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      <image:caption>Super Moon - Gretel Taylor and Laki Sideris</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>The dance is already underway, Gretel Taylor &amp; Laki Sideris Durational performance for video, on monitor and projection. This experiment involved dancer Gretel Taylor undertaking a 12-hour inhabitation in Sherbrooke Forest, Corhanwarrabul, on Wurundjeri Country. A GoPro camera on a tripod videoed the scene for the day (wildlife surveillance-like) and photographer Laki Sideris visited every few hours to take handheld footage. The dance is already underway expands upon Taylor and Sideris’ collaborative dance-place-photographic practice, producing a body of work since 2017. The soundscape is derived from ultrasonic frequencies emitted by plants and earthworms, with pitch altered and duration stretched, allowing us to audibly sense their world. The idea was to join in the ‘dance’ of this place with the ecologies that exist and interact here already. Supermoon, Laki Sideris and Gretel Taylor A series of still images of the forest and Gretel Taylor dancing under a supermoon. The photographs were taken during the artists’ mobile residency On Country/In Residence after a day of walking, at Ridge Track near Sherbrooke Falls. This work is part of an ongoing exploration between Taylor and Sideris, asking how presence in place can be documented, and how a dynamic can be stilled. It invites the viewer to consider what remains when movement has passed—and how place continues, with or without us.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Forest Walk Laki Sideris Photographs Sideris took photographs along the entire On Country/In Residence forty-kilometre three-day walk across the Dandenong Ranges/Corhanwarrabul. The camera was set predominantly at waist height—the height of a child—and framed to capture the sweep of the immediate view ahead, only occasionally glancing up. The images are a document of seeing without trying to contextualise. To observe, but not to claim understanding. The dance is already underway Gretel Taylor &amp; Laki Sideris Durational performance for video, on monitor and projection. This experiment involved dancer Gretel Taylor undertaking a 12-hour inhabitation in Sherbrooke Forest, Corhanwarrabul, on Wurundjeri Country. A GoPro camera on a tripod videoed the scene for the day (wildlife surveillance-like) and photographer Laki Sideris visited every few hours to take handheld footage. The dance is already underway expands upon Taylor and Sideris’ collaborative dance-place-photographic practice, producing a body of work since 2017. The soundscape is derived from ultrasonic frequencies emitted by plants and earthworms, with pitch altered and duration stretched, allowing us to audibly sense their world. The idea was to join in the ‘dance’ of this place with the ecologies that exist and interact here already.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/65d1e1b2d52d4e7d3edb3755/1756532058087-CEX2KC8PZ49VDDZEO11N/20250628-P1083794_a1.jpg</image:loc>
      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>As The Crow Flies Jill Orr 2025 A Thing Eco Warrior Eco Warrior (Portrait) Hybrid Human Bush Bird Sticks, branches and mud sourced from the hills, photographs. Images 2-4. Photographer: Christina Simons for Jill Orr © Inkjet print on Canson Baryta Two, Archival Paper. Printed at Pharos Editions, 2025. Huge eucalyptus trees reach skyward, sheltering primordial ferns. Beneath our feet sticks, leaves and tiny creatures are busy at work making everything fertile. Matter is decomposing and recomposing, giving sustenance to microbial life forms. The aroma is earth. By contrast, the panoramic view from the top of the mountain is breathtaking. Across the valley, which is suburban Melbourne, the Birrarung snakes its way to the sea. There is no separation, just a journey across space, place and time, as the Crow Flies. Three photographic images accompany the sculpture, taken as performances for the camera, from the Birrarung at Banyule Flats, a mid-point across the connecting country. The Eco Warrior and the Hybrid Human Bush Bird both protect, declare and are integrated into the path As the Crow Flies. Supermoon Laki Sideris and Gretel Taylor 2024 Photographs A series of still images of the forest and Gretel Taylor dancing under a supermoon. The photographs were taken during the artists’ mobile residency On Country/In Residence after a day of walking, at Ridge Track near Sherbrooke Falls. This work is part of an ongoing exploration between Taylor and Sideris, asking how presence in place can be documented, and how a dynamic can be stilled. It invites the viewer to consider what remains when movement has passed—and how place continues, with or without us.