Merilyn
Fairskye

Latest

Unsettled, Vision Art Platform, Istanbul, January-March 2026

Unsettled-1 installation view
Merilyn Fairskye, Unsettled, installation view, 2026

Unsettled is an exhibition guest curated for Vision Art Platform by Gary Sangster, Director of Drawing Projects UK.
Sat Jan 17, 2026 - Sat Mar 15, 2026.

“Our present moment has moved away from being a time that deepens dialogue or soothes division. Instead, it has become an uncertain and unpredictable era that erodes knowledge systems, institutional structures, and social consensus, while profoundly destabilizing environmental and political conditions. Various forms of denial and conflict actively undermine many of the foundations of contemporary life.

Artists perhaps offer a uniquely powerful framework through which to reconsider the fragile state of the world. One of the central aspects of this exhibition lies in the ways artists generate strong aesthetic forms in response to these real tensions embedded within contemporary experience.

Unsettled is conceived as an exhibition that brings together leading contemporary artists reflecting on the social, cultural, and psychological tensions currently experienced by communities and individuals worldwide. Key themes addressed in the exhibition include the climate crisis, nuclear proliferation, post-colonialism, conflict, migration, racism, gender, and religion. These issues are explored through a range of media, including photography, painting, sculpture, and video.”
Excerpt from the text by curator Gary Sangster.

Unsettled-1 installation view
Merilyn Fairskye, Playground, installation view, Unsettled 2026

Unsettled features works by Rodney Graham (Hauser & Wirth, Zurich), Gary Simmons (Hauser & Wirth, Los Angeles), Carrie Mae Weems (Gladstone Gallery, New York; Fraenkel Gallery, San Francisco; Galerie Barbara Thumm, Berlin), David Maisel (Ivorypress, Madrid), and Stan Douglas (David Zwirner, New York), together with Judith Barry (USA), Debra Dawes (Australia), Merilyn Fairskye (Australia), and Mairéad McClean (Ireland).

Unsettled-3 installation view
Merilyn Fairskye, Focus Infinity III (4.47am, 11 May 2024, Maralinga village), installation view, Unsettled 2026

Visitor Information:
Tuesday - Friday: 11:00 am - 6:00 pm
Saturday: 12:00 pm - 6:00 pm
Sunday - Monday: Closed

For further information: Vision Platform
Vision Art Platform, Süleyman Seba Street,
Akaretler No: 35, Beşiktaş, Istanbul
@visionartplatform

Josephine Ulrick and Win Schubert Photography Award 2024

Focus Infinity III (4.47am, 11 May 2024, Maralinga village)
Merilyn Fairskye, Focus Infinity III (4.47am, 11 May 2024, Maralinga village), 2024

Backlit print on backlit panel. Framed size: 60 × 178 cm.
Josephine Ulrick and Win Schubert Photography Award, HOTA Gallery, Surfers Paradise (14 Dec 2024 – 11 May 2025) .
Winner. Collection: HOTA Gallery, Surfers Paradise. Read judge Chris Saines' remarks here.

Mullins Conceptual Photography Prize 2024

Focus Infinity IV (4.47am, 11 May 2024, Maralinga village)
Merilyn Fairskye, Focus Infinity IV (4.47am, 11 May 2024, Maralinga village), 2024

Eco-solvent pigment print on archival rag paper. 100 × 150 cm.
Mullins Conceptual Photography Prize 2024, Muswellbrook Regional Arts Centre (17 Aug – 12 Oct 2024) .
Winner. Collection: Muswellbrook Regional Arts Centre.

Yesterday New Future (Liddell) 2023

Yesterday New Future video installation
Merilyn Fairskye, Yesterday New Future, 2023

Commissioned by Powerhouse Photography, Yesterday New Future (Liddell) was made possible through funds generously donated by the Australian Centre for Photography.

Yesterday New Future (Liddell)

Plant Life (Liddell) (2023) is a photographic and social history recording the transformation of the Liddell Power Station in the Hunter Valley, NSW, from one of the world’s oldest coal-fired power stations to a future renewable energy hub. It examines the site as a microcosm of geological time, human settlement, and industrial transformation. There are three components to the project: a photo series, a three-channel video installation and a process archive.

The Plant Life (Liddell) Photo Series of images was captured inside Liddell Power Station before its closure in April 2023. The plant was nearly 52 years old, with redundant technology and long overdue for retirement. Its crisis-plagued history was inscribed on the walls and machines.

Five Eco-solvent pigment prints on archival rag paper. Image size each 80x120cm.

Walkway between coal conveyors
Merilyn Fairskye, Walkway between coal conveyors, 2023
#3 Turbine Liddell
Merilyn Fairskye, #3 Turbine, 2023
#2 Turbine with oil leak
Merilyn Fairskye, #2 Turbine with oil leak, 2023
Steam pipes from the basement
Merilyn Fairskye, Steam pipes from the basement, 2023
Dust pumps
Merilyn Fairskye, Dust pumps, 2023

Long Life

Irradiated landscapes

Something else happens by being there. What you see and what’s in front of you aren’t the same thing. You’re being truthful but not necessarily in that (documentary) way and not to that place. Life comes into it.

This work is part of an ongoing project about the experience of nuclear landscapes.

Long Life (Maralinga)

Focus Infinity I (4.15am, 11 May 2024, Maralinga village)
Merilyn Fairskye, Focus Infinity I (4.15am, 11 May 2024, Maralinga village), 2024

Between 1953–63 the British military conducted nuclear tests on Maralinga Tjarutja lands in South Australia, detonating seven nuclear bombs. From a British soldier’s diary entry: “Up at 4.15 am to Roadside and Iwara at 5.45. Bomb ex. at 10am. Flash and Blast on xxxx (unclear). Up at Awawa pit 35 min after. Sun shining at 6.30 am.” 550 minor trials of nuclear weapons resulted in the burning and explosive dispersal of radioactive materials over a wide area.

Focus Infinity II (4.35am, 11 May 2024, Maralinga village) Merilyn Fairskye, Focus Infinity II (4.35am, 11 May 2024, Maralinga village), 2024

On a recent visit to Maralinga, I wanted to see what would be revealed if I photographed in complete darkness. Over three nights, I headed out into the village surrounds with my camera and tripod around 4am. The sky was speckled with countless stars. Each night, a pack of dingoes called to each other nearby.

My settings were f/1.4, between 00:10–00:30 exposure, ISO 1600, focus ∞.

Maralinga - Focus Infinity III
Merilyn Fairskye, Focus Infinity IV (4.41am, 11 May 2024, Maralinga village), 2024
Maralinga - Focus Infinity IV
Merilyn Fairskye, Focus Infinity IV (4.47am, 11 May 2024, Maralinga village), 2024

Long Life (Kazakhstan)

Ground Zero-Kazakhstan
Merilyn Fairskye, Ground Zero (first Soviet atomic bomb test, 7.00am, 29 August 1949, The Polygon, Kazakhstan), 2015. Archival pigment print
Degelen Mountain (Soviet underground nuclear test site, Kazakhstan)
Merilyn Fairskye, The Day After. Degelen Mountain (Soviet underground nuclear test site, Kazakhstan), 2015 Pigment print. 33.3x50cm.
The Day After, from National Australia-Part One 2018
Merilyn Fairskye, Installation detail The Day After, from National Australia-Part One, NAS Gallery, (15 Aug - 27 Oct 2018).
The Day After, from National Australia-Part One 2018
Merilyn Fairskye, Installation detail The Day After, from National Australia-Part One, NAS Gallery, (15 Aug - 27 Oct 2018).
Sensors - Kazakhstan
Merilyn Fairskye, Sensors, 2015. Archival pigment print
Tower — Kazakhstan
Merilyn Fairskye, Tower, 2015. Archival pigment print
Bridge — Kazakhstan
Merilyn Fairskye, Bridge, 2015. Archival pigment print
Test_objects — Kazakhstan
Merilyn Fairskye, Test objects, 2015. Archival pigment print

Long Life (Kakadu)

Retention Pond (Ranger Uranium Mine, Kakadu National Park)
Merilyn Fairskye, Retention Pond (Ranger Uranium Mine, Kakadu National Park). 2016. Archival pigment print
Open Pit (Ranger Uranium Mine, Kakadu National Park)
Merilyn Fairskye, Open Pit (Ranger Uranium Mine, Kakadu National Park). 2016. Archival pigment print
Plateau (Ubirr, Kakadu National Park)
Merilyn Fairskye, Plateau (Ubirr, Kakadu National Park). 2016. Archival pigment print

Claustrophobia

In 1951 the US stockpiled nuclear weapons, the Cold War was in full swing, and Stalin ordered the construction of a top-secret bunker in central Moscow. Sixty-five metres underground, it was to be an emergency command post HQ and long-range aviation communications centre. As I descended the 18 flights of stairs to see the rooms and tunnels, I thought about the Soviet leaders, their families, and the thousand or so military personnel who could exist there for up to three months after a nuclear attack, with certain devastation awaiting their compatriots above ground. In the 1962 Cuban Missile Crisis, 800 military personnel and technicians remained in the bunker for 13 days on high alert, ready to launch an attack if needed. The facility was declassified in 1995 and operates as a museum dedicated to the Cold War. Now known as Bunker 42, some of tunnels are hired out for interactive war games.

