https://marlainaread.com marlainaread Wed, 26 Mar 2025 23:02:26 +0000 https://marlainaread.com en https://marlainaread.com/Index Wed, 05 Mar 2025 05:52:53 +0000 marlainaread https://marlainaread.com/Index Selected works https://marlainaread.com/About-1 Wed, 05 Mar 2025 05:52:53 +0000 marlainaread https://marlainaread.com/About-1 <img width="1762" height="1760" width_o="1762" height_o="1760" data-src="https://freight.cargo.site/t/original/i/26fde3f933e61122e2fb0f3eccdd76378473349836d0b95fe97655b8be573f1b/Nida-walks-by-Emily.jpg" data-mid="228297131" border="0" src="https://freight.cargo.site/w/1000/i/26fde3f933e61122e2fb0f3eccdd76378473349836d0b95fe97655b8be573f1b/Nida-walks-by-Emily.jpg" /> Nida, Lithuania, by Emily Dundas Oke <img width="1600" height="1064" width_o="1600" height_o="1064" data-src="https://freight.cargo.site/t/original/i/362d3fe85f63fbcff35d9623fc0fec120fddc142ffcb3b171153b5d3dead8996/me-in-rubble.jpg" data-mid="228297141" border="0" src="https://freight.cargo.site/w/1000/i/362d3fe85f63fbcff35d9623fc0fec120fddc142ffcb3b171153b5d3dead8996/me-in-rubble.jpg" /> Self portrait in rubble, Nevada <img width="959" height="956" width_o="959" height_o="956" data-src="https://freight.cargo.site/t/original/i/564f06106a6f7b0be2de04b56ac3fb3cf01ccc04016d61a6167e33b34009916c/self-portrait-with-Tacita-Dean.jpg" data-mid="228297147" border="0" src="https://freight.cargo.site/w/959/i/564f06106a6f7b0be2de04b56ac3fb3cf01ccc04016d61a6167e33b34009916c/self-portrait-with-Tacita-Dean.jpg" />Standing in front of art giants after Magda. This is Disappearance at Sea, 16mm by Tacita Dean <img width="266" height="266" width_o="266" height_o="266" data-src="https://freight.cargo.site/t/original/i/b0af42162274b4fdbb1fefc08241f3d0f873431cfc436e65d63e2182ed6b34e5/on-HUNI-2-by-linda.jpg" data-mid="228297144" border="0" src="https://freight.cargo.site/w/266/i/b0af42162274b4fdbb1fefc08241f3d0f873431cfc436e65d63e2182ed6b34e5/on-HUNI-2-by-linda.jpg" /> On the Huni 2 in the Arctic Circle above Iceland, by Linda Rós Hentze Ómarsdóttir <img width="1760" height="1184" width_o="1760" height_o="1184" data-src="https://freight.cargo.site/t/original/i/b51fb5163caf4cfe21cac31ffab871fb78cb128e5fa2df446b769cb556f4d294/caterpillar-by-Noel.jpg" data-mid="228297137" border="0" src="https://freight.cargo.site/w/1000/i/b51fb5163caf4cfe21cac31ffab871fb78cb128e5fa2df446b769cb556f4d294/caterpillar-by-Noel.jpg" /> Tree climb with caterpillar, California, by Noel Ruiz <img width="1308" height="1308" width_o="1308" height_o="1308" data-src="https://freight.cargo.site/t/original/i/116ecdd1023c749a3afad914b4a9d6629ce9b21adeddd65d8970d91e6a39740e/savannah-tat-by-noel.jpg" data-mid="228297145" border="0" src="https://freight.cargo.site/w/1000/i/116ecdd1023c749a3afad914b4a9d6629ce9b21adeddd65d8970d91e6a39740e/savannah-tat-by-noel.jpg" /> Getting a tattoo in Savannah, by Noel Ruiz <img width="1760" height="1318" width_o="1760" height_o="1318" data-src="https://freight.cargo.site/t/original/i/d31ad293330d938703d09cc37953289851e8769b0869e564064bacdd60d992c9/zabriski-point.jpg" data-mid="228297154" border="0" src="https://freight.cargo.site/w/1000/i/d31ad293330d938703d09cc37953289851e8769b0869e564064bacdd60d992c9/zabriski-point.jpg" /> Zabriski Point, by KH <img width="720" height="720" width_o="720" height_o="720" data-src="https://freight.cargo.site/t/original/i/4c034705d3ff319913d59dd470669ece068f6504cceefe94ec5b01ba3bd1dfe3/skagastrond-cliffs-by-linda.jpg" data-mid="228297149" border="0" src="https://freight.cargo.site/w/720/i/4c034705d3ff319913d59dd470669ece068f6504cceefe94ec5b01ba3bd1dfe3/skagastrond-cliffs-by-linda.jpg" /> On the cliffs in Skagastrond, Iceland, by Linda Rós Hentze Ómarsdóttir <img width="1760" height="1322" width_o="1760" height_o="1322" data-src="https://freight.cargo.site/t/original/i/5119f87517c886619c3502c583db7702725fd05c61e52eac9a1c7b1954d6543e/smiths-lake.jpg" data-mid="228297152" border="0" src="https://freight.cargo.site/w/1000/i/5119f87517c886619c3502c583db7702725fd05c61e52eac9a1c7b1954d6543e/smiths-lake.jpg" />Art making,&nbsp;Myall Lakes National Park, by Chi Chi Menendez Marlaina Read is a settler Australian artist of German, Baltic and Scottish descent. <img width="1536" height="1536" width_o="1536" height_o="1536" data-src="https://freight.cargo.site/t/original/i/36e3d01bb81e2212f1ed7c0191d3cbeec7a104fbcaf64dcdfa205b0ae086d702/skagastrond-snow-dune.jpg" data-mid="228297150" border="0" src="https://freight.cargo.site/w/1000/i/36e3d01bb81e2212f1ed7c0191d3cbeec7a104fbcaf64dcdfa205b0ae086d702/skagastrond-snow-dune.jpg" />On top of a snow dune, Skagastrond, Iceland with Melissa Fisher, by Yogan Muller<img width="600" height="600" width_o="600" height_o="600" data-src="https://freight.cargo.site/t/original/i/004620f05ad8bd358bf20470d78b0838bb432713905884334c25cdd1d90d68ff/mread.jpeg" data-mid="228297250" border="0" src="https://freight.cargo.site/w/600/i/004620f05ad8bd358bf20470d78b0838bb432713905884334c25cdd1d90d68ff/mread.jpeg" />In montreal, by&nbsp;Magdalena Olszanowski <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/c71b41e8e04e8524ddbd0bc050232703cc5e2cd393d928f364a447655a7c7815/day-tce-self-portrait.jpg" data-mid="228297140" border="0" src="https://freight.cargo.site/w/300/i/c71b41e8e04e8524ddbd0bc050232703cc5e2cd393d928f364a447655a7c7815/day-tce-self-portrait.jpg" /> Self portrait at 6 Day Tce Croydon which was torn down to widen South Road<img width="750" height="750" width_o="750" height_o="750" data-src="https://freight.cargo.site/t/original/i/16c02ec830caca91b8b55dd1cbb925b575f1201d2f2c58a383f7bffc7e04cb9c/california-cost-by-Noel.jpg" data-mid="228297136" border="0" src="https://freight.cargo.site/w/750/i/16c02ec830caca91b8b55dd1cbb925b575f1201d2f2c58a383f7bffc7e04cb9c/california-cost-by-Noel.jpg" /> Exploring sandstone rock formations, southern California (featuring shadows of Noel and Shannon), by Noel Ruiz <img