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Supermoon Laki Sideris and Gretel Taylor 2024 Photographs A series of still images of the forest and Gretel Taylor dancing under a supermoon. The photographs were taken during the artists’ mobile residency On Country/In Residence after a day of walking, at Ridge Track near Sherbrooke Falls. This work is part of an ongoing exploration between Taylor and Sideris, asking how presence in place can be documented, and how a dynamic can be stilled. It invites the viewer to consider what remains when movement has passed—and how place continues, with or without us.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>As The Crow Flies Jill Orr (Australia) 2025 A Thing Eco Warrior Eco Warrior (Portrait) Hybrid Human Bush Bird Sticks, branches and mud sourced from the hills, photographs. Images 2-4. Photographer: Christina Simons for Jill Orr © Inkjet print on Canson Baryta Two, Archival Paper. Printed at Pharos Editions, 2025. Huge eucalyptus trees reach skyward, sheltering primordial ferns. Beneath our feet sticks, leaves and tiny creatures are busy at work making everything fertile. Matter is decomposing and recomposing, giving sustenance to microbial life forms. The aroma is earth. By contrast, the panoramic view from the top of the mountain is breathtaking. Across the valley, which is suburban Melbourne, the Birrarung snakes its way to the sea. There is no separation, just a journey across space, place and time, as the Crow Flies. Three photographic images accompany the sculpture, taken as performances for the camera, from the Birrarung at Banyule Flats, a mid-point across the connecting country. The Eco Warrior and the Hybrid Human Bush Bird both protect, declare and are integrated into the path As the Crow Flies.</image:caption>
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      <image:caption>Jill Orr, Eco Warrior Live performance in gallery</image:caption>
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      <image:caption>Eco Warrior Eco Warrior (Portrait) Jill Orr 2025</image:caption>
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      <image:caption>The dance is already underway Gretel Taylor &amp; Laki Sideris 2024 Durational performance for video, on monitor and projection. This experiment involved dancer Gretel Taylor undertaking a 12-hour inhabitation in Sherbrooke Forest, Corhanwarrabul, on Wurundjeri Country. A GoPro camera on a tripod videoed the scene for the day (wildlife surveillance-like) and photographer Laki Sideris visited every few hours to take handheld footage. The dance is already underway expands upon Taylor and Sideris’ collaborative dance-place-photographic practice, producing a body of work since 2017. The soundscape is derived from ultrasonic frequencies emitted by plants and earthworms, with pitch altered and duration stretched, allowing us to audibly sense their world. Statement by Gretel Taylor: The idea was to join in the ‘dance’ of this place with the ecologies that exist and interact here already. It was a humbling and joyous experience to witness this environment through the different stages of the day, allowing the qualities and textures of its densely interwoven lifeforms to infiltrate my body and affect my movement. Lyrebirds, black cockatoos, white cockatoos, kookaburras, many smaller birds, leeches, mosquitoes and ants were present intermittently. Ferns and understorey plants quivered in momentary breezes whilst Mountain Ash trees evolved their soaring canopy over centuries. The forest was thirsty, although it was barely the start of summer, or Biderap according to the Wurundjeri seasons. I struggled with the presence of the camera as an intrusive captor and my own body as a colonial interloper, awkward and inadequate. I remembered that I was in fact born and had given birth within a few kilometres of this place, and so perhaps it is as much my home as anywhere. I found currents, lulls and flows of energy and kinaesthetic empathy as I sank into Country and Country rose up through me, and at times I felt that there was no intermediary.</image:caption>
