Becoming With, 2026
Solo exhibition, Hawkesbury Regional Art Gallery
Interwoven, 2025. Woven Cotton Textile, 153cm x 203 cm
Becoming With, 2025. Digital print 90 cm x 126 cm
Underworld 2026. Large-scale digital wall print
Hanging Swamp, 2026. Multichannel video installation, looped
Long Voids, Open Cuts and Mounds, 2026. Paint, Vinyl
Excavated, 2026. Digital print 63 cm x 86.6 cm
Mound, 2026. Looped video, concrete blocks
Multi-species Convergence, 2024. Digital print 90 cm x 126 cm
Adaptive Assemblage, 2024. Digital print 52.2cm x 71.7cm
Connected Matter, 2026. Digital print 52.2cm x 71.7cm
Memory Networks, 2025. Looped Video
With Every Pulse a Word Lost, 2026. Quadraphonic composition, loop, Concrete blocks (Jana Irmert)
Pressure Systems, 2026. Looped Projection with sound (Yandell Walton & Jana Irmert)
Becoming With brings together a new body of work developed through two residencies at BigCi in 2025 and 2026, following the BigCi Environmental Art Award. Created in response to extended periods spent in and around the Wollemi National Park and Blue Mountains region, the exhibition emerges from walking, scanning, recording, listening, and spending time within landscapes shaped by immense geological time, ecological interdependence, and ongoing environmental extraction.
Developed alongside sound artist Jana Irmert during the 2026 residency, the exhibition reflects an ongoing dialogue between our practices. While working across different mediums, our approaches informed and fed into one another through shared site explorations, field recordings, conversations, and encounters within the landscape. Jana’s sound works and my visual installations evolved in parallel, creating complementary responses to the same environments and ecological conditions. Together, the works position the environment not as a passive subject, but as an active collaborator.
Working with photogrammetry, moving image, textile, and installation, fragments of the landscape are digitally reconstructed into spatial forms that preserve fragile surface details: fungi, lichen, decomposing matter, sandstone formations, forest floors, and hanging swamps. Using hydrophones and geophones, Jana Irmert traces the quiet pulses of hanging swamps and river gorges alongside the infrasonic rumbles and industrial drones of mining processes operating beneath the landscape.
Throughout the exhibition, human and more-than-human systems become entangled. In works such as Interwoven and Becoming With, the body is not presented as separate from nature, but as embedded within cycles of growth, decay, transformation, and renewal. Other works confront the visible and invisible impacts of extraction on the environment. Developed in response to both open-cut sand mining and the hidden longwall coal mines beneath the Gardens of Stone State Conservation Area, works such as Pressure Systems and Long Voids, Open Cuts and Mounds consider the violence of geological disruption and the slow destabilisation of ecosystems. Drawing from scans of sandstone formations and landscapes above active mining zones, these works expose tensions between deep time, resource extraction, and environmental collapse. Jana Irmert’s With Every Pulse a Word Lost holds two realities simultaneously: the sounds of the extraordinary ecosystems of the Wollemi and Blue Mountains landscapes, alongside fractured seismic tremors recorded from active coal and sand mines operating within the Gardens of Stone State Conservation Area.
Installation becomes central to the exhibition’s meaning. Suspended forms, fragmented screens, concrete blocks, painted surfaces, and distributed sound systems create an environment where no single element dominates. By enlarging microscopic ecologies and immersing viewers within digitally reconstructed terrains, the exhibition attempts to de-centre the human perspective and reposition us as part of a larger, unstable web of relations.
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Developed alongside sound artist Jana Irmert during the 2026 residency, the exhibition reflects an ongoing dialogue between our practices. While working across different mediums, our approaches informed and fed into one another through shared site explorations, field recordings, conversations, and encounters within the landscape. Jana’s sound works and my visual installations evolved in parallel, creating complementary responses to the same environments and ecological conditions. Together, the works position the environment not as a passive subject, but as an active collaborator.
Working with photogrammetry, moving image, textile, and installation, fragments of the landscape are digitally reconstructed into spatial forms that preserve fragile surface details: fungi, lichen, decomposing matter, sandstone formations, forest floors, and hanging swamps. Using hydrophones and geophones, Jana Irmert traces the quiet pulses of hanging swamps and river gorges alongside the infrasonic rumbles and industrial drones of mining processes operating beneath the landscape.
Throughout the exhibition, human and more-than-human systems become entangled. In works such as Interwoven and Becoming With, the body is not presented as separate from nature, but as embedded within cycles of growth, decay, transformation, and renewal. Other works confront the visible and invisible impacts of extraction on the environment. Developed in response to both open-cut sand mining and the hidden longwall coal mines beneath the Gardens of Stone State Conservation Area, works such as Pressure Systems and Long Voids, Open Cuts and Mounds consider the violence of geological disruption and the slow destabilisation of ecosystems. Drawing from scans of sandstone formations and landscapes above active mining zones, these works expose tensions between deep time, resource extraction, and environmental collapse. Jana Irmert’s With Every Pulse a Word Lost holds two realities simultaneously: the sounds of the extraordinary ecosystems of the Wollemi and Blue Mountains landscapes, alongside fractured seismic tremors recorded from active coal and sand mines operating within the Gardens of Stone State Conservation Area.
Installation becomes central to the exhibition’s meaning. Suspended forms, fragmented screens, concrete blocks, painted surfaces, and distributed sound systems create an environment where no single element dominates. By enlarging microscopic ecologies and immersing viewers within digitally reconstructed terrains, the exhibition attempts to de-centre the human perspective and reposition us as part of a larger, unstable web of relations.
