1 February - 18 May 2019

Curated by Jake Treacy






Each set of videos runs for about 20mins.

1 | Hoda Afshar - 5 minutes, 17 seconds
Justine Youssef + Duha Ali - 4 minutes, 17 seconds

Lucie McIntosh (red lagoon) - 3 minutes

Léuli Estraghi + Joe Joe Orangias  10 minutes, 10 seconds

2 | Angela Tiatia - 12 minutes, 12 seconds

Tané Andrews - 1 minute, 56 seconds

Walter Bakowski - 5 minutes, 30 seconds

Lucie McIntosh (i still believe in paradise) - 3 minutes

3 | Nikki Lam - 3 minutes, 24 seconds

Sean Miles - 3 minutes, 48 seconds

Blake Lawrence - 14 minutes, 50 seconds

Hoda Afshar, Tané Andrews, Walter Bakowski, Léuli Eshraghi + Joe Joe Orangias, Nikki Lam, Blake Lawrence, Sean Miles, Lucie McIntosh, Angela Tiatia, Justine Youssef + Duha Ali

Pearlescent Verse is a screen-based exhibition presented through the channels of SATELLITE, a project broadcast through BLINDSIDE.

This curated suite of videos explores the shared experiences surrounding water – how its flux of space brings us closer together, and at times may dislocate. Bodies of water become liquid fields of poetry and politics, surging rivers of connectivity, sharing founts of knowledge, and offering a wellspring of healing. In the work of twelve contemporary artists, water carries nourishment and transformation, bringing about unity and understanding through the fluid frameworks of identity, gender, culture, and memory.

The pearlescent verse speaks of social, ecological and spiritual narratives, and meditates upon the fragility of nature, human migration and the impacts of climate change. Screened across several public spaces in Australia, this exhibition promotes the richness of exchange and storytelling, respecting the Traditional Owners of the land and waterways.


Come along to DANCEHOUSE for the artist reception and screening of Pearlescent Verse followed by a panel discussion with artists and curator as part of the HUMAN RIGHTS ARTS & FILM FESTIVAL 2019

All welcome. Time to be advised.


Kala Pania poem by Manisha Anjali, traverses the dreaded aspect of the Indian unconscious, a taboo whereby those who cross the black waters and leave the subcontinent are cursed - cut off from reincarnation, cut off from the source of holy water and doomed by meddling with houglis, bad foreigners.

Jake Treacy is a curator, writer and poet whose practice employs numinous acts through exhibition-making, performativity, and the spoken and written word. He is a University of Melbourne graduate with a Master of Art Curatorship (2017) and Postgraduate Art History (2013) who has previously co-directed an artist-run initiative, sat on grant advisory panels, and written published copy on numerous contemporary arts practices. His recent thesis examines ways of constructing liminal experiences in order to incur healing, promoting inclusivity and community, and exercising the therapy of art.

Manisha Anjali is a writer and performer. Working with South Asian and Oceanian mythologies and histories; Manisha's works bring ancient mysticism, metaphysics and music and into contemporary spaces. Her written and spoken works are embodied by devotional rhythms, erotic poetry and plantation songs. Manisha is the author of Sugar Kane Woman, a collection of poems about the dreams and hallucinations of exiled Indo-Fijian women.  Manisha has performed at Melbourne Writers Festival, Queensland Poetry Festival, Emerging Writers Festival, Bendigo Writers Festival, West Writers Forum and Newstead Short Story Tattoo. She has been published in Peril Magazine, Mascara Literary Review, Seizrure, Blackmail Press and IKA Journal.

Hoda Afshar (born 1983, Tehran. Lives and works Melbourne) explores the nature and possibilities of documentary image-making. Working across photography and moving-image, the Melbourne-based artist considers the representation of gender, marginality and displacement. In her artworks, Afshar employs processes that disrupt traditional image-making practices, play with the presentation of imagery, or merge aspects of conceptual, staged and documentary photography. Recent exhibitions include Khalas, UNSW Galleries, University of New South Wales, Sydney (2018); Waqt al tagheer: Time of Change, ACE Open, Adelaide (2018); and Behold, Centre for Contemporary Photography, Melbourne and Horsham Regional Art Gallery, VIC (2017/2018). In 2015, Afshar received the National Photographic Portrait Prize, National Portrait Gallery.

Tané Andrews (b. 1986) is an artist based in Sydney, Australia. His practice explores transience, transformations, and hybridizations within the natural world.  Working with perishable organic materials including; flowers, living cocoons, wood, and water, as well as more durable products such as pearls, marble and bronze. Andrews’ artwork involve repetition, process, and a demand for meaningful contemplation. In 2007 he completed a Bachelor of Arts (Art) with First Class Honours at Curtin University, Perth. Andrews has exhibited nationally and internationally since 2011. Solo exhibitions include: Lying in Wait, Wellington St Projects Sydney (2016), The Collector, Venn Gallery Perth (2015) and Silent Distortions, Venn Gallery Perth (2014).