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      <image:caption>Marran (veins) Mandy Nicholson (Wurundjeri) 2025 Painted and sewn/woven/stitched elements The work embodies the intertwining of veins within a gum leaf, within our bodies, within Country. Marran, meaning ‘veins’, is also the Woiwurrung name for leaf. On the walk across Corhanwarrabul, one thing that stood out to me was the gum leaves along the paths and how they changed with different species of eucalypt, from wetter to drier forest and how they lay on the ground, naturally overlapping and telling the story of the mountain. I noticed the mixture of long slender leaves to more robust, with ochre colours blended with different hues of green, from young to old leaves and how the marran hold the leaf’s structure throughout its life. They also tell the story of the walkers who paused to take notice and listen to their story. Echoes Rebecca Murray 2025 Cyanotypes. Prominent on the skyline of Melbourne’s east are the Dandenong Ranges /Corhanwarrabul. The remains of an extinct volcano, the fertile soils are home to all kinds of life. In and amongst the understory, along ngurrak barring (mountain paths) and beyond, echoes carry through the landscape, across space and time. Ongoing narratives, embedded memories, spirits and scars. How much do we perceive or know of any given place, even the ones we feel closest to? A complete picture is always obscured and made up of many interconnected parts. Wong Mobile Ancestral Home Tammy Wong Hulbert  2024 Embroidery, felt and found materials. Before ‘On Country/In Residence’ I had begun developing my Wong Mobile Ancestral Home as an attempt to express the challenges of being part of the diaspora and problematise ideas of home. As an Australian born Chinese woman, the concept of home has always been complex, existing in mental, spiritual and ancestral forms, as well as physical places. The Convergence of my Home/s Tammy Wong Hulbert  2024 Photography and performance.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Marran (veins) Mandy Nicholson (Wurundjeri) 2025 Painting &amp; printed decals The work embodies the intertwining of veins within a gum leaf, within our bodies, within Country. Marran, meaning ‘veins’, is also the Woiwurrung name for leaf. On the walk across Corhanwarrabul, one thing that stood out to me was the gum leaves along the paths and how they changed with different species of eucalypt, from wetter to drier forest and how they lay on the ground, naturally overlapping and telling the story of the mountain. I noticed the mixture of long slender leaves to more robust, with ochre colours blended with different hues of green, from young to old leaves and how the marran hold the leaf’s structure throughout its life. They also tell the story of the walkers who paused to take notice and listen to their story.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Marran (veins) Mandy Nicholson (Wurundjeri) 2025 Painted and sewn/woven/stitched elements The work embodies the intertwining of veins within a gum leaf, within our bodies, within Country. Marran, meaning ‘veins’, is also the Woiwurrung name for leaf. On the walk across Corhanwarrabul, one thing that stood out to me was the gum leaves along the paths and how they changed with different species of eucalypt, from wetter to drier forest and how they lay on the ground, naturally overlapping and telling the story of the mountain. I noticed the mixture of long slender leaves to more robust, with ochre colours blended with different hues of green, from young to old leaves and how the marran hold the leaf’s structure throughout its life. They also tell the story of the walkers who paused to take notice and listen to their story.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Marran (veins) Mandy Nicholson (Wurundjeri) 2025 Painted and sewn/woven/stitched elements The work embodies the intertwining of veins within a gum leaf, within our bodies, within Country. Marran, meaning ‘veins’, is also the Woiwurrung name for leaf. On the walk across Corhanwarrabul, one thing that stood out to me was the gum leaves along the paths and how they changed with different species of eucalypt, from wetter to drier forest and how they lay on the ground, naturally overlapping and telling the story of the mountain. I noticed the mixture of long slender leaves to more robust, with ochre colours blended with different hues of green, from young to old leaves and how the marran hold the leaf’s structure throughout its life. They also tell the story of the walkers who paused to take notice and listen to their story.</image:caption>
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      <image:caption>Wong Mobile Ancestral Home Tammy Wong Hulbert  2024 Embroidery, felt and found materials. Before ‘On Country/In Residence’ I had begun developing my Wong Mobile Ancestral Home as an attempt to express the challenges of being part of the diaspora and problematise ideas of home. As an Australian born Chinese woman, the concept of home has always been complex, existing in mental, spiritual and ancestral forms, as well as physical places. My ancestors arrived in Australia in 1884, over five generations ago. I am fascinated by this long history, leading to further research on Chinese ancestral worship practices, many of these practices lost during the cultural revolution (1966-1976). In January 2024, my research took me on a journey to my ancestral village 小赤坎 (Siew Chek Hum/Xiao Chi Kan), a heritage listed 