Jacket — Claustrophobia
Merilyn Fairskye, Jacket, 2016. Pigment print 33.3 x 50 cm
Lenin — Claustrophobia
Merilyn Fairskye, Lenin, 2016. Pigment print 33.3 x 50 cm
Bunk beds — Claustrophobia
Merilyn Fairskye, Bunk beds, 2016. Pigment print 33.3 x 50 cm
Tunnel — Claustrophobia
Merilyn Fairskye, Tunnel, 2016. Pigment print 33.3 x 50 cm

Plant Life (Dungeness)

On the beach
Merilyn Fairskye, On the Beach (north-east view, Dungeness Power Station B, Kent U.K.). 2015. Pigment print. 92x275cm.
Birds I (Dungeness Power Station B, Kent U.K)
Merilyn Fairskye, Birds I (Dungeness Power Station B, Kent U.K). 2015. Pigment print. 92x275cm.
Birds II (Dungeness Power Station B, Kent U.K)
Merilyn Fairskye, Birds II (Dungeness Power Station B, Kent U.K). 2015. Pigment print. 92x275cm.
On the beach, installation view, 2020 exhibition, Stills Gallery, Sydney, 2015
Merilyn Fairskye, Installation view, 2020 exhibition, Stills Gallery, Sydney, 2015
Installation view, 2020 exhibition, Stills Gallery, Sydney, 2015
Merilyn Fairskye, Installation view, 2020 exhibition, Stills Gallery, Sydney, 2015

Plant Life (Chernobyl)

The photo series Plant Life (Chernobyl) depicts areas around Chernobyl Nuclear Power Plant – site of the catastrophic accident of April 26, 1986.
Road in
Merilyn Fairskye, Road in. 2011. Archival pigment print.
Playground Pripyat
Merilyn Fairskye, Playground. 2011. Archival pigment print.
Pripyat town
Merilyn Fairskye, Pripyat town. 2011. Archival pigment print.
Reactors 5 and 6
Merilyn Fairskye, Reactors 5 and 6, 2011. Pigment print. 80x120cm.
Apartments - Pripyat
Merilyn Fairskye, Apartments, 2011. Pigment print. 80x120cm.
Reactor 4
Merilyn Fairskye, Reactor 4, 2011. Pigment print. 80x120cm.
Waste plant
Merilyn Fairskye, Waste plant, 2011. Pigment print. 80x120cm.
Cooling plant
Merilyn Fairskye, Cooling plant, 2011. Pigment print. 80x120cm.
Distant reactor 4
Merilyn Fairskye, Distant reactor 4, 2011. Pigment print. 80x120cm.
Power lines
Merilyn Fairskye, Power lines, 2011. Pigment print. 80x120cm.
Chernobyl power plant
Merilyn Fairskye, Chernobyl power plant, 2011. Pigment print. 80x120cm.

Connected (Pine Gap)

Connected (1 sec) #1, Pine Gap
Merilyn Fairskye, Connected (1 sec) #1. 2006. Archival pigment print
Merilyn Fairskye, Connected (1 sec) #2. 2006. Archival pigment print
Connected (1 sec) #3, Pine Gap
Merilyn Fairskye, Connected (1 sec) #3. 2006. Archival pigment print
Connected (1 sec) #4, Pine Gap
Merilyn Fairskye, Connected (1 sec) #4. 2006. Archival pigment print
Connected (1 sec) #5, Pine Gap
Merilyn Fairskye, Connected (1 sec) #5. 2006. Archival pigment print
Connected (1 sec) #6, Pine gap
Merilyn Fairskye, Connected (1 sec) #6. 2006. Archival pigment print
Connected (1 sec) #7, Pine Gap
Merilyn Fairskye, Connected (1 sec) #7. 2006. Archival pigment print
Connected (1 sec) #8, Pine Gap
Merilyn Fairskye, Connected (1 sec) #8. 2006. Archival pigment print
Connected (1 sec) #9, Pine Gap
Merilyn Fairskye, Connected (1 sec) #9. 2006. Archival pigment print

Aqua

Aqua/pool #1
Merilyn Fairskye, Aqua/pool #1, 2007. Pigment print. 67.5x120cm.
Aqua/pool #2
Merilyn Fairskye, Aqua/pool #2, 2007. Pigment print. 67.5x120cm.
Aqua/pool #3
Merilyn Fairskye, Aqua/pool #3, 2007. Pigment print. 67.5x120cm.
Aqua/pool #4
Merilyn Fairskye, Aqua/pool #4, 2007. Pigment print. 67.5x120cm.
Aqua/bay #1
Merilyn Fairskye, Aqua/bay #1, 2007. Pigment print. 67.5x120cm.
Aqua/bay #2
Merilyn Fairskye, Aqua/bay #2, 2007. Pigment print. 67.5x120cm.
Two videos, Aqua/pool and Aqua/ocean accompany this work.

Aqua Script

A series of photographic fragments of Merilyn Fairskye's abandonded film-scripts.

Aqua/script #1
Merilyn Fairskye, Aqua/script #1, 2007. Pigment print. 60x51cm.
Aqua/script #2
Merilyn Fairskye, Aqua/script #2, 2007. Pigment print. 60x51cm.
Aqua/script #3
Merilyn Fairskye, Aqua/script #3, 2007. Pigment print. 60x51cm.
Aqua/script #4
Merilyn Fairskye, Aqua/script #4, 2007. Pigment print. 60x51cm.
Aqua/script #5
Merilyn Fairskye, Aqua/script #5, 2007. Pigment print. 60x51cm.
Aqua/script #6
Merilyn Fairskye, Aqua/script #6, 2007. Pigment print. 60x51cm.
Aqua/script #7
Merilyn Fairskye, Aqua/script #7, 2007. Pigment print. 60x51cm.
Aqua/script #8
Merilyn Fairskye, Aqua/script #8, 2007. Pigment print. 60x51cm.

Stati d'animo/Seconds

Several videos, made between 2005-2007, accompany this work. Link to Stati d'Animo (Vimeo).

CDG/#1/1sec
Merilyn Fairskye, CDG/#1/1sec, 2005. Pigment print. 40x50cm.
CDG/#2/1sec
Merilyn Fairskye, CDG/#2/1sec, 2005. Pigment print. 40x50cm.
CDG/#3/1sec
Merilyn Fairskye, CDG/#3/1sec, 2005. Pigment print. 40x50cm.
SFO/#2/1sec
Merilyn Fairskye, SFO/#2/1sec, 2005. Pigment print. 40x50cm.
KUL/#1/1sec
Merilyn Fairskye, KUL/#1/1sec, 2005. Pigment print. 40x50cm.
BNE/#2/1sec
Merilyn Fairskye, BNE/#2/1sec, 2005. Pigment print. 40x50cm.
HEL/#1/1sec
Merilyn Fairskye, HEL/#1/1sec, 2005. Pigment print. 40x50cm.
BNE/#1/1sec
Merilyn Fairskye, BNE/#1/1sec, 2005. Pigment print. 40x50cm.
PHL/#3/1sec
Merilyn Fairskye, PHL/#3/1sec, 2005. Pigment print. 40x50cm.
GRU/#3/1sec
Merilyn Fairskye, GRU/#3/1sec, 2005. Pigment print.
SFO/#1/1sec
Merilyn Fairskye, SFO/#1/1sec, 2005. Pigment print. 40x50cm.
SYD/#7/1sec
Merilyn Fairskye, SYD/#7/1sec, 2005. Pigment print. 40x50cm.
SFO/#3/1sec
Merilyn Fairskye, SFO/#3/1sec, 2005. Pigment print. 40x50cm.
GRU/#6/1sec
Merilyn Fairskye, GRU/#6/1sec, 2005. Pigment print. 40x50cm.
SFO/#4/1sec
Merilyn Fairskye, SFO/#4/1sec, 2005. Pigment print. 40x50cm.
SYD/#6/1sec
Merilyn Fairskye, SYD/#6/1sec, 2005. Pigment print. 40x50cm.
GRU/#4/1sec
Merilyn Fairskye, GRU/#4/1sec, 2005. Pigment print. 40x50cm.

Stati d'animo/9 Secs

SFO/#2/9secs
Merilyn Fairskye, SFO/#2/9secs, 2005. Pigment print. 96x120cm.
KUL/#2/9secs
Merilyn Fairskye, KUL/#2/9secs, 2005. Pigment print. 96x120cm.
BNE/#2/9sec
Merilyn Fairskye, BNE/#2/9sec, 2005. Pigment print. 96x120cm.
GRU/#4/9secs
Merilyn Fairskye, GRU/#4/9secs 2005. Pigment print. 96x120cm.
GRU/#6/9secs
Merilyn Fairskye, GRU/#6/9secs 2005. Pigment print. 96x120cm.
KUL/#1/9sec
Merilyn Fairskye, KUL/#1/9sec, 2005. Pigment print. 96x120cm.

Connected

Nine RA-4 Prints on Duraclear, steel hooks 175x87.5cm. . Available as pigment prints, 168x84cm

Connected #7
Merilyn Fairskye, Connected #7, 2003
Connected #8
Merilyn Fairskye, Connected #8, 2003
Connected #9
Merilyn Fairskye, Connected #9, 2003
Connected #10
Merilyn Fairskye, Connected #10, 2003
Connected #11
Merilyn Fairskye, Connected #11, 2003
Connected #12
Merilyn Fairskye, Connected #12, 2003
Connected #13
Merilyn Fairskye, Connected #13, 2003
Connected #14
Merilyn Fairskye, Connected #14, 2003
Connected #15
Merilyn Fairskye, Connected #15, 2003
innstallation view Connected,  Araluen Galleries, Alice Springs, NT, 2003
Merilyn Fairskye, innstallation view Connected, Araluen Galleries, Alice Springs, NT, 2003
installation view Connected,  Stills Gallery, Sydney, 2003
Merilyn Fairskye, installation view Connected, Stills Gallery, Sydney, 2003
Connected, installation view, Stills Gallery
Merilyn Fairskye, installation view Connected, Stills Gallery, Sydney, 2003

Sea and Sky

Four Duratrans, lightboxes, 180x93.6cm. Edition of 3.