width="1758" height="1188" width_o="1758" height_o="1188" data-src="https://freight.cargo.site/t/original/i/a38fbfdc227aa843206e144f44073dd41c9e1b3fe6c476940648d15fafc747aa/cupertino-by-Noel.jpg" data-mid="228297139" border="0" src="https://freight.cargo.site/w/1000/i/a38fbfdc227aa843206e144f44073dd41c9e1b3fe6c476940648d15fafc747aa/cupertino-by-Noel.jpg" />Cupertino,&nbsp;by Noel Ruiz<img width="612" height="612" width_o="612" height_o="612" data-src="https://freight.cargo.site/t/original/i/be336793f349f53d7bdb58eb332982c22e32003d281cca540d98acb201d1e0cb/with-luke-in-NYC-by-Frances.jpg" data-mid="228297153" border="0" src="https://freight.cargo.site/w/612/i/be336793f349f53d7bdb58eb332982c22e32003d281cca540d98acb201d1e0cb/with-luke-in-NYC-by-Frances.jpg" /> With Luke Malone in Brooklyn, by Frances Shaw <img width="1758" height="986" width_o="1758" height_o="986" data-src="https://freight.cargo.site/t/original/i/d56f60de251d67a60d7a188abdb642090beff3b9136883120281bf63486c5291/self-portrait.jpg" data-mid="228297146" border="0" src="https://freight.cargo.site/w/1000/i/d56f60de251d67a60d7a188abdb642090beff3b9136883120281bf63486c5291/self-portrait.jpg" /> Self portrait in Newtown, Australia <img width="720" height="720" width_o="720" height_o="720" data-src="https://freight.cargo.site/t/original/i/9856c47c599a184ba21c69c54b243856bd0deb1d1ce2c737bdd2e1fa4124fb56/cupertino-2-by-Noel.jpg" data-mid="228297138" border="0" src="https://freight.cargo.site/w/720/i/9856c47c599a184ba21c69c54b243856bd0deb1d1ce2c737bdd2e1fa4124fb56/cupertino-2-by-Noel.jpg" />Cupertino, by Noel Ruiz <img width="720" height="720" width_o="720" height_o="720" data-src="https://freight.cargo.site/t/original/i/774493b9cd05678f554e9927c2855c6a64c0e986898b378fc43c1f361a7b41af/Skagastrong-by-Linda.jpg" data-mid="228297151" border="0" src="https://freight.cargo.site/w/720/i/774493b9cd05678f554e9927c2855c6a64c0e986898b378fc43c1f361a7b41af/Skagastrong-by-Linda.jpg" />In a smoke stack, Skagastrond, Iceland, by Linda Rós Hentze Ómarsdóttir What drives and inspires me My main interests area are twofold: The seal-woman hybrid / marrying a sealI am interested in the mythopoesis of the seal-woman hybrid – one mediated through technology – and informed by eco-feminist and post-humanist ideas, such as situated knowledge and ecological care. Myths of the selkies in Scotland and the Inuit goddess ᓴᓐᓇ or Sedna, as well as histories of hunting seals as resource extraction, all have an element of harm in their stories. Selkies have their seal skin stolen, so the woman selkie is trapped on land in an abusive relationship. In many retellings Sedna has her fingers chopped off and is cast into the ocean by her father. But what if the seal gets to keep her skin? And can we care for/understand seals, without seeing them in their natural home? How can we use technologically mediated mythbuilding (such as GENAI) and traditional art practices to explore all this? In addition I am fascinated by instances of people and communities marrying the sea, their motivations and histories of resistance, and cultural entwinement with the land and sea.Poland's Wedding to the Sea&nbsp; Venice’s&nbsp;Marriage of the Sea ceremonyMyths after all are stories we tell ourselves to understand the world, and myths are always changing, as we and the environment around us also changes.Women fishermenParticularly women fishers working in small boat fishing communities in Scotland and Iceland. How do women fishers create, understand, and talk about their ecological knowledge? This encompasses ocean histories, human-animal relationships, emotions, mythologies of the human-animal hybrid, and labour practices. Some thoughts on technology, positioning and ecologyMy work is grounded in my identity as a female Australian settler of northern European descent. I am conscious of continually working to understand and address how my work operates within a colonial context. I seek to reduce and resist ongoing harms, and listen to and uplift others doing the same or who are directly harmed by these practices.As climate change is one of the most pressing issue to face us globally, research on oceans, animals, and new ways to 'become-with' our unique ecology could help people (and myself) think and approach such ecosystems differently. Especially in an affective and ethical context, which is a powerful tool to make community, connection and change behaviour. I am interested in using different technologies and pushing/pulling how they can work together. Working within that complexity and ethical framework can lead to novel ideas - as a solo artist and in collaboration. I have been using the internet since 1992. I’ve was interviewed on Beyond 2000 in 1995 at age 14. My early www art and web making has been the subject of two theses including Magda Olszanowski’s, girl.is.a.four.letter.word The Collective Practices of Amateur Self-Imag(in)ing and Personal Website Production 1996 to 2001.Broadly, I am part of a community of practice in feminist internet art practice. This work is a next step in continuing my interest in tech cultures. Wider practiceMy wider practice uses immersive and ephemeral site-specific installation, textiles, photography, sound and film to explore ecologies, place-marking, labour, and ritual. I am particularly drawn to areas bounded, cut through or given meaning by water.Broadly, I situate myself in a community of practice that looks at empathy in human-animal relationships, feminist methodologies, strange ecologies, and ocean imaginaries - 'fish philosophy' after Métis practice-led artist-researcher Dr Zoe Todd. I did my undergraduate study at the University of Sydney and the Berlin University of the Arts, and my MFA at University of New South Wales. I started a PhD at RMIT University - but that is on hold due to health.I’ve undertaken residencies at Nida Art Colony (Lithuania), Mustarinda (Findland), Arscape Gibralter Point (Canada) and NES (Iceland). I am a Blake and Hazelhurst Art on Paper awards finalist. I have exhibited widely in Australia and overseas including NAC Galleries (Lithuania), Banff Centre (Canada), RMIT Galleries (Melbourne), Carriageworks, Chalk Horse, Firstdraft, and Casula Powerhouse (Sydney). Here’s a CV (PDF) Member ofAssociation for the Study of Literature, Environment and Culture (ANZ) Arts Territory Exchange AEGIS Research Network ConnectGet in touch anytime at&nbsp;marlainaread@gmail.comOnmyshore - A blog︎ ︎Some ephemera Terrains of Hesitation - MFA thesis And I still miss you issue 01 Too young too light to work catalogue Song of sibyls catalogue Chora Carriageworks catalogue https://marlainaread.com/The-distance-between-us-is-a-circle Wed, 26 Mar 2025 23:02:26 +0000 marlainaread https://marlainaread.com/The-distance-between-us-is-a-circle The distance between us is a circle2022 ongoingImage configuration and prompt generation, bias and limitation development. I employ a locally hosted model trained on my own artwork style. For this I am using an open-source GENAI model based on DALL·E mini by craiyon – via Huggingface. Images processed using deep convolutional neural networks, using bigjpg.I am using GENAI as a form of technologically mediated mythmaking. These images allow me to conceptualise mythologies. These images exist as standalone works., however they are also ideations for an ongoing new media, sculptural, textile and hologram performance work, and an immersive video and sound installation.All images copyright © Marlaina Read under CC BY-NC-ND Marriage to a seal / the seal-woman shapeshifter “But I can think of so many moments in human history that could be seen as times when the importance of care manifests itself by its absence, by the predominance of profound neglect. And at the same time, there are also all the labors, affections and commitments of care that keep worlds going even in the worst of times.” – Maria Puig de la Bellacasa, Matters of Care, 2019 I am interested in the mythopoesis of the seal-woman hybrid – one mediated through technology – and informed by eco-feminist and post-humanist ideas, such as situated knowledge and ecological care. Myths of the selkies in Scotland and the Inuit goddess ᓴᓐᓇ or Sedna, as well as histories of hunting seals as resource extraction, all have an element of harm in their stories. Selkies have their seal skin stolen, so the woman selkie is trapped on land in an abusive relationship. In many retellings Sedna has her fingers chopped off and is cast into the ocean by her father. But what if the seal gets to keep her skin? And can we care for/understand seals, without seeing them in their natural home? How can we use technologically mediated mythbuilding (such as GENAI) and traditional art practices to explore all this? In addition I am fascinated by instances of people and communities marrying the sea – their motivations rooted in histories of resistance –&nbsp;and cultural entwinement with the land and sea.Poland's Wedding to the Sea Venice’s Marriage of the Sea ceremonyMyths after all are stories we tell ourselves to understand the world, and myths are always changing, as we and the environment around us also changes. <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/d1540141a5638664b9cb3bb88b87dd755193aa43f81829b3fa668843063d150c/ideal-seal.png" data-mid="228841868" border="0" src="https://freight.cargo.site/w/1000/i/d1540141a5638664b9cb3bb88b87dd755193aa43f81829b3fa668843063d150c/ideal-seal.png" /><img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/1cc6a1d5332f39fba03bec610c99acc9690138d952f6e87401e69e741ff46b50/ideal-seal-1.png" data-mid="228841870" border="0" src="https://freight.cargo.site/w/1000/i/1cc6a1d5332f39fba03bec610c99acc9690138d952f6e87401e69e741ff46b50/ideal-seal-1.png" /><img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/033113bb378e10f511d882abe1a71b00d4bd40f6fceca5ce0bf9b511a169e34a/ideal-seal-3.png" data-mid="228841872" border="0" src="https://freight.cargo.site/w/1000/i/033113bb378e10f511d882abe1a71b00d4bd40f6fceca5ce0bf9b511a169e34a/ideal-seal-3.png" /> <img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/a52430ce03cfd55731576e0e8e92e10713b0731a17e8994618a46b901ca420d8/circle-m-read-1.png" data-mid="228842337" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/a52430ce03cfd55731576e0e8e92e10713b0731a17e8994618a46b901ca420d8/circle-m-read-1.png" /><img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/ae11ca4781d4750028c5af97b60c7606d74b6515859808fa5637f23ed427cb06/circle-m-read-4.png" data-mid="228842342" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/ae11ca4781d4750028c5af97b60c7606d74b6515859808fa5637f23ed427cb06/circle-m-read-4.png" /><img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/58a24074a84a088feb28ecf3cab8e0482ad2dc55851ef5f77daeb3f97e8c9f5a/circle-m-read-3.png" data-mid="228842341" border="0" src="https://freight.cargo.site/w/1000/i/58a24074a84a088feb28ecf3cab8e0482ad2dc55851ef5f77daeb3f97e8c9f5a/circle-m-read-3.png" /> <img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/700f3a92b277c1f164f1edeb9a1766e895795d567807d2d07f0936011cc9df6d/circle-m-read-2.png" data-mid="228842338" border="0" src="https://freight.cargo.site/w/1000/i/700f3a92b277c1f164f1edeb9a1766e895795d567807d2d07f0936011cc9df6d/circle-m-read-2.png" /> <img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/55267d408ceb898a62488b51b6058c9599746a384df34278822388df2b63078d/circle-m-read.png" data-mid="228842346" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/55267d408ceb898a62488b51b6058c9599746a384df34278822388df2b63078d/circle-m-read.png" /><img width="4096" height="4096" width_o="4096" height_o="4096" data-src="https://freight.cargo.site/t/original/i/b2696bbe3c7475f0a939699f820ec8a6c8f6a15020a004e28b7d66aa40bbe1bf/circle-m-read-5.png" data-mid="228842343" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/b2696bbe3c7475f0a939699f820ec8a6c8f6a15020a004e28b7d66aa40bbe1bf/circle-m-read-5.png" /> <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/7db01e228a99f9dc9534be1b72106b07bb9aa0076c7914e8a6786f0216a1e661/circle-m-read-7.png" data-mid="228842345" border="0" src="https://freight.cargo.site/w/1000/i/7db01e228a99f9dc9534be1b72106b07bb9aa0076c7914e8a6786f0216a1e661/circle-m-read-7.png" /> <img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/002dcec85eaae58602fb4a6b023042cabcd8ef48f7d8c47d872d0ab6f6504394/ideal-seal-5.png" data-mid="228841867" border="0" src="https://freight.cargo.site/w/1000/i/002dcec85eaae58602fb4a6b023042cabcd8ef48f7d8c47d872d0ab6f6504394/ideal-seal-5.png" /> https://marlainaread.com/Ideal-seal