黄(Wong/Huang) clan village in Guangdong Province, China. It was an incredible visit. There I discovered three 黄(Wong/Huang) ancestral halls – community homes to honour the ancestors. As a member of the diaspora, I interpreted this idea by creating a mobile version of my ancestral home. I chose to work with embroidery, felt and flannel, to playfully evoke notions of feminine and domestic family life. As a resident of Corhanwarrabul, the walking residency gave me an opportunity to extend the development of this work into a performative walk. I was able to bring together my physical home on Wurundjeri country and my ancestral home, as a symbolic gesture to resolve the feelings of displacement, often felt by those of immigrant backgrounds in Australia. During this walk, I literally carried my cultural baggage with me, to honour particularly my female ancestors, who were often excluded or absent from historical narratives.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Wong Mobile Ancestral Home Tammy Wong Hulbert (Australia)  2024 Embroidery, felt and found materials. Before ‘On Country/In Residence’ I had begun developing my Wong Mobile Ancestral Home as an attempt to express the challenges of being part of the diaspora and problematise ideas of home. As an Australian born Chinese woman, the concept of home has always been complex, existing in mental, spiritual and ancestral forms, as well as physical places. My ancestors arrived in Australia in 1884, over five generations ago. I am fascinated by this long history, leading to further research on Chinese ancestral worship practices, many of these practices lost during the cultural revolution (1966-1976). In January 2024, my research took me on a journey to my ancestral village 小赤坎 (Siew Chek Hum/Xiao Chi Kan), a heritage listed 黄(Wong/Huang) clan village in Guangdong Province, China. It was an incredible visit. There I discovered three 黄(Wong/Huang) ancestral halls – community homes to honour the ancestors. As a member of the diaspora, I interpreted this idea by creating a mobile version of my ancestral home. I chose to work with embroidery, felt and flannel, to playfully evoke notions of feminine and domestic family life. As a resident of Corhanwarrabul, the walking residency gave me an opportunity to extend the development of this work into a performative walk. I was able to bring together my physical home on Wurundjeri country and my ancestral home, as a symbolic gesture to resolve the feelings of displacement, often felt by those of immigrant backgrounds in Australia. During this walk, I literally carried my cultural baggage with me, to honour particularly my female ancestors, who were often excluded or absent from historical narratives. The Convergence of my Home/s Tammy Wong Hulbert  2024 Photography and performance As an Australian born Chinese female artist, this panoramic photograph documents the act of walking with my Wong Mobile Ancestral Home in three poses from right to left, as traditionally Chinese text and images are read this way. The poses documented are: 1. Carrying my ancestral baggage 2. Studying my 黄(Wong/Huang) family history and 3. Engaging with the local environment through bird watching and becoming aware of the spirit of local place. As a local resident with my home backing onto One Tree Hill, the act of walking with my Wong Mobile Ancestral Home, was a way of bringing together two concepts of home, my ancestral home with my physical home on Wurundjeri Country. Experiencing this walk and conversations with our group of artists, including Wurundjeri artist Mandy Nicholson, aided me in gaining a deeper understanding of Wurundjeri people’s special connection to place. Photographer: Shane Hulbert Commissioned by BodyPlaceProject Experiencing Tikilara Tammy Wong Hulbert 2024-5 Embroidery, felt, flannel and dowel. Experiencing Tikilara is my creative response to the three days of our walking residency. During my upbringing, Chinese arts and crafts played an important role in conveying a sense of home. From my perspective as a Chinese-Australian, I responded by recording our experiences through a Chinese landscape painting aesthetic, but I continued to use the unconventional materials of embroidery, flannel and felt. I decided on the format of three hanging scrolls, as scrolls are a mobile form of visual art, often depicting symbolic flora and fauna. During our three days of walking, we encountered the spirit of place through the many animals, plants, land, air and water. I came to understand the Wurundjeri concept of Tikilara meaning ‘spirit of place’. When I reflected on our experience, I wanted to respectfully create a work that encapsulated our journey, creating a work for each day, documenting our encounters with plants, birds and the path we walked. The scroll images are both