"This work seeks to take a close up and intimate view of the interactions between these forever-proliferating by-products of neoliberal economies of scale, and the world they are overtaking."
Climate change is reshaping and reforming us. As the melting arctic is shifting our oceans currents and reclaiming land, the merging of man-made waste into the natural eco-systems of our planet has transformed sea and land-scapes and created new, unfamiliar forms.
Fabricated objects such as plastics do not remain separate from the natural systems they invade – they instead merge with them, are ingested by sea creatures, breakdown in the oceans, and create new, malformed and at times otherworldly bodies.
This work seeks to take a close up and intimate view of the interactions between these forever-proliferating by-products of neoliberal economies of scale, and the world they are overtaking.
My medium is Cyanotypes/Photogram, or ‘Blue Prints’, an old monochrome photographic printing process. The works are created out of large negatives, found plastics from the sea and plant cuttings. These elements are then printed on watercolour paper, harnessing the power of the sun, to reflect the complex interaction of these key players in climate change.
This experimental process is often unpredictable in the final result, depending largely on the interaction between the sun and chemicals applied to the paper used. The process employed itself mimics the unstable environmental and weather patterns we have begun to experience in our lifetime.
The series title ‘2 minutes to midnight’ is a play on the concept of the ‘DoomsdayClock’, where the countdown to catastrophe is close at hand. Whilst there is still much that can be done, the changes to our planets ecosystems are well under way, and could end catastrophically if no serious action is taken by governments across the world.
My work is often inspired by the human condition, exploring the minutiae of human relationships. This body of work takes a similarly intimate, micro approach to a planetary phenomenon, exploring the scale of environmental change through small moments of interaction between the human-made and natural world.
Marryanne Christodoulou is a Sydney-based multidisciplinary artist who predominately works in the medium of photography. Marryanne has won numerous awards and has exhibited widely throughout Australian galleries, including the Centre of Contemporary Photography, Linden Gallery, Gold Coast Art Gallery, La Trobe university Art Museum and National Gallery of Victoria. Marryanne completed a Bachelor of Arts (Media Arts) – Fine Art Imaging, at the Royal Melbourne Institute of Technology and a Diploma of Illustrative Photography at Photography Studies College in Melbourne. Within her practice, Marryanne explores the human condition in all its fragility, often exploring the nature of inherited trauma across generations, the darker side of a cultural collective unconscious and the way our hidden histories inform the present. ‘2 minutes to midnight’ will be a departure from the traditional photographic medium she chiefly uses. The one off Cyanotype/Photogram prints are more experimental in their nature and reflect the environmental focus of the show.
Climate change is reshaping and reforming us. As the melting arctic is shifting our oceans currents and reclaiming land, the merging of man-made waste into the natural eco-systems of our planet has transformed sea and land-scapes and created new, unfamiliar forms.
Fabricated objects such as plastics do not remain separate from the natural systems they invade – they instead merge with them, are ingested by sea creatures, breakdown in the oceans, and create new, malformed and at times otherworldly bodies.
This work seeks to take a close up and intimate view of the interactions between these forever-proliferating by-products of neoliberal economies of scale, and the world they are overtaking.
My medium is Cyanotypes/Photogram, or ‘Blue Prints’, an old monochrome photographic printing process. The works are created out of large negatives, found plastics from the sea and plant cuttings. These elements are then printed on watercolour paper, harnessing the power of the sun, to reflect the complex interaction of these key players in climate change.
This experimental process is often unpredictable in the final result, depending largely on the interaction between the sun and chemicals applied to the paper used. The process employed itself mimics the unstable environmental and weather patterns we have begun to experience in our lifetime.
The series title ‘2 minutes to midnight’ is a play on the concept of the ‘DoomsdayClock’, where the countdown to catastrophe is close at hand. Whilst there is still much that can be done, the changes to our planets ecosystems are well under way, and could end catastrophically if no serious action is taken by governments across the world.
My work is often inspired by the human condition, exploring the minutiae of human relationships. This body of work takes a similarly intimate, micro approach to a planetary phenomenon, exploring the scale of environmental change through small moments of interaction between the human-made and natural world.
Marryanne Christodoulou is a Sydney-based multidisciplinary artist who predominately works in the medium of photography. Marryanne has won numerous awards and has exhibited widely throughout Australian galleries, including the Centre of Contemporary Photography, Linden Gallery, Gold Coast Art Gallery, La Trobe university Art Museum and National Gallery of Victoria. Marryanne completed a Bachelor of Arts (Media Arts) – Fine Art Imaging, at the Royal Melbourne Institute of Technology and a Diploma of Illustrative Photography at Photography Studies College in Melbourne. Within her practice, Marryanne explores the human condition in all its fragility, often exploring the nature of inherited trauma across generations, the darker side of a cultural collective unconscious and the way our hidden histories inform the present. ‘2 minutes to midnight’ will be a departure from the traditional photographic medium she chiefly uses. The one off Cyanotype/Photogram prints are more experimental in their nature and reflect the environmental focus of the show.