Wed, 03 Feb 2021 23:40:36 +0000 marlainaread https://marlainaread.com/Ideal-seal Making gloves to wear with a seal 2020–ongoingCollaborative/experimental project with Emily Dundas Oke. Video, sound, textiles, found media, zoom chats, correspondance, screenshots, drawing. Presented at STRANGE/LETTERSan Association for the Study of Literature, Environment and Culture (ANZ) symposium, 2021 <img width="554" height="311" width_o="554" height_o="311" data-src="https://freight.cargo.site/t/original/i/7b43530431968069532535a75ccdb7d6781e2ee156d4b0b348eeb0d4620d9f58/Ideal-Seal-low-yellow.gif" data-mid="98403936" border="0" src="https://freight.cargo.site/w/554/i/7b43530431968069532535a75ccdb7d6781e2ee156d4b0b348eeb0d4620d9f58/Ideal-Seal-low-yellow.gif" /> Making gloves to wear with a seal: reciprocity, touch and becoming Conversation and creative documentation of a collaborative textile work between Nehiyaw, Scottish, English and Métis artist, curator and editor Emily Dundas Oke, and German, Baltic and Australian settler artist Marlaina Read. "I knew for sure, if I could touch their fingers everything would have been possible” (Catennaci, 2019)“But I can think of so many moments in human history that could be seen as times when the importance of care manifests itself by its absence, by the predominance of profound neglect. And at the same time, there are also all the labors, affections and commitments of care that keep worlds going even in the worst of times.”&nbsp;(Puig de la Bellacasa, 2019) I met Emily while we were artists-in-residence in Nida, Lithuania. I made a piece exploringecological grief and heritage by marrying the sea. Emily made a beaded textile work aboutgestures of care and expressing extensions of the body in solidarity. She was inspired in part by contemporary dancer Ottavia Catennaci’s work, Glory was at the fingertips&nbsp;– a dance that pays homage to the Baltic Way, where Lithuanians, Latvians and Estonians joined hands in a two million person long line across the Baltic states to protest the Soviet Occupation. A year later, I read David Thompson’s The People of the Sea: Celtic Tales of the Seal-Folk, which recounts tales of selchies – mythological beings capable of metamorphosis by shedding their sealskin to live in human form. In the book are several references to gloves or pouches made fromseal flippers, which have the sensation of responding to touch and weather. “That pouch there will change its colour, too, following on the tides” (Thompson, 1954) This made us think about gloves that could a person and a seal could wear together. To think and act ecologically requires interconnectedness, in one form or another. Making gloves to wear with a seal explores reciprocity in a time of climate crisis. It examines how a language of ‘doing’ and ‘being’ can come to symbolise care in multispecies relationships. “When I stretch my arms out to embrace you, I take note of the circular shape. It holds you, holds me tight. This comfort extends far beyond the horizon of memory’s bend; not every aspect of it is yet familiar” (Lamare and Dundas Oke, 2020) The gloves and associated experimental works form a correspondence circle between beings that communicate, live in and respond to the world in different ways. Seals sense vibration through whiskers. They can follow in the wake of a seal that swam minutes before them. They haul out of the water to land that provides safety, but their bodies are less nimble on the dry. They have mono and dichromatic vision and see contrast in greys and blues. We frame the implications of interconnectedness using Donna Haraway's concept of ‘becoming- with’ – human-nature separation reimagined as bodily connection. This connection cannot take place in the absence of forms of language. We look to Robin Wall Kimmerer's elucidation of the ‘grammar of animacy’ – shifting to an active language of verbs that recognises the agency of and our responsibility to other creatures. We are also guided by Maria Puig de la Bellacasa’s ideas of ‘re-enactment of care’ and responsibility with more than human beings.“Care is not about fusion; it can be about the right distance” (Puig de la Bellacasa, 2017) This is a conversation about ‘becoming with,’ what care means, seal agency, what we can learn from seals, and how this is mediated through distance and technological transmission. In some senses in pandemic times our freedom to encroach has been revoked, in some aspects it has been opened up. And, of course, there is no universal ‘our.’References Catennaci. O. (2019). Glory was at the fingertips. Exhibition catalogue. Vilnius: Art Printing House. Lamare, J. and Dundas Oke, E (2020). you never get to the end of a circle. THE CAPILANO REVIEW, 3(41), pp. 87-93. Haraway, D. J. (2008). When Species Meet. Minneapolis and London: University of Minnesota Press. Haraway, D. J. (2016). Staying with the trouble: Making kin in the Chthulucene. Durham NC: Duke University Press. Thomspon, D. (2018). The People of the Sea. 6th ed. United Kingdom: Canongate Books. Kimmerer, R. W. (2013). Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Minneapolis, MN: Milkweed Editions. <img width="1536" height="1365" width_o="1536" height_o="1365" data-src="https://freight.cargo.site/t/original/i/0b5b883a14118d41b9b8e19b07118ac7c6ba230edcc7f35aa188834cdcbf4a1b/seal-gesture-of-care.jpeg" data-mid="97704849" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/0b5b883a14118d41b9b8e19b07118ac7c6ba230edcc7f35aa188834cdcbf4a1b/seal-gesture-of-care.jpeg" /> Marlaina’s concept of the gloves inspired by Emily’s beaded work made at Nida. Ideal Seal 2021 Found video and sound from YouTube and Vimeo In pandemic times, the plan of filming our own seal footage was not practical. Seal webcams became a form of 'real time' animal contact. As we started to fore-front digital communication, we started to talk about the digital archive of seal footage being indexed on streaming sites. Ideal Seal uses amateur pinneped footage to build a portrait of 'sealness' and seal behavior. This portrait is mediated by human presence - the sound of air compressors, voices, boats and infrastructure, observation by seals, and shaky footage. It is transmitted through screens and over the internet. How does our concept of an 'ideal animal' influence how we think about and provide care. Is the concept harmful? Could transmission, distance and mediation be useful tools in ? Do we need to see a seal in person, to engage in a practice of care? Marlaina Read and Emily Dundas Oke Footage used, remixed and edited under fair use. 6 August 2020, 12.41pm Melbourne time, 7.41pm California time Webcam observations and screenshots <img width="2880" height="1618" width_o="2880" height_o="1618" data-src="https://freight.cargo.site/t/original/i/43e21a6ee92ce22148e7ce4099dbe02bb3ee695492e4b88f914dcd6e7872526b/Screen-Shot-2020-08-06-at-12.46.28-pm.png" data-mid="97704848" border="0" src="https://freight.cargo.site/w/1000/i/43e21a6ee92ce22148e7ce4099dbe02bb3ee695492e4b88f914dcd6e7872526b/Screen-Shot-2020-08-06-at-12.46.28-pm.png" /> There is just one lone seal in sight of the Piedras Blancas Seal Live Stream camera. Lying near the top left of the frame. He or she looks big, but I don’t have another seal to compare, so they could be average size. Their skin and fur is a dark grey, and they lie with their face (muzzle?) facing towards the sandy dunes. Their pads are tucked under body and hind legs gently resting, stretched back towards the water. I imagine the seal is indifferent. I cannot know their feelings, but the fact they do not face the waves, means they cannot observe other seals coming back from the water. Of course it could be an orientation of resourcefulness. The sun is setting, and shadows are long - indistinct.&nbsp; Its a calm day with a blue sky and gentle crashing waves that crash with half-energy against the rocks at the tideline. Driftwood dots the sand, one piece, closer to the camera, mimics the seals repose. The horizon is flat and withered at the edges, a grey blue atop sapphire. <img width="2880" height="1612" width_o="2880" height_o="1612" data-src="https://freight.cargo.site/t/original/i/3640a4f98885ffc56ecc44199623503997d07d6413f1be86fd5525ba5c167c07/Screen-Shot-2020-08-06-at-1.39.10-pm.png" data-mid="97704847" border="0" src="https://freight.cargo.site/w/1000/i/3640a4f98885ffc56ecc44199623503997d07d6413f1be86fd5525ba5c167c07/Screen-Shot-2020-08-06-at-1.39.10-pm.png" />Its 1.24pm and the picture is becoming indistinct. I can hear calling or crying in the background to the right. I think the seal is moving but it is hard to discern movement from camera artefact now. The seal is still in their same location, if they are stretching or shifting sides I don’t know. If you joined the feed now I am not sure you could tell the dark smudge is a seal. It is only through sustained watching over time thAT I identify these pixels, this colouration as seal. An aircraft flies overhead. There is a grunting bird or animal out of sight. A distant wailing too. Through my headphone I conceive that it is behind me. Confirmed, as I cannot spot movement or discolouration on the camera. I definitely heard a pelican just now 1.34pm. The image has tuned black and white, which makes it slightly easier to make out the scene and figure of the seal. What is seal sight? (research this) Louder sustained grunting behind me. I notice I have situated myself into the scene to orientate myself. I think this is seal grunting. Seals seen but not heard. Grunting in this particular seal? 1.38pm a low owrf owrf noise wavers, lower in volume but higher in pitch than the grunter. The seal remains in repose, a dark smudge betraying a weighty, round corpus. It has been an hour now, listening to the same sea, bird calls, human-machine noises as the seal. Correspondence about glove making materials2020Email with image attachment of a piece of Icelandic horse pelt, sent while on Zoom chat <img width="1994" height="960" width_o="1994" height_o="960" data-src="https://freight.cargo.site/t/original/i/02712e2f51be3c68ae04a651eda97fdc946b6bcffdbe77546f248388027d00e4/Screen-Shot-2021-02-04-at-12.06.46-pm.png" data-mid="97705633" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/02712e2f51be3c68ae04a651eda97fdc946b6bcffdbe77546f248388027d00e4/Screen-Shot-2021-02-04-at-12.06.46-pm.png" /><img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/684f298ede2181d39199e29206f8e821631ec059046ed65cae2e26a07f7d63d4/image0.jpeg" data-mid="97705610" border="0" data-scale="46" src="https://freight.cargo.site/w/1000/i/684f298ede2181d39199e29206f8e821631ec059046ed65cae2e26a07f7d63d4/image0.jpeg" /> Attempts at locating a seal colony near Port Fairy, Victoria 2020 Unsuccessful seal sighting road trip, flotsam, seaweed <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/8070f34eb1e494817a6cdabc4ba5c3e13d023507de9c9786a10081491bcd5a56/image1.jpeg" data-mid="97705611" border="0" src="https://freight.cargo.site/w/1000/i/8070f34eb1e494817a6cdabc4ba5c3e13d023507de9c9786a10081491bcd5a56/image1.jpeg" /> Seals in NZ go into the forest 2021 Found media on Twitter and DMs<img width="750" height="956" width_o="750" height_o="956" data-src="https://freight.cargo.site/t/original/i/24dd7723348d1b6d37718657f1c083423cf073cbee865e1eae63ea06e936ba78/thumbnail_IMG_3538.jpg" data-mid="97706519" border="0" data-scale="47" src="https://freight.cargo.site/w/750/i/24dd7723348d1b6d37718657f1c083423cf073cbee865e1eae63ea06e936ba78/thumbnail_IMG_3538.jpg" /> @shelikessharks DM FROM CARA “Hi there! Unfortunately it’s a picture I took of a documentary I was watching, although I wish I could