an aerial view - a Wurundjeri, First Nations perspective of place, and a Chinese perspective of landscape based on a genre called 花鳥畫 (fa niu wa/ hua niao hua) meaning flower bird painting, focused on the spirit of place using natural elements such as symbolic plants, flowers, birds and animals. I also made a conscious decision to create the birds and plants in white felt, to highlight the unjust ongoing absence of Wurundjeri knowledge of place. During the walk, each artist led a workshop, in particular Rebecca Murray made cyanotypes with us, using objects to block the light on photographic paper to create negative spaces. The visual image inspired me to imagine these spaces as a metaphor for the ongoing cultural erasure of First Nations knowledge in Australia and how important it is to more deeply engage with Wurundjeri ways of living and knowing.</image:caption>
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      <image:caption>Tammy Wong Hulbert  2024 Photography and performance, 110 x 240cm As an Australian born Chinese female artist, this panoramic photograph documents the act of walking with my Wong Mobile Ancestral Home in three poses from right to left, as traditionally Chinese text and images are read this way. The poses documented are: 1. Carrying my ancestral baggage 2. Studying my 黄(Wong/Huang) family history and 3. Engaging with the local environment through bird watching and becoming aware of the spirit of local place. As a local resident with my home backing onto One Tree Hill, the act of walking with my Wong Mobile Ancestral Home, was a way of bringing together two concepts of home, my ancestral home with my physical home on Wurundjeri Country. Experiencing this walk and conversations with our group of artists, including Wurundjeri artist Mandy Nicholson, aided me in gaining a deeper understanding of Wurundjeri people’s special connection to place. Photographer: Shane Hulbert</image:caption>
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      <image:caption>Experiencing Tikilara Tammy Wong Hulbert  2024-5 Embroidery, felt, flannel and dowel. Experiencing Tikilara is my creative response to the three days of our walking residency. During my upbringing, Chinese arts and crafts played an important role in conveying a sense of home. From my perspective as a Chinese-Australian, I responded by recording our experiences through a Chinese landscape painting aesthetic, but I continued to use the unconventional materials of embroidery, flannel and felt. I decided on the format of three hanging scrolls, as scrolls are a mobile form of visual art, often depicting symbolic flora and fauna. During our three days of walking, we encountered the spirit of place through the many animals, plants, land, air and water. I came to understand the Wurundjeri concept of Tikilara meaning ‘spirit of place’. When I reflected on our experience, I wanted to respectfully create a work that encapsulated our journey, creating a work for each day, documenting our encounters with plants, birds and the path we walked. The scroll images are both an aerial view - a Wurundjeri, First Nations perspective of place, and a Chinese perspective of landscape based on a genre called 花鳥畫 (fa niu wa/ hua niao hua) meaning flower bird painting, focused on the spirit of place using natural elements such as symbolic plants, flowers, birds and animals. I also made a conscious decision to create the birds and plants in white felt, to highlight the unjust ongoing absence of Wurundjeri knowledge of place. During the walk, each artist led a workshop, in particular Rebecca Murray made cyanotypes with us, using objects to block the light on photographic paper to create negative spaces. The visual image inspired me to imagine these spaces as a metaphor for the ongoing cultural erasure of First Nations knowledge in Australia and how important it is to more deeply engage with Wurundjeri ways of living and knowing.</image:caption>
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      <image:caption>Echoes Rebecca Murray  2025 Cyanotypes. Prominent on the skyline of Melbourne’s east are the Dandenong Ranges /Corhanwarrabul. The remains of an extinct volcano, the fertile soils are home to all kinds of life. In and amongst the understory, along ngurrak barring (mountain paths) and beyond, echoes carry through the landscape, across space and time. Ongoing narratives, embedded memories, spirits and scars. How much do we perceive or know of any given place, even the ones we feel closest to? A complete picture is always obscured and made up of many interconnected parts. Cyanotype is a 19th century sun printing technique. Iron salts, ultraviolet light and water combine to make an image of ‘cyan’ or blue impressions. Murray’s work combines historical, alternative and contemporary photographic processes to explore relationships with place in Australia.</image:caption>
