration with Victorian Fisheries Authority’s Yabby Net Swap Program. The wildlife-friendly project includes recycle and repurpose of 20,000 fishing nets to protect air breathing wildlife, such as native water rats (rakali), platypus and turtles.

Emily Simek, Remix, 2022. Image courtesy of the artist.

Emily Simek, Remix, 2022. Video projection, single-channel video & soft sculptures.

Compost is always in a process of becoming. Materials decompose and worms, like me, turn the compost again. A remix is not an isolated endpoint, but an ever-evolving set of material relationships. Remix is a video installation that re-mixes components of a body of artwork called Composting (2021-22). This work is co-created with a worm farm compost system. The composting of organic waste through a worm farm forms a rich humus, from which 3D scanning technologies, microscopic filming, digital rendering and the animation of organic materials are used to form an evolving collective of digital compost. Matter from these two organic and digital compost systems cross-pollinate as they feed into each other via the re-circulation of materials. Simek uses composting as an expanded artistic methodology. This involves the re-mixing and decomposition of digital and physical materials together with practices in community gardening. The caretaking of a worm farm compost system forms an integral part of this process. Art making and gardening activities both add scraps to a (digital-organic) compost heap which coalesces into an evolving set of artworks over time. This process explores the potential for closed-loop systems in art making across digital and local ecologies.

The soft sculptures found on the floor in the room are made using 3D scans of the skins of vegetable scraps. These digital renders are printed onto cotton fabric and sewn to form soft pillows filled with sugar cane mulch. Their fragrant and sweet smell fills the space sensorially affecting the way we view the other works they reside with.

Autumn Tansey, Kaboom, 2022. Image courtesy of the artist.

Autumn Tansey, Kaboom, 2022. Single-channel video with colour & sound.

Kaboom is a video and audio experience exploring the decommissioning of coal-fired power stations in Australia. Today, Australia has 22 operating coal-fired power stations and just 10 years ago, there were 34 in operation or under refurbishment. These closures represent markers of significant change in the way our society operates and has prompted fierce social commentary and debate. The change to renewable energy is upon us as we wait for the demolition of the last coal fired power station in Australia. At some stage, the spectacle will satisfy us all, but are we watching a live-stream? Is it a pre-recording? Or is it a forecast?


Created with 800 clips of footage, Kaboom is a 45 minute narrative and includes archival imagery from the National Film and Sound Archives and the Construction Forestry Mining and Energy Union, combined with hyper-exaggerated stock imagery. Inspired by a social media thread, the collision of imagery, subtitles and soundtrack will thrust you into the world of opinions, privilege, politics and pop culture alongside the often very conflicting human experience.


The long duration of Kaboom reflects the sense of waiting, impatience, and boredom that is included in the narrative. This gives the viewer an opportunity to savour our collective history as we look to an unwritten future, and in doing so evoke awe, hope, excitement and anticipation as we watch together the collapse of these outdated technologies. Grab some headphones, and fully immerse yourself in Kaboom with accompanying soundtracks found at

Yandell Walton, Ecological Encroachment, 2021. Image coutesy of the artist.

Yandell Walton, Ecological Encroachment, 2021. Interactive 360° video work on handheld device.

Ecological Encroachment is an interactive 360° video work that presents a speculative future where plants dominate and human life forms crumble. This work investigates ecological shifts due to human impact and highlights our inherent trajectory in the new era of the Anthropocene.


Created using emergent technologies including mobile scanning devices, photogrammetry, motion capture, and 3D animation, the complex arrangement shifts between actual and imagined spaces. The work merges human and plant life to present cross-species forms, proposing an evolutionary life form where we are one with the environment.

This project was commissioned by TarraWarra Museum of Art for Victoria Together and is supported by the Victorian Government through Creative Victoria.



Artistic director and Curator: Priya Namana

Operations Manager: Catriona Black-Dinham

Technical Assitant: Eric Jong

Marketing & Communications: Teagan Ramsay 

Documentation: Eric Jong


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