have seen this in person 😂 it’s from Ocean Predators on Prime featuring Kina Scollay, in the fourth episode. I’d really recommend it, that episode has a lot of film of sea lions&nbsp; both in the water and on land, it was super interesting!” <img width="2048" height="1152" width_o="2048" height_o="1152" data-src="https://freight.cargo.site/t/original/i/f8f17d98758f4d095f4057870fa4b77fb139af21987125edc745c69b793b0d86/seal2.jpg" data-mid="97704850" border="0" src="https://freight.cargo.site/w/1000/i/f8f17d98758f4d095f4057870fa4b77fb139af21987125edc745c69b793b0d86/seal2.jpg" /> More email correspondence 2021Marlaina to EmilyJan 20, 2021, 8:04 PMWhen I think about crawling the web for amateur seal footage, I think about myself as a mediator. And I am using various software to do it - 4k downloader, Premiere pro, the file systems on my computer. I am listening to snippets of audio, stopping and starting video, adjusting the volume, zooming in, following a certain smudge of brown pixels. Emily to MarlainaJan 23, 2021, 2:44 AMIt makes me wonder, where is the seal in all this? Imagining you follow these faint traces makes me think the seal has left it's shadow. Emily sends an Instagram story via Signal 2021‘our collective skin’ Excerpt from A History of My Brief Body by Billy-Ray Belcourt <img width="1080" height="2280" width_o="1080" height_o="2280" data-src="https://freight.cargo.site/t/original/i/15e79e7785134e74ccc1a8796223b957d1d1939ead7398770ca05d160479e462/Screenshot_20210202-212621_Instagram.jpg" data-mid="97717678" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/15e79e7785134e74ccc1a8796223b957d1d1939ead7398770ca05d160479e462/Screenshot_20210202-212621_Instagram.jpg" /> https://marlainaread.com/My-house Sun, 13 Jan 2019 14:22:32 +0000 marlainaread https://marlainaread.com/My-house My house was swept away by the sea (marrying the Baltic sea)2019Fabric, natural dyes, etching, performance.Developed at presented at Nida Art Colony (NAC), Lithuania My father was adopted. His birth mother, my birth grandmother, was born in Germany. His birth father, my grandfather, is known only as the Baltic man.I am in Lithuania, living on the edge of the Baltic Sea. The uncertainty of lineage means I am at once home and not. For Christmas my sister and I got my father a DNA test, at his request. While DNA tests have many ethical concerns, it was important to him, and soon we may know an idea of home.The the bones of a house and a dance to an uncertain origin, on the dunes overlooking the Baltic Sea. Traditional dances of the baltic coastal country were characterised by restrained movements and percussion. The dance invokes a marriage of an uncertain past and future as the sea shrugs from the woman standing in front of her.This work partly inspired by the Lithuanian film&nbsp;A Women and Her Four Men / Moteris ir keturi jos vyrai.Update on test: 50% Germanic, 50% “broadly Scandanavian” <img width="1500" height="1002" width_o="1500" height_o="1002" data-src="https://freight.cargo.site/t/original/i/079afa92e1e122119a9ee76fab7fdcc7580bdb9738ac11b61066523e15ccc878/house1.jpg" data-mid="36731477" border="0" src="https://freight.cargo.site/w/1000/i/079afa92e1e122119a9ee76fab7fdcc7580bdb9738ac11b61066523e15ccc878/house1.jpg" /> <img width="1500" height="1002" width_o="1500" height_o="1002" data-src="https://freight.cargo.site/t/original/i/23a339147b04b5c8b6491199fea8e043b0ed43cfeb066db83fe6807f81bfa6ab/house2.jpg" data-mid="36731476" border="0" src="https://freight.cargo.site/w/1000/i/23a339147b04b5c8b6491199fea8e043b0ed43cfeb066db83fe6807f81bfa6ab/house2.jpg" /> Abandoned listening tower on the Lithuanian/Russian border. The Curonian Spit has been contested space, with Nazi Germany annexing the area in 1939. <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/2a6dc30a6b8bc8638fa814b3c7aa9b174e9f907ca0e2525c752c2a30dd0ffa5e/47576867_294682461388582_5977915918443872256_n.jpg" data-mid="32600508" border="0" src="https://freight.cargo.site/w/1000/i/2a6dc30a6b8bc8638fa814b3c7aa9b174e9f907ca0e2525c752c2a30dd0ffa5e/47576867_294682461388582_5977915918443872256_n.jpg" /> Work in progress, making the dress. <img width="1440" height="1079" width_o="1440" height_o="1079" data-src="https://freight.cargo.site/t/original/i/451a4b6745006af8d1937c08a9f70d3da600ebecd7fafb931f3da24bd9f6d439/IMG_5001.JPG" data-mid="32600709" border="0" src="https://freight.cargo.site/w/1000/i/451a4b6745006af8d1937c08a9f70d3da600ebecd7fafb931f3da24bd9f6d439/IMG_5001.JPG" /><img width="1440" height="1080" width_o="1440" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fdce29576185c228cd908c48319a322d2484f5566a9429ef3ce2a5e9c637ba78/IMG_4999.JPG" data-mid="32600711" border="0" src="https://freight.cargo.site/w/1000/i/fdce29576185c228cd908c48319a322d2484f5566a9429ef3ce2a5e9c637ba78/IMG_4999.JPG" /><img width="1440" height="1079" width_o="1440" height_o="1079" data-src="https://freight.cargo.site/t/original/i/a3556a90ba05326b825bd9bad78b9cde579abe5d88801f2839c9ab26355256ef/IMG_5002.JPG" data-mid="32600708" border="0" src="https://freight.cargo.site/w/1000/i/a3556a90ba05326b825bd9bad78b9cde579abe5d88801f2839c9ab26355256ef/IMG_5002.JPG" /><img width="1440" height="1079" width_o="1440" height_o="1079" data-src="https://freight.cargo.site/t/original/i/9c9555fcc8ad99474736c1ca5acd464b08d48971193fecd6516e55b670e9d493/IMG_4998.JPG" data-mid="32600710" border="0" src="https://freight.cargo.site/w/1000/i/9c9555fcc8ad99474736c1ca5acd464b08d48971193fecd6516e55b670e9d493/IMG_4998.JPG" /><img width="1440" height="1079" width_o="1440" height_o="1079" data-src="https://freight.cargo.site/t/original/i/ac5833ff54d6cf455d3b8e45476a94aa6fd5118ac0899b08f2d15c1922914ef7/IMG_4991.JPG" data-mid="32600705" border="0" src="https://freight.cargo.site/w/1000/i/ac5833ff54d6cf455d3b8e45476a94aa6fd5118ac0899b08f2d15c1922914ef7/IMG_4991.JPG" /><img