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      <image:caption>Life and death in the undergrowth Rebecca Murray 2025 Archival pigment prints of photographed lumens, cyanotype &amp; cyano-lumens (unfixed). Under the rainforest canopy, signs of life, death, deterioration and regeneration are everywhere. Easily seen in decaying leaves, new growth and fallen trees. Sensed too, through birdsong, rain, sunshine and smells of eucalyptus and damp earth. Deep in the soil a complex world of decomposition, recycling and transformation lies largely unnoticed. Ever more discernible in the forests of Australia are the cumulative effects of colonisation, industrialisation and a warming planet, impacting the undergrowth and all species that depend on it. This collection was made in collaboration with the forest, on Wurundjeri Country. Expired silver gelatin photo papers (destined for landfill) were utilised to make unique, camera-less prints. These light sensitive impressions were then photographed, in their fleeting, transitory states.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Life and death in the undergrowth Rebecca Murray 2025 Archival pigment prints of photographed lumens, cyanotype &amp; cyano-lumens (unfixed). Under the rainforest canopy, signs of life, death, deterioration and regeneration are everywhere. Easily seen in decaying leaves, new growth and fallen trees. Sensed too, through birdsong, rain, sunshine and smells of eucalyptus and damp earth. Deep in the soil a complex world of decomposition, recycling and transformation lies largely unnoticed. Ever more discernible in the forests of Australia are the cumulative effects of colonisation, industrialisation and a warming planet, impacting the undergrowth and all species that depend on it. This collection was made in collaboration with the forest, on Wurundjeri Country. Expired silver gelatin photo papers (destined for landfill) were utilised to make unique, camera-less prints. These light sensitive impressions were then photographed, in their fleeting, transitory states.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Listening to the Mountain Body Gülsen Özer &amp; Aarti Jadu 2025 Installation of rhyodacite (volcanic rock) and anthropic rock with socially engaged, site-specific sound design. This collaborative installation reinterprets the artists’ shared interests in sound and materiality, spatial composition, spirituality and community. Rooted in the geological ‘body of the mountain’ - its rocky formation and volcanic origins, this work presents a conversation between Mount Dandenong’s rhyodacite—an ancient, erosion-resistant rock, and an anthropic rock formed by human construction. The work questions definitions of ‘nature’ while reflecting upon relationships between time, sound and sentience, and the existence of human-made elements within ‘natural’ places. Nestled within the Dandenong Ranges are residential areas and formations from human life: roads, homes, schools, and community spaces. The rocks are positioned as active entities - listeners, performers, and choreographic agents - as material and metaphor, linking geological time with contemporary human narratives. The sound score features the voices of ‘The Lyrebirds’, a regionally significant community choir. It provides a powerful vehicle for the community to speak from their unique perspectives of and connections to Corhanwarrabul. A poem written by Özer has been translated into Woiwurrung by Wurundjeri artist and Traditional Custodian, Dr Mandy Nicholson and crafted into a song cycle composed by musical composer and choir leader Dalys Hill, in collaboration with the artists. Capturing an intimacy between human and mountain, the soundscape becomes a field for listening and reflection, subtly challenging systems that prioritise self over the collective and profit over place. Listening to the Mountain Body asks: What must grow now for a future rooted in care, justice, and connection? The composition features the words: ngurrak-al marram-u (mountain’s body), dhumba-dji (talk to me), Dirrandil-dui (seed inside), Gama-dji (emerge from sleeping). Artistic direction, installation design, thematic development, lyrics, and vocal selection by Aarti Jadu and Gülsen Özer. Musical composition, harmony arrangement, vocal direction, recording, and sound design by Dalys Hill. Language translation and cultural guidance by Wurundjeri artist and Traditional Custodian of Naarm (Melbourne), Dr Mandy Nicholson. Featured vocals: Dalys Hill, Aarti Jadu, Mandy Nicholson, Gülsen Özer and Samara Pitt. Soundscape created with members of The Lyrebirds Community Choir (led by Dalys Hill) drawing from the singers’ sense of connection to this place - the Dandenong Ranges, Corhanwarrabul. The Rhyodacite was gifted to the artists by David Pratt, a Yarra Ranges local and professional hard rock excavation specialist.</image:caption>
