Touching Resonance grows out of Minnie Park's audio-visual practice, which centres touch, affect, and audience participation as core artistic materials. In this workshop, Minnie extends that practice into a shared, hands-on experience. Using conductive touch technology, plants and flowers become tactile interfaces that trigger sound and visuals in real time.

Bring a small plant, or use flowers provided on the day. Once connected to the system, your plant responds to touch, activating sound and visual responses that you select and shape. The workshop culminates in a live collective performance, composed and recorded together by all participants.

The workshop uses a midicontroller, Playtronica, alligator clips, speakers, and a screen or projector with a prepared audio-visual system.

Each participant’s plant or flower will be connected via alligator clips. Touch will trigger or modulate sound and visuals. Participants may interact individually or collectively. Group touch, such as holding hands to complete a circuit, may be included as an optional mode of interaction.

Duration: 60–90 minutes.

No prior technical experience required. All are welcome.

Please register to attend via this link

This project unfolds across three consecutive exhibitions, conceived as chapters within a single inquiry into matter, extraction, transformation, and site. Each exhibition approaches these questions differently, yet all are grounded in a shared investigation: what if matter is not inert substrate, but active participant? What if landscapes, infrastructures, roots, minerals, pulp, clay, cables, and wreckage exert forces of their own?

The project draws from contemporary vital materialist thought, particularly the work of Jane Bennett, whose conception of vibrant matter proposes that agency is distributed across human and nonhuman assemblages. Matter does not only receive form. It impedes, exceeds, collaborates. This thinking resonates with earlier philosophies of nature in which matter is understood as duration and spontaneous generation rather than static substance.

At the same time, the project remains attentive to political economy. In dialogue with Joshua Simon’s writing on neomaterialism, the exhibitions consider how materials circulate through regimes of extraction, production, and value. Timber becomes pulp. Pulp becomes paper. Clay becomes surface. Infrastructure becomes spectacle. Submarine cables become invisible architecture. Commodities and ruins alike accumulate historical force.

Across the three exhibitions, material transformation is understood as a structuring force, shaping landscapes, infrastructures, and forms through ongoing processes of extraction, decay, circulation, and renewal.

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Angus Brown
4 March – 18 April
Opening Wednesday 4 March, 6–8pm

Leon Rice-Whetton, Kym Maxwell, Nicholas Burridge
29 April – 13 June
Opening Wednesday 29 April, 6–8pm

Rachel Rovira, Katie Paine
24 June – 15 August
Opening Wednesday 24 June, 6–8pm

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Pulp,
Angus Brown

In Pulp, Angus treats the photograph both as an image and as an object shaped by the same material forces it depicts. Capturing the substance and significance of industry across South Western Victoria, Angus has produced physically embodied images of the blue gum plantations across the region, as well as the industrial sites where these trees are processed into pulp. The photographs document vast monocultures, open-air stockpiles and the continuous movement of timber through 24-hour pulping terminals. These landscapes feel engineered and otherworldly, shaped by extraction, repetition and scale.

In the gallery the project follows the life cycle of the blue gum from plantation to pulp, tracing the transformation of tree into paper. This movement is represented in the photographs themselves, and also materially embedded within them. Scrap limbs salvaged from recently flattened plantations have been pulped into sawdust; to be introduced into the exhibition space as a sculptural element, tangible image surface and paper toning method. Strengthening the connection to process and place, these material links help to make the image-based works inseparable from the resource they depict.

What emerges is a kind of circular return. The tree becomes pulp, pulp becomes paper, paper becomes image, and the image carries the residue of its origin. There is something quietly alchemical in this shift of states, where matter changes form yet retains a trace of what it has been. The material does not disappear into representation. It persists within it.