This work comprises both light boxes and prints. Some of these images were part of the Plus+Minus exhibition at Stills Gallery in 2000

Sky LaPerouse
Merilyn Fairskye, Sky (La Perouse), 2003
Sea Kurnell
Merilyn Fairskye, Sea (Kurnell), 2003
Sea - The Gap
Merilyn Fairskye, Sea (The Gap), 2003
Sky - North Head
Merilyn Fairskye, Sky (North Head), 2003

Material World

Installtion view, Material World, Stills Gallery, Sydney, 2006
Merilyn Fairskye, installation view, Material World, Stills Gallery, Sydney, 2006
Fire Kurnell 2003
Merilyn Fairskye, Fire (Kurnell), 2003. C-type print. 100x200cm. Also available 50x100cm.
Water - The Gap, 2003
Merilyn Fairskye, Water (The Gap), 2003. C-type print. 100x200cm. . Also available 50x100cm.
Air - North Head, 2003
Merilyn Fairskye, Air (North Head), 2003. C-type print. 100x200cm. . Also available 50x100cm.
Earth - La Perouse, 2003
Merilyn Fairskye, Earth (La Perouse), 2003. C-type print. 100x200cm. . Also available 50x100cm.
Material world - installation view, collection of Dylan McKimmie and Sonja Bennetto, Perth
Installation view, collection of Dylan McKimmie and Sonja Bennetto, Perth. Photo credit Australian House & Garden, July 2017.

After Image

yvonne, student, yugoslavia
Merilyn Fairskye, yvonne, student, yugoslavia, 1995
Installation view, Photography is Dead! Long Live Photography! Museum of Contemporary Art, Sydney, 1996
Merilyn Fairskye, installation view, Photography is Dead! Long Live Photography!
Museum of Contemporary Art, Sydney, 1996
Installation view, Photography is Dead! Long Live Photography! Museum of Contemporary Art, Sydney, 1996
Merilyn Fairskye, installation view, Photography is Dead! Long Live Photography!
Museum of Contemporary Art, Sydney, 1996
Installation view, After image, William Mora Galleries, Melbourne, 1996
Merilyn Fairskye, installation view, After Image, William Mora Galleries, Melbourne, 1996
Installation view, After image, William Mora Galleries, Melbourne, 1996
Merilyn Fairskye, installation view, After Image, William Mora Galleries, Melbourne, 1996
installation view, After Image, Stills on William St, Sydney, 2014
Merilyn Fairskye, installation view, After Image, Stills on William St, Sydney, 2014
installation view, After Image, Stills on William St, Sydney, 2014
Merilyn Fairskye, installation view, After Image, Stills on William St, Sydney, 2014
installation view, After Image, Stills on William St, Sydney, 2014
Merilyn Fairskye, installation view, After Image, Stills on William St, Sydney, 2014

Unique edition, 12 black and white line positive transparencies, each 143x106cm

  • ouliana, foreign trader, bulgaria
  • moya, writer, australia
  • beulah, art student, vietnam
  • andrew, art historian, australia
  • marina, nurse, russia
  • dylan, lawyer, australia
  • gursuran, scientist, india
  • jenny, secretary, australia
  • edwin, travel agent, puerto rico
  • judy, artist, australia
  • yvonne, student, yugoslavia
  • wendy, manager, barbados
After Image installation view, Shadowcatchers, Art Gallery of NSW
Merilyn Fairskye, After Image installation view, Shadowcatchers, Art Gallery of NSW, Sydney, 2020-21

Collection Art Gallery of New South Wales

L to R: moya, writer, australia; yvonne, student, yugoslavia; edwin, travel agent, puerto rico; wendy, manager, barbados; ouliana, foreign trader, bulgaria

Yesterday New Future (Liddell)

Three-channel video installation. 3 x stereo sound pairs. Duration: 3 x 20:28 loops.

This three-channel video installation considers the nexus of place, people and power at Liddell Power Station. It addresses the place of Liddell and its neighbourhood as one indelibly marked by the expiry date of technology, with a complex natural and social history. It considers the relationship between the event of the power station closure, its geography and architecture, and the impacts on the people who inhabit them.

The imagery builds around the power station, the cooling pond known as Lake Liddell, and the wider neighbourhood of ash dams and coal mines to explore the relationship between the event of the power station closure, its geography and architecture, and the impacts on people. Media headlines from 1964-2023 provide a public account of the power station’s history and impact.

3-channel installation visualisation, Yesterday New Future (Liddell)
Merilyn Fairskye, 3-channel installation visualisation, Yesterday New Future (Liddell), 2023

The over-arching motif is coal, and its indelible mark on an environment scarred by power stations, ash dams and mines, perhaps beyond remediation.

The soundtrack weaves together a stream of the non-human voices of the environment – the constant hum of the power plant, birdsong, the rustle of the wind on the lake, the rhythmic beat of the coal trains that snake through the landscape, together with the voices of people. Their commentary underlies the uncertainty mixed with cautious optimism facing the community as it begins the transition away from coal and the decades-long security the power plant, and the wider industry, have provided. Like many other communities.

Commissioned by Powerhouse Photography, Yesterday New Future (Liddell) was made possible through funds generously donated by the Australian Centre for Photography.

installation detail, (single-channel compiled version, Yesterday New Future (Liddell), special screening, Broadway Screen, UTS, Sydney, December 2023)
Merilyn Fairskye, installation detail, (single-channel compiled version, Yesterday New Future (Liddell),
special screening, Broadway Screen, UTS, Sydney, December 2023)
above: interior view
below: street view
installation detail, Yesterday New Future (Liddell) special screening, Broadway Screen, UTS, Sydney, December 2023 below: street view

CREDITS

concept, camera, editor
online edit and grading, additional SFX
sound designer
Unit 1 closing footage
Liddell Ash dam/Mt Arthur Mine aerial footage
Glencore Mt Owen Mine/Liddell/Ravensworth/Warkworth/
Beltana/Bulga/Mt Thorley Mines aerial footage
Ashton Coal Mine aerial footage

MERILYN FAIRSKYE
GREG FERRIS
GARY WARNER
BRENDAN PYNE
Google Earth - CNES/Airbus 2023

Google Earth/Airbus 2023
Google Earth - Maxar Technologies 2023

CREDITS

  • concept, camera, editor - MERILYN FAIRSKYE
  • online edit and grading, additional SFX - GREG FERRIS
  • sound designer - GARY WARNER
  • Unit 1 closing footage - BRENDAN PYNE
  • Liddell Ash dam/Mt Arthur Mine aerial footage - Google Earth - CNES/Airbus 2023;
  • Glencore Mt Owen Mine/Liddell/Ravensworth/Warkworth/
    Beltana/Bulga/Mt Thorley Mines aerial footage - Google Earth/Airbus 2023;
  • Ashton Coal Mine aerial footage - Google Earth - Maxar Technologies 2023

BIRDS

Single-channel artist film, stereo sound.
Duration: 28:27.

Watch the trailer

Press Kit

BIRDS screened at Flickerin Shores, Sea Imaginaries SEa Art Festival 2023 edition, October-November 2023, Busan, South Korea.

Irini Papadimitriu, Artistic Director

installation detail, BIRDS (Flickering Shores, Sea Imaginaries, Sea Art Festival 2023, Busan, South Korea)
Merilyn Fairskye, installation detail, BIRDS (Flickering Shores, Sea Imaginaries, Sea Art Festival 2023, Busan, South Korea)

BIRDS premiered at the FLUX:ART+FILM strand at the 68th Sydney Film Festival, November 2021.

FLUX:ART+FILM explores the fertile ground between art and cinema, with radical and innovative films by artists who transform our experience of what cinema can be.
Bridget Ikin, Guest Programmer.

Birds no one sees still from the film

Brief Synopsis

BIRDS is a tale of radioactive pigeons, two pairs of twins and a massacre, set in a seaside village in the shadow of a decrepit nuclear plant. In this blighted environment all is entangled — birds, humans, plutonium — and nothing will be spared.

Waste dump still from the film

About BIRDS

BIRDS is an artist film by Merilyn Fairskye, the latest in a series of photographic and screen works that explore the contemporary realities of nuclear sites and their legacies. With an aesthetic approach that emphasises the act of creation and construction over a passive recording and reconstruction of the world, BIRDS humanises the connections between the nuclear and the everyday at a time of great environmental threat and nuclear uncertainty.

BIRDS is inspired by real events that took place between 1998-2010 in the area around Sellafield, the large nuclear reprocessing site in Cumbria, UK. Martin Forwood, a long-time anti-nuclear campaigner (1947-2019), was Merilyn Fairskye’s guide when she visited Sellafield and Seascale, the neighbouring village, in 2016. On the way out of the village, they stopped in front of a pink house overlooking the sea. Martin related a story about the former occupants involving radioactive pigeons, two sets of twins, and a massacre. After several false starts, BIRDS is the result.

BIRDS - waste dump

The real-life events behind this work, if related factually, could appear merely sensational and bizarre, and the larger resonances would be lost. BIRDS enters imaginary territory to shape a more nuanced context for these events in order to draw out what Kristine Stiles has called ‘the ever-present haunting of the nuclear age’.

Actors present different accounts as they were recorded in the media at the time. The imagery builds around the pink house, seaside and nuclear plant and accumulates and dissipates in different ways to create a sense of a volatile environment where all forms of life are entangled. The over-arching motif is the environment that the nuclear plant seeps into — land, sea and air — metamorphosing and mutating because of human actions and now, beyond human control. The birds are the constant presence, and unstoppable.

Ava and Birdie (Monette Lee)
Ava and Birdie (Monette Lee), BIRDS 2020
Deryn and Robin (Dane Carson)
Deryn and Robin (Dane Carson), BIRDS 2020

Notes on the Soundtrack

The actors’ voices are woven through a soundtrack that draws on experimental processes to give a voice to the birds and the environment. It was created by musician and composer Meg Travers, who constructed a 21st century interpretation of the Trautonium, a 1920s German synthesizer.

The original Trautonium, the first instrument capable of sculpting electronic sounds, was used by German composer and electronic music pioneer, Oskar Sala, to create the non-musical soundtrack for Alfred Hitchcock’s ‘The Birds’.