    </image:image>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Listening to the Mountain Body Gülsen Özer &amp; Aarti Jadu 2025 Installation of rhyodacite (volcanic rock) and anthropic rock with socially engaged, site-specific sound design. This collaborative installation reinterprets the artists’ shared interests in sound and materiality, spatial composition, spirituality and community. Rooted in the geological ‘body of the mountain’ - its rocky formation and volcanic origins, this work presents a conversation between Mount Dandenong’s rhyodacite—an ancient, erosion-resistant rock, and an anthropic rock formed by human construction. The work questions definitions of ‘nature’ while reflecting upon relationships between time, sound and sentience, and the existence of human-made elements within ‘natural’ places. Nestled within the Dandenong Ranges are residential areas and formations from human life: roads, homes, schools, and community spaces. The rocks are positioned as active entities - listeners, performers, and choreographic agents - as material and metaphor, linking geological time with contemporary human narratives. The sound score features the voices of ‘The Lyrebirds’, a regionally significant community choir. It provides a powerful vehicle for the community to speak from their unique perspectives of and connections to Corhanwarrabul. A poem written by Özer has been translated into Woiwurrung by Wurundjeri artist and Traditional Custodian, Dr Mandy Nicholson and crafted into a song cycle composed by musical composer and choir leader Dalys Hill, in collaboration with the artists. Capturing an intimacy between human and mountain, the soundscape becomes a field for listening and reflection, subtly challenging systems that prioritise self over the collective and profit over place. Listening to the Mountain Body asks: What must grow now for a future rooted in care, justice, and connection? The composition features the words: ngurrak-al marram-u (mountain’s body), dhumba-dji (talk to me), Dirrandil-dui (seed inside), Gama-dji (emerge from sleeping). Artistic direction, installation design, thematic development, lyrics, and vocal selection by Aarti Jadu and Gülsen Özer. Musical composition, harmony arrangement, vocal direction, recording, and sound design by Dalys Hill. Language translation and cultural guidance by Wurundjeri artist and Traditional Custodian of Naarm (Melbourne), Dr Mandy Nicholson. Featured vocals: Dalys Hill, Aarti Jadu, Mandy Nicholson, Gülsen Özer and Samara Pitt. Soundscape created with members of The Lyrebirds Community Choir (led by Dalys Hill) drawing from the singers’ sense of connection to this place - the Dandenong Ranges, Corhanwarrabul. The Rhyodacite was gifted to the artists by David Pratt, a Yarra Ranges local and professional hard rock excavation specialist.</image:caption>
    </image:image>
    <image:image>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Listening to the Mountain Body Gülsen Özer &amp; Aarti Jadu 2025 Installation of rhyodacite (volcanic rock) and anthropic rock with socially engaged, site-specific sound design. This collaborative installation reinterprets the artists’ shared interests in sound and materiality, spatial composition, spirituality and community. Rooted in the geological ‘body of the mountain’ - its rocky formation and volcanic origins, this work presents a conversation between Mount Dandenong’s rhyodacite—an ancient, erosion-resistant rock, and an anthropic rock formed by human construction. The work questions definitions of ‘nature’ while reflecting upon relationships between time, sound and sentience, and the existence of human-made elements within ‘natural’ places. Nestled within the Dandenong Ranges are residential areas and formations from human life: roads, homes, schools, and community spaces. The rocks are positioned as active entities - listeners, performers, and choreographic agents - as material and metaphor, linking geological time with contemporary human narratives. The sound score features the voices of ‘The Lyrebirds’, a regionally significant community choir. It provides a powerful vehicle for the community to speak from their unique perspectives of and connections to Corhanwarrabul. A poem written by Özer has been translated into Woiwurrung by Wurundjeri artist and Traditional Custodian, Dr Mandy Nicholson and crafted into a song cycle composed by musical composer and choir leader Dalys Hill, in collaboration with the artists. Capturing an intimacy between human and mountain, the soundscape becomes a field for listening and reflection, subtly challenging systems that prioritise self over the