width="1440" height="1079" width_o="1440" height_o="1079" data-src="https://freight.cargo.site/t/original/i/6f542c2143ad7e7a325ac51ceb260dbdf7ec57c1e7cf8a94fb00bc50497f72f4/IMG_4990.JPG" data-mid="32600706" border="0" src="https://freight.cargo.site/w/1000/i/6f542c2143ad7e7a325ac51ceb260dbdf7ec57c1e7cf8a94fb00bc50497f72f4/IMG_4990.JPG" /><img width="1440" height="1086" width_o="1440" height_o="1086" data-src="https://freight.cargo.site/t/original/i/b85e70f8bb70783a83d2c26de5000cce0d64f03c5f1464cf908a5612a027ee67/IMG_4989.JPG" data-mid="32600707" border="0" src="https://freight.cargo.site/w/1000/i/b85e70f8bb70783a83d2c26de5000cce0d64f03c5f1464cf908a5612a027ee67/IMG_4989.JPG" /> https://marlainaread.com/Fish-wife Tue, 21 Mar 2023 01:41:05 +0000 marlainaread https://marlainaread.com/Fish-wife Fish wife2021Fabric, natural dyyes, copper, recycled metalExhibited at Tinning Street Gallery, Melbourne. This work reflects the uncertainty of my ancestry and its entanglement with the ecology of the Baltic Sea. This work started in Lithuania, where I dyed and made a wedding dress and married the sea. Fish wife is the marriage house. A ceremonial structure inspired by an abandone listening tower near the Lithuanian/Russian coastal border on the Curonian Spit. The bones of my house are iron.&nbsp; Alongside the house are shrouds made of hand-dyed natural textiles. The symbol and colours reflect several elements: Yellows and triangular shapes are amber. This washes up othe Baltic shoreline – fossilised tree resin from forests that stood during the Eocene.&nbsp;Dusty pinks and the curve are the dunes along the Spit at sunset. A circle is a ring.&nbsp;Blue and greys and the straight line are the sea and its calm horizon. <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/9f49631d4c39d5797c5537bc37e8c5e91051429447812b2ae34bd505d82e27cb/IMG_3913.jpg" data-mid="172463981" border="0" src="https://freight.cargo.site/w/1000/i/9f49631d4c39d5797c5537bc37e8c5e91051429447812b2ae34bd505d82e27cb/IMG_3913.jpg" /><img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/19478bc4b4b37c32828b0b6bf65493f177a958397c8bd15b5ec9458dcc5205d9/IMG_3915.jpg" data-mid="172463997" border="0" src="https://freight.cargo.site/w/1000/i/19478bc4b4b37c32828b0b6bf65493f177a958397c8bd15b5ec9458dcc5205d9/IMG_3915.jpg" /><img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/8fa2d21cd36ca1086f49b0705f36af9a3ad1124e73631ae3cc4789406d7af8e0/IMG_3914.jpg" data-mid="172464002" border="0" src="https://freight.cargo.site/w/1000/i/8fa2d21cd36ca1086f49b0705f36af9a3ad1124e73631ae3cc4789406d7af8e0/IMG_3914.jpg" /><img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/f4acc964585e34a0fd9dc2d31d3b4b811377ab9f5c5f521d054be73f785703ef/IMG_3899.jpg" data-mid="172464001" border="0" src="https://freight.cargo.site/w/1000/i/f4acc964585e34a0fd9dc2d31d3b4b811377ab9f5c5f521d054be73f785703ef/IMG_3899.jpg" /> https://marlainaread.com/Tide-work Thu, 12 Apr 2018 23:45:45 +0000 marlainaread https://marlainaread.com/Tide-work Tide work2013-17 and ongoingInstallation and documentation. Black hand sifted and cleansed sand from northwest Iceland inscribed onto the shore of west Harris, Scotland. I collected white sand. I'll take it back to Iceland and this thread will be complete. A tidal shift not by sea. <img width="1200" height="802" width_o="1200" height_o="802" data-src="https://freight.cargo.site/t/original/i/54196fd3ff4304e12e471d564255b2e7644416d83fa0e9fdf51ebb8d5ee688d6/Marlaina-Read_Tide-Work-sand-2_2017.jpg" data-mid="14697872" border="0" src="https://freight.cargo.site/w/1000/i/54196fd3ff4304e12e471d564255b2e7644416d83fa0e9fdf51ebb8d5ee688d6/Marlaina-Read_Tide-Work-sand-2_2017.jpg" /><img width="1200" height="802" width_o="1200" height_o="802" data-src="https://freight.cargo.site/t/original/i/36a27e013f92a9783e42f35b268df8f99ddbface4571fa9d6c5dfc638c9dc2a0/Read_Marlaina_Tide-Work-sand-3_2017.jpg" data-mid="14697873" border="0" src="https://freight.cargo.site/w/1000/i/36a27e013f92a9783e42f35b268df8f99ddbface4571fa9d6c5dfc638c9dc2a0/Read_Marlaina_Tide-Work-sand-3_2017.jpg" /><img width="1200" height="802" width_o="1200" height_o="802" data-src="https://freight.cargo.site/t/original/i/6cdd6aac01a86582ae3db88455504ecc52c4d5e5caf4c3d3e2d8083728464617/Marlaina-Read_Tide-Work-sand-1_2017.jpg" data-mid="14697913" border="0" src="https://freight.cargo.site/w/1000/i/6cdd6aac01a86582ae3db88455504ecc52c4d5e5caf4c3d3e2d8083728464617/Marlaina-Read_Tide-Work-sand-1_2017.jpg" /> https://marlainaread.com/Song-of-sibyls Thu, 12 Apr 2018 00:56:52 +0000 marlainaread https://marlainaread.com/Song-of-sibyls Song of sibyls2017-ongoing (V1 and V2 below)Video installation, organetto and electronics.With Canadian musician Katelyn Clark. An experimental adaptation of El Cant de la Sibilla about a prophetess and the apocalypse. Exhibited at Banff Centre, Alberta (2016), Chapelle St-­Louis, Montreal and Verge Gallery, Sydney (2017) and Now Here This festival, New Music Edmonton (2019). Download catalogue <img width="1200" height="681" width_o="1200" height_o="681" data-src="https://freight.cargo.site/t/original/i/96d29409aacdcab8eaf16bdd6260228230c2adeb730786889a13ce77f7ca7e2d/Song-of-Sibyls-5.jpg" data-mid="14633295" border="0" src="https://freight.cargo.site/w/1000/i/96d29409aacdcab8eaf16bdd6260228230c2adeb730786889a13ce77f7ca7e2d/Song-of-Sibyls-5.jpg" /><img width="1200" height="681" width_o="1200" height_o="681" data-src="https://freight.cargo.site/t/original/i/fd4f57f20134a9a2f84cb47246ddea7dfe323ff2e12568ce47c41b7491e37008/Song-of-Sibyls-3.jpg" data-mid="14633294" border="0" src="https://freight.cargo.site/w/1000/i/fd4f57f20134a9a2f84cb47246ddea7dfe323ff2e12568ce47c41b7491e37008/Song-of-Sibyls-3.jpg" /><img width="1200" height="681" width_o="1200" height_o="681" data-src="https://freight.cargo.site/t/original/i/d843cd6ef5b5a652be534ba0e493996cd759ef4374ea1231152fcec4f1501910/Song-of-Sibyls-2.jpg" data-mid="14633293" border="0" src="https://freight.cargo.site/w/1000/i/d843cd6ef5b5a652be534ba0e493996cd759ef4374ea1231152fcec4f1501910/Song-of-Sibyls-2.jpg" /> <img