To find out more see: UNLIKELY

The Official (Mayu Iwasaki)
The Official (Mayu Iwasaki), BIRDS 2020

CREDITS

executive producer
direction, editing, camera
soundscape composition and performance
dramaturg/assistant director
sound mix
online editor, title design and grading
production assistance

OGNIAN PISHEV
MERILYN FAIRSKYE
MEG TRAVERS
GREG GIESEKAM
ROBERT HINDLEY
GREG FERRIS
TONY TWIGG

CAST

ava/birdie
robin/deryn
official
announcer

additional voices

MONETTE LEE
DANE CARSON
MAYU IWASAKI
MICHIEL DOLK

SONJA BENNETTO
GREG GIESEKAM
DYLAN MCKIMMIE
LUCY MCKIMMIE
MEG TRAVERS
TONY TWIGG

additional UK photography

NICK SHIMMIN, CLIVE PARKINSON

Dedicated to Martin Forwood & Janine Allis-Smith

© 2020 A PLUS & MINUS PRODUCTIONS | www.plusandminus.net

CREDITS

  • executive producer - OGNIAN PISHEV
  • direction, editing, camera - MERILYN FAIRSKYE
  • soundscape composition and performance - MEG TRAVERS
  • dramaturg/assistant director - GREG GIESEKAM
  • sound mix - ROBERT HINDLEY
  • online editor, title design and grading - GREG FERRIS
  • production assistance - TONY TWIGG

CAST

  • ava/birdie - MONETTE LEE
  • robin/deryn - DANE CARSON
  • official - MAYU IWASAKI
  • announcer - MICHIEL DOLK

additional UK photography -NICK SHIMMIN, CLIVE PARKINSON

White on White (after Malevich)

Two women undertake the endless task of repainting a wall that surrounds a medieval cathedral on the outskirts of a large city.

Almost a century earlier, Kasimir Malevich painted White on White - an off-centre white square angled across a white ground that embodied a sensation of infinity.

Screenshot White on White
Screenshot White on White 2016
  • Merilyn Fairskye 2016-17
  • Single-channel HD video
  • 00:03:50, stereo sound
  • For installation: Single-channel HDV loop
  • Loop duration 4.00
  • "Let My Prayer come True" performed by Blagovest Cappella, conducted by Lev Pankratov.

    VIMEO link

Radiant

Radiant, a vertical video installation, was originally made in response to an opportunity to exhibit on the MediaWall in the Commons foyer at Bath Spa University, Newton, UK. A revised version was made in 2017. Taking landscape into the expanded portrait format, it situates the viewer in a corporeal relationship to the unfolding scenes.

It was shot on location at Sellafield nuclear fuel reprocessing and decomissioning site near Seascale, Cumbria, UK; The Polygon, decommissioned Soviet nuclear test site, Semipalatinsk, Kazakhstan; Ranger Uranium Mine, Kakadu National Park, NT, Australia, and Dungeness Nuclear Power Station B, Kent, UK.

  • Merilyn Fairskye 2015-17
  • Single-channel vertical video installation
  • Duration: 12:54, stereo sound

There is no overarching narrative here, instead, a flow of fragments that accumulates to build a sense of the precariousness of the atomic enterprise, and the vulnerability of the landscapes and the (unseen) people who live with it and who inhabit its aftermath. The visual drivers are the sites themselves, what is to be found there and what they suggest. The emotional driver is the underlying pathos of the brevity of human life set against the longevity of radiation.

Original version (November 2015): duration: 12:54, stereo sound.
Revised version (March 2017): duration: 11:40, stereo sound

(Production assisted by Bath Spa University; Cumbrians Opposed to a Radioactive Environment (C.O.R.E.), Cumbria, UK; National Nuclear Center, Kazakhstan; Vitosha Australia.)

Installation view, Radiant, Bath Spa University UK, 2015
Installation view, Radiant, Bath Spa University UK, 2015

Life Still

A documentation of an artwork/dance collaboration taking place in an art exhibition. Artist Tony Twigg and Annandale Galleries presented a reconstruction of "Still Life", a dance work choreographed by Stephanie Burridge and performed by dancers Patrick Harding-Irmer and Anca Frankenhaeuser, in collaboration with Tony Twigg. In March/April 2016 it was performed within Tony Twigg’s exhibition, “Moonbathing” at Annadale Galleries. It was first performed as part of the Bodies season at the Newtown Theatre in 1997.

Performance at Annandale Galleries, Sydney, 12 March 2016
Performance at Annandale Galleries, Sydney, 12 March 2016

When the Wind Blows

When the Wind Blows depicts six scenes of apparently mundane nuclear landscapes and reflects my experience of these sites. The sites include nuclear-energy production, defence-related sites, radioactive waste and post-accident and remediated sites. Surrounded by secrecy, often located in remote environments or hidden away behind signs restricting entry, these sites are often beautiful and always, on investigation, compromised. Exhibited: Stills Gallery, Sydney, Australia. August 2015

When the Wind Blows, 2020 exhibition
When the Wind Blows, 2020 exhibition, Stills Gallery, Sydney, 2015
  • Merilyn Fairskye 2015
  • Single-channel video installation
  • Custom screen
  • Duration: 13:00, stereo sound

VIMEO link

March

On 19 March, 2014, Vladimir Putin formally annexed Crimea to the Russian Federation. Since then the political and social situation has remained tense and competing claims have been issued that have not resolved the real differences between Russia and Ukraine that have been brought into focus through this action.

A 2010 visit to Crimea, a territory of Ukraine, initially to gather material for a video about the Black Sea, led to a series of artworks concerned with the aftermath of the Chernobyl explosion, 1000 kilometres north, 25 years before. MARCH is comprised of footage captured then combined with new audio.

MARCH does not directly address any of the large issues buried in the Crimean conflict but instead traces some parts of the key fault-lines between empire and ordinary people in sequences using destabilized/uncertain location footage, subtitles, and sound grabs from Russian and British TV. There is a deliberate sense of agitation in this video. You can never see everything that happens in real time and fragments and excerpts you catch in this footage provide a partial, elliptical, and evocative encounter.

Installation view, MARCH, The Sceptical Image exhibition, Sydney College of the Arts Galleries
Installation view, MARCH, The Sceptical Image exhibition, Sydney College of the Arts Galleries, Sydney, 2014

After the events of 17 July, 2014, when Malaysia Airline Flight MH17 was shot down, a postscript was added to the work, in the form of a 4th sequence. The first 3 sequences are altogether 7 minutes long, and are projected onto a large, freestanding screen. The fourth sequence, a 2-minute loop, is displayed on a flat screen monitor on the wall.

Vladimir Putin's Russia invaded Ukraine in February 2022... A chained up dog barks. The war has no end in sight. March 2014 was an early warning of things to come.

  • Merilyn Fairskye 2014
  • Two-channel HDV installation with stereo sound
  • Duration: 1 x 2 min. loop, 1x 7 min.loop

VIMEO link

Long Life (1)

The South Alligator River near the Ranger Uranium Mine in outback Australia is in flood. Waterbirds swoop and glide across silver surfaces in and out of sync with unmoored radio signals from Sputnik 1, the long-lost satellite. Birds and signals, traces adrift in the ether of flooded, radioactive wetlands.

Long Life, City of Hobart Art Prize, 2013, Tasmanian Art Gallery and Museum
Long Life, City of Hobart Art Prize, 2013, Tasmanian Art Gallery and Museum, Hobart
  • Merilyn Fairskye 2013
  • Single-channel video installation
  • Duration: 7:00, stereo sound

VIMEO link

Precarious

Precarious the film
  • Merilyn Fairskye 2011
  • Artist film, single-channel
  • Duration: 01:06:00. Stereo sound

Precarious is a haunting evocation of the aftermath of the explosion at Chernobyl, 25 years on. This visually stunning road movie takes the spectator on a bleak journey from the shores of the Black Sea to the frozen heart of Chernobyl, passing through desolate, snowy landscapes, littered with abandoned villages. Squatting in this icy wasteland, the ghostly sarcophagus of Reactor No. 4 is a constant reminder of the threat still lurking below. Our companions are an unseen group of people who have experienced Chernobyl at first hand.

Precarious bears witness to both the folly and resilience of humans and to nature's fragility.

Al Jazeera Film Festival Byron Bay International Film Festival Going Green Film Festival

VIMEO link

Precarious trailer

Fieldwork I & II

Fieldwork I (Echo Point, Giza, Pripyat)
Installation view, 100 exhibition, Stills Gallery, Sydney, 2009

Fieldwork I (Echo Point, Giza, Pripyat)

  • Three-channel video installation, 3 custom screens, 168x300cm.
  • Colour, stereo sound. Duration: 6 minute loops.

1. Echo Point, Katoomba, looking across to The Three Sisters. The Three Sisters, one of the Blue Mountains' most famous sights, tower above the Jamison Valley. A false Dreamtime legend was created in 1942 to boost tourism in the area. It claimed that three sisters fell in love with three men from a neighbouring tribe, but marriage was forbidden by tribal law. Battle ensued. The sisters were turned to stone by an elder to protect them, but the elder was killed in the fighting and no one the else could turn them back to flesh.

2. Menkaure's Pyramid, Giza, looking across to Cairo. The smallest pyramid, the tomb of Menkaure, was built sometime during the 26th Century BC. According to legend, Menkaure was a pious and beneficent king, in contrast to his two predecessors, Chephren and Cheops. In 1835, the remains of a wooden anthropoid coffin inscribed with Menkaure's name and containing human bones were discovered in the upper antechamber of the pyramid and removed. The coffin can now be viewed in the British Museum.

3. Pripyat, looking across to Reactor 4, Chernobyl. The ruined Chernobyl nuclear facility still contains some 200 tons of radioactive fuel. A steel and concrete shell was built soon after the disaster to contain the radiation. It is becoming increasingly unstable. A billion-dollar Safe Confinement replacement has recently been completed, designed to enclose the existing sarcophagus for 100 years. Within the lifetime of the new shelter, it is hoped that a way of dealing with the radioactive fuel and the breached reactor will be found.