collective and profit over place. Listening to the Mountain Body asks: What must grow now for a future rooted in care, justice, and connection? The composition features the words: ngurrak-al marram-u (mountain’s body), dhumba-dji (talk to me), Dirrandil-dui (seed inside), Gama-dji (emerge from sleeping). Artistic direction, installation design, thematic development, lyrics, and vocal selection by Aarti Jadu and Gülsen Özer. Musical composition, harmony arrangement, vocal direction, recording, and sound design by Dalys Hill. Language translation and cultural guidance by Wurundjeri artist and Traditional Custodian of Naarm (Melbourne), Dr Mandy Nicholson. Featured vocals: Dalys Hill, Aarti Jadu, Mandy Nicholson, Gülsen Özer and Samara Pitt. Soundscape created with members of The Lyrebirds Community Choir (led by Dalys Hill) drawing from the singers’ sense of connection to this place - the Dandenong Ranges, Corhanwarrabul. The Rhyodacite was gifted to the artists by David Pratt, a Yarra Ranges local and professional hard rock excavation specialist.</image:caption>
    </image:image>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Listening to the Mountain Body Gülsen Özer &amp; Aarti Jadu 2025 Installation of rhyodacite (volcanic rock) and anthropic rock with socially engaged, site-specific sound design. This collaborative installation reinterprets the artists’ shared interests in sound and materiality, spatial composition, spirituality and community. Rooted in the geological ‘body of the mountain’ - its rocky formation and volcanic origins, this work presents a conversation between Mount Dandenong’s rhyodacite—an ancient, erosion-resistant rock, and an anthropic rock formed by human construction. The work questions definitions of ‘nature’ while reflecting upon relationships between time, sound and sentience, and the existence of human-made elements within ‘natural’ places. Nestled within the Dandenong Ranges are residential areas and formations from human life: roads, homes, schools, and community spaces. The rocks are positioned as active entities - listeners, performers, and choreographic agents - as material and metaphor, linking geological time with contemporary human narratives. The sound score features the voices of ‘The Lyrebirds’, a regionally significant community choir. It provides a powerful vehicle for the community to speak from their unique perspectives of and connections to Corhanwarrabul. A poem written by Özer has been translated into Woiwurrung by Wurundjeri artist and Traditional Custodian, Dr Mandy Nicholson and crafted into a song cycle composed by musical composer and choir leader Dalys Hill, in collaboration with the artists. Capturing an intimacy between human and mountain, the soundscape becomes a field for listening and reflection, subtly challenging systems that prioritise self over the collective and profit over place. Listening to the Mountain Body asks: What must grow now for a future rooted in care, justice, and connection? The composition features the words: ngurrak-al marram-u (mountain’s body), dhumba-dji (talk to me), Dirrandil-dui (seed inside), Gama-dji (emerge from sleeping). Artistic direction, installation design, thematic development, lyrics, and vocal selection by Aarti Jadu and Gülsen Özer. Musical composition, harmony arrangement, vocal direction, recording, and sound design by Dalys Hill. Language translation and cultural guidance by Wurundjeri artist and Traditional Custodian of Naarm (Melbourne), Dr Mandy Nicholson. Featured vocals: Dalys Hill, Aarti Jadu, Mandy Nicholson, Gülsen Özer and Samara Pitt. Soundscape created with members of The Lyrebirds Community Choir (led by Dalys Hill) drawing from the singers’ sense of connection to this place - the Dandenong Ranges, Corhanwarrabul. The Rhyodacite was gifted to the artists by David Pratt, a Yarra Ranges local and professional hard rock excavation specialist.</image:caption>
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      <image:title>Work - ngurrak-al marram-u / body of the mountain (2025)</image:title>
      <image:caption>Stacie Piper (Wurundjeri) Welcome to Country at ngurrak-al marram-u opening</image:caption>
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      <image:caption>Gretel Taylor, curator's introduction at ngurrak-al marram-u opening</image:caption>
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      <image:caption>Djirri Djirri Wurundjeri women's dance group Performance at ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>ngurrak-al marram-u opening</image:caption>
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      <image:caption>Flyer artwork (excerpt) Photo by Fergus Floyd Listening to the Mountain Body Gülsen Özer &amp; Aarti Jadu</image:caption>
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