width="2880" height="1614" width_o="2880" height_o="1614" data-src="https://freight.cargo.site/t/original/i/30569f42dfc66eeb71112a9d23d065d4b52fb7bc17df3ca289adaaf5afae4400/Screen-Shot-2019-03-22-at-9.55.36-pm.png" data-mid="61834924" border="0" src="https://freight.cargo.site/w/1000/i/30569f42dfc66eeb71112a9d23d065d4b52fb7bc17df3ca289adaaf5afae4400/Screen-Shot-2019-03-22-at-9.55.36-pm.png" /><img width="2874" height="1616" width_o="2874" height_o="1616" data-src="https://freight.cargo.site/t/original/i/bc4775db9eab1a11977e53e5a0d08e883294483ed956b8401481a1582d480c05/Screen-Shot-2019-03-22-at-10.05.16-pm.png" data-mid="61834925" border="0" src="https://freight.cargo.site/w/1000/i/bc4775db9eab1a11977e53e5a0d08e883294483ed956b8401481a1582d480c05/Screen-Shot-2019-03-22-at-10.05.16-pm.png" /><img width="2880" height="1616" width_o="2880" height_o="1616" data-src="https://freight.cargo.site/t/original/i/8ae834b49470bebfc9355cb087652ae1255d4216b1b5a92cf43d9c960a974333/Screen-Shot-2019-03-22-at-9.56.12-pm.png" data-mid="61834947" border="0" src="https://freight.cargo.site/w/1000/i/8ae834b49470bebfc9355cb087652ae1255d4216b1b5a92cf43d9c960a974333/Screen-Shot-2019-03-22-at-9.56.12-pm.png" /> <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/f7d143a5fd25361712bdcbbbc86f78bfaeb3ddd248cfe87a2a5963e856b7d824/Verge-JUNE-web-27.jpg" data-mid="14633298" border="0" src="https://freight.cargo.site/w/1000/i/f7d143a5fd25361712bdcbbbc86f78bfaeb3ddd248cfe87a2a5963e856b7d824/Verge-JUNE-web-27.jpg" /><img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/a3ffed72ca2e29d7b04930a735589a45d0b0a5294d6674939afe33519fce906b/verge-june-23.jpg" data-mid="14633595" border="0" src="https://freight.cargo.site/w/1000/i/a3ffed72ca2e29d7b04930a735589a45d0b0a5294d6674939afe33519fce906b/verge-june-23.jpg" /><img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/2c8d538aef51d8d37909d286a05d880c22415ec244f9b6c884ce986def482eba/Verge-JUNE-web-21.jpg" data-mid="14633296" border="0" src="https://freight.cargo.site/w/1000/i/2c8d538aef51d8d37909d286a05d880c22415ec244f9b6c884ce986def482eba/Verge-JUNE-web-21.jpg" /><img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/99b1b135ee5fcfd6890a353edb62e8bcb027cae1e3acec3d2c38c8bac1d6ada1/Verge-JUNE-web-24.jpg" data-mid="14633297" border="0" src="https://freight.cargo.site/w/1000/i/99b1b135ee5fcfd6890a353edb62e8bcb027cae1e3acec3d2c38c8bac1d6ada1/Verge-JUNE-web-24.jpg" /> Installation view, Verge Gallery 2017. Images by Document Photography. https://marlainaread.com/Shrouding Sun, 13 Jan 2019 14:14:18 +0000 marlainaread https://marlainaread.com/Shrouding Shrouding2019Fabric hand dyed with onion and tumeric. I want to make a shroud for a dead tree. Impermanent monuments to things that are in ruin. Developed at presented at Nida Art Colony (NAC), Lithuania <img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/1eef5824c745e07a950771bfda4146b88aae4a87c933470065d2d0ecd8070b23/DSC06414.JPG" data-mid="32600332" border="0" src="https://freight.cargo.site/w/1000/i/1eef5824c745e07a950771bfda4146b88aae4a87c933470065d2d0ecd8070b23/DSC06414.JPG" /><img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/bd7f7028ee63228f024e9cbe90f53cbfbefadd6dc54e91b1e7db2a9c769ba1f6/DSC06394.jpg" data-mid="32600344" border="0" src="https://freight.cargo.site/w/1000/i/bd7f7028ee63228f024e9cbe90f53cbfbefadd6dc54e91b1e7db2a9c769ba1f6/DSC06394.jpg" /> <img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/2e3fd0b7f3a7c35f9e7b60aa3059d83010c71980e441b75130a2a80691a97d2b/DSC06425.JPG" data-mid="32600334" border="0" src="https://freight.cargo.site/w/1000/i/2e3fd0b7f3a7c35f9e7b60aa3059d83010c71980e441b75130a2a80691a97d2b/DSC06425.JPG" /> <img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/16a7740bf0a2ec98c287a8aaf78824c56019f8a8f91f9bfd0a62e2e6344fd792/DSC06427.JPG" data-mid="32600336" border="0" src="https://freight.cargo.site/w/1000/i/16a7740bf0a2ec98c287a8aaf78824c56019f8a8f91f9bfd0a62e2e6344fd792/DSC06427.JPG" /><img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/c8ddac69f48018f4f478eb22cda13fb49b93b438cc0f15c365e7b21e17db2f1d/DSC06387.jpg" data-mid="32600343" border="0" src="https://freight.cargo.site/w/1000/i/c8ddac69f48018f4f478eb22cda13fb49b93b438cc0f15c365e7b21e17db2f1d/DSC06387.jpg" /><img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/96f3b8c76257e7d8449275cea9a376f2186c291269082315004bc14d92c57957/DSC06426.JPG" data-mid="32600335" border="0" src="https://freight.cargo.site/w/1000/i/96f3b8c76257e7d8449275cea9a376f2186c291269082315004bc14d92c57957/DSC06426.JPG" /><img width="2000" height="1336" width_o="2000" height_o="1336" data-src="https://freight.cargo.site/t/original/i/a4e841b336fc6d9c332fdd38e2f47b2f378e5d293dda9a82562db644512e007e/DSC06437.JPG" data-mid="32600337" border="0" src="https://freight.cargo.site/w/1000/i/a4e841b336fc6d9c332fdd38e2f47b2f378e5d293dda9a82562db644512e007e/DSC06437.JPG" /> https://marlainaread.com/Death-notes Wed, 11 Apr 2018 23:59:26 +0000 marlainaread https://marlainaread.com/Death-notes Death notes2017-18Chromogenic prints from medium format negative. Instances of decay. Documented in Scotland and the USA. <img width="1200" height="975" width_o="1200" height_o="975" data-src="https://freight.cargo.site/t/original/i/97f828e85a3662c4d350e54fcf821ead3e87eb28c4a56e9328b881f6ff2f92ef/sheep.jpg" data-mid="14630657" border="0" src="https://freight.cargo.site/w/1000/i/97f828e85a3662c4d350e54fcf821ead3e87eb28c4a56e9328b881f6ff2f92ef/sheep.jpg" /><img width="1200" height="975" width_o="1200" height_o="975" data-src="https://freight.cargo.site/t/original/i/7e7d60cdd1aaeaa6f3938a1f9639e3d4bdd0779f49269046f82c85b91da5b8ef/airfield.jpg" data-mid="14630654" border="0" src="https://freight.cargo.site/w/1000/i/7e7d60cdd1aaeaa6f3938a1f9639e3d4bdd0779f49269046f82c85b91da5b8ef/airfield.jpg" /><img width="1200" height="975" width_o="1200" height_o="975" data-src="https://freight.cargo.site/t/original/i/b35150a27f3128de630a9328b1abf9701bdc87467eeb25eccdd7834f23772da2/grave.jpg" data-mid="14630656" border="0" src="https://freight.cargo.site/w/1000/i/b35150a27f3128de630a9328b1abf9701bdc87467eeb25eccdd7834f23772da2/grave.jpg" />