Found bird’s nest of plastic netting and other unnatural fibres, Central Queensland and Acacia bush on over-grazed land in drought, Western Queensland from the Artefacts of Modernity series, 2016 photographic pigment print on platine fibre rag paper
Coal mine, Blair Athol, Central Queensland from the Days of Plenty series, 2012, pigment print on platine fibre rag paper
In Artefacts of Modernity, objects are photographed that represent a profound interaction between humankind and the natural world. Whether an acacia plant poisoned by over-grazed saline soil, or a collection of discarded plastic repurposed by a wild bird, these works ask us to consider the balance of human and natural forces in the present era.
Days of Plenty explores the duality of growth and destruction in humanity’s relationship with the land. In a series of documentary style photographs, the impacts of coal mining on the environment are portrayed within rosy visions of wealth and beauty. Vast, shimmering, mounds of rocky overburden are presented as enduring symbols of our collective desire for prosperity from the earth.
Liss Fenwick’s practice is based in northern Australia where she was born and raised. She works on the fringes of the continent, exploring the interrelations between the natural and built environments, and their connection to broader questions of human experience. The compounding effects of time and distance are considered through long-term engagements with specific places, involving repeated observations across days, weeks and years. The aim of her practice is to explore the allegorical potential of rural and remote Australian landscapes, throughout cycles of increase and decay, both human and natural.