Installation view, 100 exhibition, Stills Gallery, Sydney, 2009
Installation view, 100 exhibition, Stills Gallery, Sydney, 2009
Fieldwork II Street Screen, Australian Centre for Photography, Sydney, 2015
Fieldwork II Street Screen, Australian Centre for Photography, Sydney, 2015

Aqua/ocean 2009

Installation view, 100 exhibition, Stills Gallery, Sydney
Installation view, 100 exhibition, Stills Gallery, Sydney
  • 2-channel video installation. Colour, silent
  • Duration: 3 minute loops.

My Favorite Australian 2008

My Favourite Australian is a project developed in collaboration between the National Portrait Gallery and ABC TV. Early in 2008, the ABC commissioned video portraits of a selection of well known and little-known Australians who were voted for by the Australian public.

Installation view, My Favourite Australian, National Portrait Gallery, Canberra 2008
Installation view, My Favourite Australian, National Portrait Gallery, Canberra 2008

Aqua/pool 2007

A sequence of silent, improvisational fragments. A swimming pool observed from the 17th floor of a hotel in Miami. A man floats, coming to a horizontal position on the pool's surface. A couple make physical contact and pull apart. A woman sinks and rises. A group of swimmers creates an abstract choreography of weightless motion. In the blurred movement of the swimmers, the distinction between body and water dissolves, as contour and shape are transformed into an animated blot or stain.

Fifty superimposed layers of video – two seconds of video time simultaneously. The cinematic division of time into discrete frames is dissolved into the sensation of duration within each frame of the image.

Installation view, 100 exhibition, Stills Gallery, Sydney
Installation view, 100 exhibition, Stills Gallery, Sydney
  • Merilyn Fairskye 2007
  • 2-channel video installation. Colour, silent
  • Duration: 3 minute loops.

Stati d'animo

The overall body of work, Stati d'Animo, invokes the trilogy of paintings (1911) by the Futurist artist Umberto Boccioni that addressed the mixture of dynamism, chaos, and anxiety of those who leave, those who stay behind and those who say farewell in the modern city of the early 20th century. The international airport replaces Boccioni's railway station as the principal site of human movement - a technological zone of passage in which people suspend their usual lives.

Stati d'Animo exists in several forms - as stills, a video essay, and multi-channel and single-channel video installations.

Stati d'animo film card link
Screen shot, Stati d'Animo
  • Stati d'Animo 2007-2011
  • Single-channel HDV. Duration: 24:34
  • 5.1 Surround Sound, Stereo sound
  • Produced in Association with the Australian Film Commission.
  • Produced with the assistance of Sydney College of the Arts, University of Sydney.
Installation view, Stati d'Animo/60 Seconds/07
Installation view, Stati d'Animo/60 Seconds/07, Stills Gallery, Sydney 2007
  • Stati d'Animo/60 Seconds/07 2007
  • Single-channel video installation: wall projection, acrylic sheet
  • Original format: HDV, colour, stereo
  • Transferred to DVD, 04:45 loop

60 one-second sequences of anonymous travellers captured at 18 airports. Stati d'Animo/60 Seconds/07 is the final component of a body of work that exists in several forms -- as stills, as cinema projection and as single and multi-channel installations.

Stati d'animo video installation link
Installation view, Stati d'Animo, Stills Gallery, Sydney 2005
  • Stati d'Animo 2005
  • Three-channel SD video installation
  • Color, silent, 04:00 loops

Connected

Alice Springs is one of the most isolated towns in Australia. In December 1966 an agreement was signed that allowed the construction of Pine Gap, a US-Australian Joint Defence Space Research facility, as a base for global satellite technology and one of the largest ground control centres in the world, just 17 kilometres outside of Alice. The base connected the world to Pine Gap. This work considers how disembodied and shadowy the experience of being constantly connected can be. The work adopts a Pine Gap modus operandi. Sites are monitored, from the air and from the ground - Anzac Hill; the airport; the Pine Gap exit; Ormiston Gorge; Hermannsburg Mission; Kata Tjuta - to create a sense of a town and a landscape inhabited by shadows, mirages, and reflections. People inhabit this space tenuously. You never get to see them. You hear from them, or about them. Every one around Alice Springs has a story, or a friend with a story, that connects to the base. These anecdotes interweave with intercepts from recent news reports; ambient sounds; static; Morse code from Telegraph Station, the roar of road trains speeding down the Stuart Highway; a lone didgeridoo.

Composite screen captures, <i>CONNECTED
Composite screen captures, CONNECTED

Connected 2003

SD single-channel video, stereo/surround sound, 25:00

VIMEO link

  • CREDITS
  • MERILYN FAIRSKYE © 2003
  • Post production: GREG FERRIS@MSV
  • Voices: William Beattie, Frank Chien, Michiel Dolk, Neville Field, Russell Goldflam, Patrick Hayes, Rose Landes, Pamela Lofts, Pip Mc McManus, Lesley Savage, Lisa Stefanoff, Bill van Dijk, Trish van Dijk, Michael Watts, Mandy Webb
  • Pine Gap protest stills, 2002: Mandy Webb, Trish van Dijk
  • Dingoes audio - courtesy of Listening Earth
  • Satellite images - Australia, Afghanistan, China, India, Korea, Pakistan: images courtesy Jacques Descloitres and Jeff Schmaltz, MODIS Land Rapid Response Team, NASA/GSFC
  • Iraq: Image provided by the USGS EROS Data Center Satellite Systems Branch

Thanks to Alice Springs Art Foundation, Araluen Arts Centre, Aurora Resorts, Robert Hindley, Beth McRae, Elizabeth Ann Macgregor, Rod Moss, Ognian Pishev, Trish and Bill van Dijk, Michael Watts, Mandy Webb, Iain Campbell, and Sydney College of the Arts, University of Sydney

Merilyn Fairskye acknowledges Uluru Kata Tjuta National Park as a World Heritage Area and Living Cultural Landscape, and Anangu culture and ownership of this Park.

  • Produced in association with the Australian Film Commission
  • © Merilyn Fairskye and the Australian Film Commission 2003
  • Three-channel production assisted by the Australia Council for the Arts

Connected 3-channel video installation
The experience

Two side projections show a range of apparently unedited scenes and outtakes that appear to assemble and disassemble the images on the centre screen, which is the core program of the 25-minute single-channel digital video of Connected. As people enter the space, their shadows interrupt/intercept the images on Screens 1 and 3 in a simple gesture of low tech interactivity.

TECHNICAL

A digital video/database installation, 3 channels, surround sound. Duration: 25-minute loop.

Eye Contact

Eye contact video link
Production still 1992 (gianna, administrator, italy)

Eye Contact 2000

  • Installation version: DVD. Duration: 40min
  • colour with stereo sound
  • Screen version: Betacam SP Duration 8'17"
  • colour with stereo sound

VIMEO link

Eye Contact is the culmination of a long-term investigation of the landscape of the face. Since 1990 I have been exploring the way the face has moral meaning for us, especially when we read a caption or a story that claims to identify the person's relationship to 'something'. Previously, I worked with painted images based on media images. This work focuses on the photograph and the near-anonymous subject. Since late 1992 I have systematically photographed people with whom I come in contact. There are 1000 images in the series. Many of these images have been used as source images in other works since 1992 e.g. Proposals for Rooms with Columns, Invisible Paintings, After Image and Double Exposure. Each image is 'captioned' with the person's first name, occupation and country of birth. They are mostly unknown people from a wide spectrum of racial and social origins who are instructed to adopt a neutral expression and to close their eyes before being photographed. The fact that their eyes are closed is important - on the one hand not dead or asleep, on the other, not awake, but somewhere in between.

These still images are presented in their final, complete form as a video installation with soundscape. This work was exhibited during 2000 at the Institute of Modern Art, Brisbane; Stills Gallery, Sydney (included in the Olympic Arts Festival) and Araluen Galleries in 2001-2002. It won the 2001 Alice Springs Art Prize.

  • CREDITS
  • Producer/ director MERILYN FAIRSKYE
  • Camera MERILYN FAIRSKYE
  • Soundscape REACH AROUND & CHIT CHAT VON LOOPIN STAB @ AUDIO SWEET
  • Post production GREG FERRIS @ MSV
  • Post production partially assisted by The Institute of Modern Art, Brisbane, MSV Media Services and DVM International.

Yesterday New Future (Liddell)

Yesterday New Future (Liddell) (2023) is a photographic and social history recording the transformation of the Liddell Power Station in the Hunter Valley, NSW, from one of the world’s oldest coal-fired power stations to a future renewable energy hub. It examines the site as a microcosm of geological time, human settlement, and industrial transformation. There are three components to the project: a photo series, a three-channel video installation and a process archive.

Commissioned by Powerhouse Photography, Yesterday New Future (Liddell) was made possible through funds generously donated by the Australian Centre for Photography.

Laka Liddell

2020

2020. Mural, overall dimension: 290 x 781.5cms, acrylic paint. Location cnr. Wilford Lane and Wilford Street, Newtown.

The ongoing transformation of the 2020 Mural, from 8 October 2020 —

Slide 01_2020Mural from Public — 2020 —
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Artist: Merilyn Fairskye
Project assistant: Presley Joy Paget (PJP) @presleyjoypaget

Birds and twins on my mind, and a wish to make something beautiful for this time without over-thinking it. A nod to my early artistic roots.

Stati d'animo

Sydney Airport at Work Program. Commissioned by Sydney Airport Corporation Ltd. Installed October 2006.

Stati d'animo, Sydney Airport

This work was derived from SFO/#2/9secs, an image in the Stati d'Animo/9 seconds 2005 series. It depicts the individual frames from nine seconds of video footage of travellers arriving at San Francisco Airport from Sydney. Small incidents play out over a trajectory of 225 frames.

