INDEFINITE TERRAINS

BY POLLY STANTON

Indefinite Terrains is an audio-visual essay that interprets the site of the forest plantation as a dynamic assemblage of colonialism, capitalism and country.

Through the location of the plantation, the actions and effects of industry and the more-than-human world are considered through narration and the audio-visual tracing of the forest’s controlled and operationalised terrains.

Based in the semi-arid goldfields region of central Victoria, the work reimagines the planation as a convergence of events and complexities that engage beings and bodies in lively ecologies of remembrance and relation.

Drawing on both the subjective and the real, Indefinite Terrains presents a cinematic cartography that turns the seemingly factual site of the plantation into questions, uncertainties and imaginings: situating human endeavour as a momentary appearance in a complex and ever-changing world.

DATES & TIMES

14 October – 1 November 2020

Mon-Thu    10am-4pm

Please note: Gallery One is closed to the public on Fridays during October

 
Sat – Sun times:
Sat 17 Oct   9am-10pm
Sun 18 Oct  Closed
Sat 24 Oct   10am-10pm
Sun 25 Oct  12pm-7pm
Sat 31 Oct    10am-10pm 
Sun 1 Nov    12pm-7pm

WHERE

Gallery One
Metro Arts, West Village 

PRICE

Free

KEY CREATIVES

Polly Stanton – Artist

VISITING US

We take the safety of our patrons, staff and artists seriously. Metro Arts is operating in line with current Queensland Government guidelines and the Stage QLD COVIDSafe Industry Plan. If you are unwell, please refrain from attending events at Metro Arts. Maintaining physical distancing requirements is expected and is the individuals responsibility. Click here for more information. 

THE ARTISTS

POLLY STANTON 

Polly Stanton is an artist and filmmaker. Her work primarily investigates the relationships between environment, human actions and land use. Her films and installations focus on contested sites and extractivism, presenting landscape as a politically charged field of negotiation, entangled with history, technology and capital. Sound and listening also play a critical role in Stanton’s work, in both the creation and reception of projects; with listening practices and field recordings engaged with as a means to expand vision and consider the unseen elements and materiality of place. Stanton’s mode of working is expansive and site based, with her practice intersecting across a number of disciplines from film production, sound design, field research, performance, writing and publication    

Selected projects include: Horizon/tal, City Gallery Wellington, NZ (2019); Super Field, RMIT Design Hub, (2018); The Eye of the Storm, Reina Sofia Museum, Spain (2018); Spectral Ecologies, Mildura Arts Centre, Victoria (2017); Indefinite Visions, Alchemy Festival, UK (2017), Current, Counihan Gallery, Melbourne (2017); And Then the Sea Came Back, Errant Sound, Berlin (2016); Undercurrents, May Space, Sydney (2016); Current, Murray Art Museum, Victoria (2015); Moving Pictures, Expanding Space, Careof Gallery, Italy (2014); Melbourne Now, National Gallery of Victoria (2013).