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“These spaces of imaginative and creative wildness are rare in a world that wants to compartmentalise and control all forms of cultural production.”

“We all have our own experiences of moving toward or away from connection, and for me, part of navigating these experiences necessarily involves a questioning of where I begin and end, what or who I consist of, and how the impacts of mutuality and difference influence how I move through the world.”

“I’m working mostly within the scope of documentary and experimental eco-cinema practices, utilising the principles of slow cinema and cinéma vérité.”

“The sun's pervasive presence allows it to be the subject, whether direct or not, for a lot of artistic practices and creative investigations.”

“Lectus explores architectures that promise protection, and how this sense of safety often depends on one’s ability to forfeit their privacy and be surveilled.”

“How can sound map the marginalised or subaltern body, archive, or practice?”

“Nonno used to make these objects to scare away the birds from his veggie patch.”

“I use a virtual clay – a computer simulation of clay which reacts using tools in real time.”

“We always want to know what the ‘translation’ is – instead of sitting with the sound of the word, or how we pronounce it in our head, and thinking about what it means.”

“As a woman born into the Untouchable caste, my body has been historically denied access to temples; but as an artist I contend that I create my own sanctified space.”

“Bread as a subject is as flexible as its materiality. It’s a touchstone to so many other things and allows people to focus on how they relate to themselves, others and the earth.”

“On arriving at Firstdraft I couldn’t believe the sound of the bells coming from St Mary’s Cathedral.”

“I was looking to position the works in a way that relied on the existing architecture.”