Tide

Tide, Rialto Square, Manly
Tide, Rialto Square, Manly (in between Wentworth Street and The Corso). Commissioned by Manly Council. Completed April 2001

Six polished stainless steel column structures of varying heights are dispersed in a diagonal line from near Wentworth Street to the beginning of Rialto Lane where it meets the Square. Each structure houses acoustic sound activated during the day. Fibre optic lighting is activated at night. Each column's lighting is a movement between four monochromatic tones. The effect is of liquid, subtly changing colour. From one end of the square to the other, the colour spectrum is played out. The structures are supported off the ground by a central steel rod. Additional coloured light washes down from inside onto a white granite surround. The structures appear to float on light. The height of the columns coincides with high tide levels on six dates, from 4000BC to May 28, 2000. The sound component is no longer functional, but when it was, once each day, at the time of the lowest tide for that date, the repeated chiming of a single note could be heard in each column. At noon the sounds combined to play an interpretation of a transcription by a European circa 1825 of an Aboriginal song from the Sydney region.

Sea Kurnell

Art at Work Program, Sydney International Terminal, Mascot. Completed Aug. 2000

Sea Kurnell at Sydney International Airport

This was an initiative associated with the 2000 Olympics. Several artists were commissioned to create an image for customized lightboxes that are dispersed throughout the new arrival terminals at the International Airport. This work is 1m high by 2m long. With this image, I knew that people would be viewing it as they quickly moved past. An anamorphic stretch, the overall image is to be seen out of the corner of the eye. There is a hidden image within it that is only visible as you approach the lightbox from an oblique angle.

Sea Kurnell at Sydney International Airport

Material world

Material World: Devonshire Street Tunnel
Material World: Devonshire Street Tunnel

Material World, Railway Square, Sydney. Commissioned by City of Sydney. Opened July 1999.

This work echoes the idea of the vanished colonial gateway to the city. Using anamorphic perspective, digitally stretched and elongated images, the four light boxes in the tunnel play with perception and the changing position of the viewer - appearing to move as people rush past. Every now and then, the hidden image of a face appears and then disappears. The viewer moves through saturated colours reflected on the ceiling of the tunnel. These reflections themselves compress and stretch depending on the position of the viewer, and change in intensity as you moves along.

Material World: Bus Interchange windscreens
Material World: Bus Interchange windscreens

The windscreen images, no longer extant, were situated at either end of Railway Square, where, under the bus shelters, people alight, or wait for the buses. These digitally manipulated images representing the four material elements - Air, Fire, Water and Earth. They have been photographed at inner coastal locations around Sydney - La Perouse, Kurnell, North Head and The Gap. Each of these sites has a particular and complex social and historical resonance. These locations approximate the entrances to Port Jackson and Botany Bay.

Air and space

Air and Space (Grid)
Air and Space (Grid)
Air and Space (Grid)
Air and Space (Grid)
Air and Space (Grid)
Air and Space (Grid)

Air and Space (Grid): Foyer, Plaza Level, former State Office Building, 111 George Street, Brisbane. Commissioned by the Queensland State Government. Completed December 1995

Two blue channels and a red aluminium grid attached to the four interior walls of the skylight at the plaza level form a grid within the square of the skylight. An empty rhomboid is centred within the grid. It is anchored flat yet appears three dimensional when viewed from different positions. Red and white neon are visible at the top of the channel. As the spectator passes through the foyer space, the grid compresses optically, thus allowing the center shape to appear to compress into a square and then to stretch out again. At a certain time of year (April), the position of the sun at midday and its effect on the shadows cast onto the floor and walls through the skylight cause the shadow of the rhomboid to appear as a perfect square on the floor below. At night the effect of the neon light dominates the work. The glass pyramid surmounting the work is filled with reflections, which change as the position of the viewer changes. What is seen from below in full sunlight differs from what is seen when the sky is overcast. What is seen at night is different again.

Woolloomooloo Mural Project

From the short history of the project:

As an oral history remade in images, the murals translate photomontage into painting, using a wide range of textual and visual sources - snapshots and personal photo albums, newspaper photo archives, film still, cartoons and drawings.

This social documentary approach involved an imaginative association of portraits, scenes and events under 8 thematic headings from Wallamullah - Place of Plenty to the History of the Waterfront and Victoria Street. BLF Green Bans and FEDFA Green Bans were directly sponsored by the unions involved.

The pictorial organisation of portraits, incidents and local details construct a collective history from the multiple narratives and fragments of people's memories...

The murals honour the people whose strong determination and stubborn resilience led to government actions that made their history of national significance. Residents, who consider the murals their own, want them to stay on the viaduct pylons and kept in good condition. From 2009 to 2013 and in 2024, the City of Sydneycarried out extensive conservation work on the history murals.

The Woolloomooloo Mural Project
The Woolloomooloo Mural Project: Woolloomooloo viaduct, between Cahill Expressway and Harmer Street.
Artists: Merilyn Fairskye and Michiel Dolk, and invited artists. 1980-83
The Woolloomooloo Mural Project - BLF and FEDFA murals
BLF and FEDFA murals 1980-83
The Woolloomooloo Mural Project - Victoria Street
Victoria Street 1980-83
The Woolloomooloo Mural Project - Waterside Workers
Waterside Workers 1980-83

Today, when only objects valued by museums and collectors are enshrined in the history of art, we may recollect and reflect on a historical moment of activism by artists committed to a different social future for art. It was a time of collaboration between artists, but also of collaboration with social constituencies beyond the prevailing institutions and middle class enclaves of art. The Woolloomooloo Mural Project represents such a moment of engagement by artists concerned to find different social relations for artistic practice in Sydney. It also commemorates a history of those who fought for a different, a more socially inclusive and environmentally aware future for Sydney.

It is difficult in retrospect to overstate the significance of the battle for Victoria Street and the battle for Woolloomooloo; one was lost, the other won; both had an impact on the future of the inner city suburbs. Woolloomooloo was a working class community shaped by shared memories of the Depression and War years - a community in decline and revitalised by the struggle to save the area from private redevelopment. The residents' campaign succeeded with the intervention of trade union green-bans, the Whitlam Government and the NSW Housing Commission. When we first approached the Residents Action Group in 1979 through local advocate and architect Col James with a proposal to create a public artwork on the pylons of the Eastern Suburbs Railway, it was made clear to us that the residents wished to see their own history represented. Our own artistic concerns and interests were to be subsumed by this. The result, on eight of the 17 pylons, was a montage form of social portraiture in which the documentary record of street life culled from personal photo-albums and State Archives intersected with the media record of social protest and community activism. We commissioned artists Robert Eadie, Ruth Waller, Tim Maguire, Vicki Varvaressos, Angela Gee, Bob Clutterbuck, Toby Zoates, and Robyn Heks to create billboard paintings that addressed a range of themes on seven of the remaining pylons. We always envisaged that the history murals would have a limited life. We gave them ten years at most because of their location in a public park and thoroughfare, exposed to the weather. In response to community concerns however, the Sydney City Council recently intervened to preserve the murals as an enduring historical record that has become identified with the area.

As a unique record of time and place, film and photography have a documentary immediacy unavailable to any attempts to revive popular history painting as a public art. The footage of the opening of the Woolloomooloo Mural Project on July 10, 1982, originally recorded by Beth McRae, Erika Addis and Pat Fiske, has been re-mixed by Merilyn Fairskye - slowed down in order to inscribe a time and space for memory and reflection. Still photographs taken at the opening by Sandy Edwards have also been incorporated. Former BLF organiser and green bans activist Joe Owens was one of the speakers at the opening. His speech provides the soundtrack. Like the murals, the gathering reveals itself as a commemorative event and celebration owned and shared by the community and its supporters.

Michiel Dolk and Merilyn Fairskye
(Catalogue text for the exhibition Time and Space, Hazelhurst Regional Gallery and Arts Centre, July-August 2010)

Michiel Dolk & Merilyn Fairskye, Woolloomooloo Mural Project Documentation, Local Rhythms and Actions</i>, Art Gallery of New South Wales, 2022
Michiel Dolk & Merilyn Fairskye, Woolloomooloo Mural Project Documentation, Local Rhythms and Actions, Art Gallery of New South Wales, 2022

Cutheringa (unrealised)

Cutheringa 2011 Townsville Hospital Expansion (unrealised)
Cutheringa 2011 Townsville Hospital Expansion, Townsville, Qld. Artist: Merilyn Fairskye

A site-specific triptych incorporating aerial imagery, glass, reflected light and colour, and the red granite of Castle Hill

the concept:

Cutheringa evokes several journeys - through Aboriginal history and mythology to the present associated with Cutheringa, the original name given to Castle Hill in the centre of town, the red granite almost-mountain. This history and mythology around the name Cutheringa haven't been recorded, but the name apparently survives as one of only two known indigenous place names in the Townsville region.

Cutheringa evokes several journeys - through Aboriginal history and mythology to the present associated with Cutheringa, the original name given to Castle Hill in the centre of town, the red granite almost-mountain. This history and mythology around the name Cutheringa haven't been recorded, but the name apparently survives as one of only two known indigenous place names in the Townsville region.

In the context of the Emergency Department site, the artwork is evocative rather than descriptive or narrative. There is no set story here, rather a field of possibilities. The visible traces of the glare of the sun hitting the camera lens, and the fragment of wing in the exterior panel, reveal that this is no cosmic heavenly apparition, but rather, the familiar view from the inside of a plane, looking down through the clouds, this time to Townsville, visible as glimpsed fragments, and earthed through the solid materiality of the red granite of Castle Hill that sits amongst the image.

fabrication/construction
  • The artwork is in three parts.
  • Exterior and interior photographic sections using high resolution, Vivid Image Exterior, red granite section.
  • All with specialist lighting.

Aqua (unrealised)

Proposal Aqua 2009, 123 Albert Street, Brisbane
Aqua 2009, 123 Albert Street, Brisbane (unrealised)
Aqua 2009, 123 Albert Street, Brisbane. Artist: Merilyn Fairskye
the concept:

Aqua - a site-specific public artwork incorporating time-lapse imagery, glass, reflected light and colour, and the movement of people. From a distance you see an abstract field of aqua, then, closer, an image forms an aerial view of a swimming pool, the horizontal field anchored by the black lane markings, and, even closer, a man floats in time and space across the surface of the water. The image provides an unexpected conceptual interruption to the busy streetscape. An iconic Queensland image, at the same time abstract, painterly and figurative. Appearing out of the blue like a mirage, it offers an oasis of cool in the heat of Brisbane.

The large tree near the wall on Albert Street becomes part of the work, a living screen that reveals and conceals, depending on where you happen to be. As you get close the image dissolves into a grid of pixels. A glass mural, one tile per pixel, covers the entire wall. The overall effect will be to glow and reflect intense colour in the shade that falls on the wall, and to sparkle in the sun. An intense vibrancy creates an effect that recalls the gestural and painterly qualities of Impressionism.

A transformative exchange takes place between the image, the adjacent walls, the surrounding streetscape, the movement of vehicles, weather conditions, the position of the sun, people in overlooking buildings, people passing through/using Albert Street. A sense of duration is embedded into the photographic moment of the swimmer in the pool.

fabrication/construction

The image, reworked for this context and codified into pixels 20mmx20mm each, transforms one of the images from the Aqua series of 2007. Each pixel of the image translates onto the wall as a single, monochromatic glass tile. The tiles are 20mmx20mm, installed directly onto the wall.

Wallsend (unrealised)

Red Eye: brick sphere at designated artwork site
Wallsend: Brick wall and lakeside entrance
Red Bellies: in ground signage for Eye Talk (three locations)
Wallsend in Sight 2005 Brickworks Park, Wallsend.
Commissioner: Newcastle City Council.
Artists: Michiel Dolk and Merilyn Fairskye
the concept:

The proposed art-work featuring 'brickwork', consists of 3 interrelated elements:

  1. A brick sphere or monumental eyeball with 'red-belly' iris and aperture (pupil) oriented to the setting sun above the western entrance to the park. Aperture on the opposite pole of the sphere will form a spotlight at designated time of day/year.
  2. A brick wall(s) on the north/south axis frames the sphere and forms an entrance to the quarry enclosure of indigenous bush-parkland. The height of wall is determined by adjacent mound/ground levels on either side of the central avenue. This establishes a strong horizon line below the elevation of the quarry wall.
  3. Soundwork, (telephonic access to audio recording) for heritage interpretation and website for educational purposes

The proposed design brings clarity to a complex design brief and embodies the history of the site with a sculptural and architectural celebration of bricks in a bold signature motif. The use of brick is consistent with the Design brief. Few bricks with clay sourced and manufactured on site are available to the project. It is proposed to source commons pressed and coal fired in the same manner, from a brick manufacturer such as Namoi Valley Bricks. For both sphere and wall, bricks will be selected to resemble the original red-belly, and the sandstone and coal seam strata of the quarry wall, in particular the relationship between three colours - red ochre, pale yellow ochre, and grey.

The principal site identified for artwork, on the main axis, the avenue between the school playground and the lake observation platform is framed by trees. The plan therefore appears to require a work, sign, object or monument towards which the gaze is directed along the axis.

The brief suggests the use of bricks, which are not available on site. There are few extant bricks on site other than those in residual structures submerged in the quarry lake. At the risk of bringing coals to Newcastle, it may be necessary to bring bricks to Wallsend.

Artist Books

Alphabets of Loss for the Late 20th Century

ALPHABETS OF LOSS FOR THE LATE 20TH CENTURY is an artist's book project that was to be completed between 1991 and 1999. The project was a personal attempt to cast a net over time, an attempt to make an individual account of the last decade of the 20th Century that invoked some of the particulars of the social and cultural circumstances at that time.

The project was planned to be twenty-six sets, or editions, of twenty-six unique, handmade books. Each set of books has a text of twenty-six words - an alphabet, derived from a particular source - a specific event, a prior system of knowledge, or a meditation. There is also an image in each book. In most sets, this image differs from book to book. The relationship of image to text is tangential.

The series began in New York, and ended, incomplete, in Sydney, Australia, where it was wound up after 10 editions.

arsenal-zone (1991)

An alphabet of one day's news reporting of the Gulf War in New York Newsday accompanied by transparent, media-sourced found images.

26 hand-made books. Each 32 leaves. Rag paper, acetate, Xerox prints. 23 x 18cm, incl. sleeve 26 x 21cm

arsenal-zone (detail)
arsenal-zone (detail)
arsenal-zone (detail)
arsenal-zone (detail)
arsenal-zone (detail)
arsenal-zone (detail)

alone-zip (1991)

An alphabet of desire. The images are colour photographs of anamorphically-distorted portraits of anonymous people.

26 hand-made books. Each 36 leaves. Vellum, rag paper, colour photograph. 23 x 18cm, incl. sleeve 26 x 21cm

alone-zip (detail)
alone-zip (detail)
alone-zip (detail)
alone-zip (detail)
alone-zip (detail)
alone-zip (detail)

addition-zero (1991)

An alphabet of mathematics. The transparent book begins and ends at the same place. The central image is the front page of the New York Post from December 26, 1991, the day that Mikhail Gorbachev resigned.

26 hand-made books. Each 28 leaves. Acetate, newspaper, brown paper, ribbon. Dimensions: overall 26 x 21cm

addition-zero (detail)
addition-zero (detail)
addition-zero (detail)
addition-zero (detail)

anchor-zig-zag (1991)

An alphabet of movement, simultaneous verbs and nouns, scored to "Scarlet", a piece of music for piano from a series of compositions inspired by colours. The image is a fragment of the Benetton advertisement which depicts an Italian family gathered around the deathbed of a son with AIDS.

26 hand-made books. Extended foldout, 5 leaves, Xerox prints, rag paper. 18.5 x 23.5cm, incl. sleeve 26 x 21cm

anchor-zig-zag (detail)
anchor-zig-zag (detail)
anchor-zig-zag (detail)
anchor-zig-zag (detail)

attract-zeal (1991)

An alphabet of psychology. The image components are a two-part drawing and a transparent image of the sea, from a Vanity Fair photograph of the late media baron Robert Maxwell at sea.

26 hand-made books. Extended foldout, 3 leaves. Rag paper, acetate, colour laser print, pencil. 18 x 23cm, unfolded, incl. sleeve 26.5 x 20.5cm

attract-zeal (detail)
attract-zeal (detail)
attract-zeal (detail)
attract-zeal (detail)

alchemy-zeitgeist (1992)

An alphabet of the conflict in the former Yugoslavia, from Time magazine, August 17,1992, and translated into tactile Braille. Polaroid portraits were captured between November 13 and December 9, 1992, during a residency at the Rockefeller Foundation Study Center, Bellagio, Italy.

The subjects were the first person encountered each day over 26 days, and were asked to pose with their eyes closed.

26 hand-made books. 30 leaves. Treated paper, Polaroid photograph, corrugated card. 23 x 18.5cm

alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)
alchemy-zeitgeist (detail)

administrator-zoologist (1993)

An alphabet of occupations. The images, arranged to in the form of a flip book, have been taken from the growing archive of photographs of people with their eyes closed, labelled with their first name, occupation and place of birth, that developed from the Polaroids in the previous edition.

26 hand-made books. Each 26 leaves. 26 hand-made books. 26 leaves. Xerox prints, rag paper, vellum. 23 x 18cm, incl. sleeve 25.5 x 21cm

administrator-zoologist (detail)
administrator-zoologist (detail)
administrator-zoologist (detail)
administrator-zoologist (detail)
alphabets contract

Toxicity

Arch (1:100), 2011
Arch (1:100), 2011 Acrylic paint, builders chalk, oil pastel on canvas 168.5x300cm
  • With audio track, 4 track audio remix, loop duration 05:00.
  • Adapted from an original sound composition by Robert Hindley.
  • Exhibited Toxicity, Sydney College of the Arts Galleries, 2011

In this collaborative project (4 artists, one writer), toxicity has been encouraged to take a handful of its potentially infinite number of forms. The surest thing about toxicity might well be this: it can never be eradicated from any world we live in, we have to live with it.

Proposals for rooms with columns

Around 1990 I was working a lot with the image of the face, depicted in a away that tried to evoke what I thought of as a 'space in between' (sleeping and waking, breathing and not-breathing, the conscious and the unconscious). I made a series of large diptychs, paintings from the series smoke of various people smoking. The phenomenon of breathing interested me, as did the non-scientific idea of the idea of smoke being unverifiable, loose in the air, unable to be seized, like a shadow. These paintings hovered somewhere between photography and painting.

My very early interest in anamorphosis remains, here translated into a possibility that is hinted at through the spaces that exist between the material planes or surfaces of the work.

From the site-specific series Proposals for Rooms with Columns

Boris(Sarajevo 1992), 3 columns
Boris(Sarajevo 1992) 1993, 3 pulp columns, 300x50cm, oil paint, acrylic painted wall
Boris(Sarajevo 1992), 3 columns
Boris (Sarajevo 1992) 1993, 3 pulp columns, 300x50cm, oil paint, acrylic painted wall

Smoke

This series of works was exhibited in New York, Sydney, Brisbane and Townsville between 1991 and 1993.

>Green (Crack Smoker, New York 1992)
Green (Crack Smoker, New York 1992) 1992 diptych, oil, canvas, 72x96cm
Blue (Sigmund Freud, Berlin 1928)
Blue (Sigmund Freud, Berlin 1928) 1991 diptych, oil, canvas, 72x96cm
Tourquoise (J.Robert Oppenheimer, Washington, 1950)
Tourquoise (J.Robert Oppenheimer, Washington, 1950) 1991 diptych, oil, canvas, 72x96cm

Natural Science

Natural Science (Alchemy)
Natural Science (Alchemy) 1988 Oil, dry pigment, bronze powder, damar on canvas, 7 panels, 220x579x94cm
Natural Science (Iran Air)
Natural Science (Iran Air) 1988 Oil and aluminium powder on canvas, 7 panels, 216x440x105cm
Natural Science (Leibschaft) 1988
Natural Science (Leibschaft) 1988 Oil on canvas, 7 panels, 220x579x94cm
Installation view, Alchemy, Art Gallery of NSW 2006
Installation view, Alchemy, Art Gallery of NSW 2006
Installation view, Alchemy, Art Gallery of NSW 2006
Installation view, Alchemy, Art Gallery of NSW 2006

Exhibited at Roslyn Oxley Gallery9, Sydney, 1989 and Queensland Art Gallery, Brisbane, 1989, and individual paintings were later exhibited at Art Gallery of NSW, Art Gallery of Western Australia and Artis Gallery, Auckland, New Zealand. They were acquired by Art Gallery of NSW (Alchemy), Art Gallery of Western Australia (Iran Air), and Queensland Art Gallery (Leibschaft).

Catalogue

Claustrophobia
  • Jacket 2016 Pigment print. 33.3x50cm.
  • Lenin 2016 Pigment print. 33.3x50cm.
  • Bunk Beds 2016 Pigment print. 33.3x50cm.
  • Tunnel 2016 Pigment print. 33.3x50cm.
Long Life (Kazakhstan)
  • Ground Zero (first Soviet atomic bomb test, 7.00am, 29 August 1949, The Polygon, Kazakhstan) 2015 Pigment print. 92x275cm.
  • The Day After (sensor bunkers, The Polygon, Kazakhstan 2015 Pigment print. 33.3x50cm.
  • The Day After (measuring tower, The Polygon, Kazakhstan) 2015 Pigment print. 33.3x50cm.
  • The Day After (bridge, The Polygon, Kazakhstan) 2015 Pigment print. 33.3x50cm.
  • The Day After (test structures, The Polygon, Kazakhstan) 2015 Pigment print. 33.3x50cm.
  • Installation view, 2020 exhibition, 2015 Stills Gallery, Sydney
  • Installation view, 2020 exhibition, 2015 Stills Gallery, Sydney
  • Installation view, 2020 exhibition, 2015 Stills Gallery, Sydney
Long Life (Dungeness)
  • On the Beach (north-east view, Dungeness Power Station B, Kent U.K.)2015 Pigment print. 92x275cm.
  • Birds I (Dungeness Power Station B, Kent U.K) 2015ment print. 33.3x50cm.
  • Birds II (Dungeness Power Station B, Kent U.K) 2015ment print. 33.3x50cm.
  • Installation view, 2020 exhibition, 2015lls Gallery, Sydney
  • Installation view, 2020 exhibition, 2015lls Gallery, Sydney
Long Life (Ranger)
  • Retention Pond (Ranger Uranium Mine, Kakadu National Park) 2016 Pigment print.50x250cm.
  • Open Pit (Ranger Uranium Mine, Kakadu National Park) 2016 Pigment print. 50x250cm.
  • Plateau (Ubirr, Kakadu National Park) 2016 Pigment print. 50x250cm.
Plant Life (Chernobyl)
  • Road In 2010 Pigment print. 40x109cm.
  • Playground 2010 Pigment print. 40x109cm. Available 80x218
  • Pripyat town 2010 Pigment print. 40x192cm.
  • Reactor 4 2010 Pigment print. 80x120cm.
  • Waste Plant 2010 Pigment print. 80x120cm.
  • Cooling Plant 2010 Pigment print. 80x120cm.
  • Distant Reactor 4 2010 Pigment print. 80x120cm.
  • Powerlines 2010 Pigment print. 80x120cm.
  • Reactors 5 & 6 2010 Pigment print. 80x120cm.
  • Power Plant 2010 Pigment print. 80x120cm.
Aqua/Pool 2007
  • Aqua/pool #1 2007 Pigment print. 67.5x120cm.
  • Aqua/pool #2 2007 Pigment print. 67.5x120cm.
  • Aqua/pool #3 2007 Pigment print. 67.5x120cm.
  • Aqua/pool #4 2007 Pigment print. 67.5x120cm.
  • Aqua/bay #1 2007 Pigment print. 67.5x120cm.
  • Aqua/bay #2 2007 Pigment print. 67.5x120cm.
Aqua/Script 2007
  • Aqua/script #1 2007 Pigment print. 60x51cm.
  • Aqua/script #2 2007 Pigment print. 60x51cm.
  • Aqua/script #3 2007 Pigment print. 60x51cm.
  • Aqua/script #4 2007 Pigment print. 60x51cm.
  • Aqua/script #5 2007 Pigment print. 60x51cm.
  • Aqua/script #6 2007 Pigment print. 60x51cm.
  • Aqua/script #7 2007 Pigment print. 60x51cm.
  • Aqua/script #8 2007 Pigment print. 60x51cm.
Stati d'Animo/Seconds 2005
  • CDG/#1/1sec 2005 Pigment print. 40x50cm.
  • CDG/#2/1sec 2005 Pigment print. 40x50cm.
  • CDG/#4/1sec 2005 Pigment print. 40x50cm.
  • SFO/#2/1sec 2005 Pigment print. 40x50cm.
  • KUL/#1/1sec 2005 Pigment print. 40x50cm.
  • BNE/#2/1sec 2005 Pigment print. 40x50cm.
  • HEL/#1/1sec 2005 Pigment print. 40x50cm.
  • BNE/#1/1sec 2005 Pigment print. 40x50cm.
  • PHL/#3/1sec 2005 Pigment print. 40x50cm.
  • GRU/#3/1sec 2005 Pigment print. 40x50cm.
  • SFO/#1/1sec 2005 Pigment print. 40x50cm.
  • SYD/#7/1sec 2005 Pigment print. 40x50cm.
  • SFO/#3/1sec 2005 Pigment print. 40x50cm.
  • GRU/#6/1sec 2005 Pigment print. 40x50cm.
  • SFO/#4/1sec 2005 Pigment print. 40x50cm.
  • SYD/#6/1sec 2005 Pigment print. 40x50cm.
  • GRU/#4/1sec 2005 Pigment print. 40x50cm.
Stati d'Animo/Seconds 2005
  • SFO/#2/9secs 2005 Pigment print. 96x120cm.
  • KUL/#2/9secs 2005 Pigment print. 96x120cm.
  • BNE/#2/9secs 2005 Pigment print. 96x120cm.
  • GRU/#4/9secs 2005 Pigment print. 96x120cm.
  • GRU/#6/9secs 2005 Pigment print. 96x120cm.
  • KUL/#1/9secs 2005 Pigment print. 96x120cm.
Connected 2003
  • Connected #7 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #8 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #9 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #10 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #11 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #12 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #13 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #14 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Connected #15 2003 RA-4 Prints on Duraclear, steel hooks 175x87.5cm. Available as pigment prints, 168x84cm
  • Installation View 2003 Connected, Araluen Galleries, Alice Springs, NT
  • Installation View 2003 Connected, Stills Gallery, Sydney
  • Installation View 2003 Connected, Stills Gallery, Sydney
Sea and Sky 2000
  • Sea (Kurnell) 2003 Duratrans, lightbox. 180x93.6cm. Edition of 3.
  • Sky (La Perouse) 2003 Duratrans, lightbox. 180x93.6cm. Edition of 3.
  • Sea (The Gap) 2003 Duratrans, lightbox. 180x93.6cm. Edition of 3.
  • Sky (North Head) 2003 Duratrans, lightbox. 180x93.6cm. Edition of 3.
Material World
  • Fire (Kurnell) 1999 C-type print. 100x200cm. . Also available 50x100cm.
  • Water (The Gap) 1999 C-type print. 100x200cm. . Also available 50x100cm.
  • Air (North Head) 1999 C-type print. 100x200cm. . Also available 50x100cm.
  • Earth (La Perouse) 1999 C-type print. 100x200cm. . Also available 50x100cm.>
After Image 1995
  • yvonne, student, yugoslavia
  • Installation view 1996 Photography is Dead! Long Live Photography! Museum of Contemporary Art, Sydney
  • Installation view 1996 Photography is Dead! Long Live Photography! Museum of Contemporary Art, Sydney
  • Installation view 1996 After Image, William Mora Galleries, Melbourne
  • Installation view 1996 After Image, William Mora Galleries, Melbourne
  • Installation view 2014 After Image, Stills on William St, Sydney
  • Installation view 2014 After Image, Stills on William St, Sydney
  • Installation view 2014 After Image, Stills on William St, Sydney

About

Merilyn Fairskye is a visual artist living in Sydney whose recent video and photographic work explores the effects of powerful events of real life on humans and the environment. Current projects that explore the relationships between technology, atomic landscapes and community have taken her on location to the Polygon in Kazakhstan, Sellafield, Chernobyl, and other key nuclear sites. This has resulted in an art film, video installations and photographic series that have been exhibited in Australia and internationally.

Her work has been presented in over 180 exhibitions and festivals, including at the Museum of Modern Art, New York; Tate Modern London; the Stedelijk Museum, Amsterdam; the Museum of Contemporary Art, Sydney; Art Gallery of NSW; Songzhuang Art Museum, China; the National Palace Museum, Taipei; Al Jazeera International Documentary Film Festival, Doha; the International Film Festival Rotterdam(6 times); Videobrasil; Kassel Documentary Film Festival and the Sydney Film Festival. Her feature-length art film, Precarious, was nominated for the 2012 Al Jazeera Documentary Channel long-form film award.

Merilyn Fairskye photograph

View full CV here.

Her work has been recognized through artist residencies in the US, Italy, France, UK & Australia, numerous Australia Council and Australian Film Commission grants and a Rockefeller Foundation Fellowship. It is held in most public collections in Australia, the Museum of Modern Art, NY, and the Getty Center, Santa Monica. It featured in the three-part television arts series The Good Life, (ABC TV), and My Favourite Australian, (ABC TV) and has been extensively written about in the art and general press including Sydney Morning Herald, Artlink, Cahiers du Cinema, Asia Pacific Arts, Art & Australia. It is the subject of a book chapter in A Secret History of Australian Art (Rex Butler).

Fairskye has been invited to submit proposals for numerous public art works with substantial budgets. These invitations provided opportunities for research and development of her artistic ideas on a conceptual and material scale not possible in gallery contexts. She has been awarded a total of 12 major public art commissions, alone or in collaboration with other artists, since becoming a professional artist.

Essays & reviews