A graduate of the BA of photography at PSC, Walter Bakowski (born in Melbourne, Australia, 1996) is an emerging artist practising in performance art, documented through the photographic and moving image, the written word and installation. To date, Walter's work explores dialogues between art and spirituality, the sacred and the unseen - discovering the nuances of queer self in practice. Walter has been awarded as an exhibiting finalist in the Moran Contemporary Photography Prize and CLIP award. And has been part of numerous group shows at recognised contemporary art institutions including; Museum of Contemporary Art Australia, Centre for Contemporary Photography, Perth Centre for Photography and Seventh Gallery. Their work is held in private collections across Melbourne, Sydney, Paris and New York City, and in the public collection at the National Library of Australia. Walter’s recent body of work ‘Endure’, has recently been exhibited as part of a selection of group shows at institutions including Museum of Contemporary Art, Centre for Contemporary Photography and Seventh Gallery, creates discourse around the role of the spiritual ritual in facilitating the act of queering spaces.

Léuli Eshrāghi + Joe Joe Orangias
Léuli Eshrāghi (he/ia) is an Australian artist, curator, writer from Sāmoan, Persian and other ancestries. Léuli completed a PhD in Curatorial Practice at Monash University in 2018 and is the inaugural Horizon Postdoctoral Fellow with the Initiative for Indigenous Futures at Concordia University in 2019. He holds qualifications in Indigenous arts management, francophone Great Ocean literature, Indigenous studies and comparative cultural studies. Léuli creates performances, installations, writing and curatorial projects centred on the body, ceremony, language renewal and hopeful futures. He exhibits and publishes regularly, and serves on the Aboriginal Curatorial Collective (Canada) board.

Joe Joe Orangias is a visual artist, activist and writer based between New York City and Geneva. His projects, often collaborative and site-specific, focus on social justice and environmental sustainability issues, and investigate the roles of cultural heritage. He earned a MFA from the School of the Museum of Fine Arts, Boston at Tufts University (SMFA), and a BFA from the Savannah College of Art and Design. Orangias has exhibited work at the Contemporary Arts Museum, Houston; the Cooper Hewitt-Smithsonian Design Museum, New York City; Gaffa Gallery, Sydney; Hinterconti Projects, Hamburg; Proof Gallery, Boston; and the Jockey Club Creative Arts Centre, Hong Kong; among other venues and public sites. He was awarded a SMFA Alumni Traveling Fellowship for research in Aotearoa New Zealand; an Art School Alliance Fellowship from the University of Fine Arts, Hamburg (HFBK) in Germany; and residencies at the Galveston Artist Residency, Art342 in Colorado, RM Gallery in Auckland and Atelier OPA in Tokyo. He has published writing in the Journal of Homosexuality and Scope: Contemporary Research Topics (Art: 11). He also makes projects as part of the collaborative Orangias+Eshraghi.

Nikki Lam’s practice explores the complexity of belonging through the exploration of self, memory and space. Working primarily with video, performance, text and installation, she is interested in exploring the translations of hybrid identities, often through studies of rituals, language and representations. Born in Hong Kong (1988), Nikki's work has been shown at Underbelly Arts Festival, SafARI, Firstdraft, BUS Projects, The Ferry Gallery (Bangkok, Thailand), Galleria Marcollini (Forli, Italy), and toured around the world with Over View International Festival of Video Art. Her most recent curatorial projects include Frames of Seeing (2017) at Nite Art, Flygirl by Caroline Garcia (2017), Screen as a Room (2016) at THE SUBSTATION and Channels Festival (2015).

Blake Lawrence was born and raised in Palmers Island, Northern NSW, across the lands of the Yaegl, Bundjalung, and Gumbaynggirr nations. He lives and works on the lands of the Gadigal people of the Eora nation, in Sydney. These lands were stolen and never ceded. He extends his deepest respect to their traditional custodians, and their elders: past, present, and emerging. Lawrence studied at the Sydney College of The Arts and has exhibited nationally at Firstdraft, Seventh Gallery, C3 Contemporary, The Walls, and Verge Gallery. He has presented performance work in Brisbane’s Spring Hill Reservoirs, Sydney’s Carriageworks, the Museum of Contemporary Art, and the Art Gallery of NSW.

Lucie McIntosh is a visual artist and curator based in Naarm (Melbourne), Australia. Lucie completed a Bachelor of Art (Fine Art) (Honours) with First Class at RMIT University in 2015. Lucie has a deep commitment to the independent arts community and has volunteered her time to a number of not–for–profit and contemporary art projects. She is currently a Director and Program Curator of BLINDSIDE, an independent, artist–run space based in the heart of Melbourne. Lucie's exhibition and research based practice explores process of signification and, more specifically, in how the process of signification might be made visible through the content of an artwork. Her practice emphasises the inherently plural and personal nature of meaning —reminding us of, and celebrating, our agency in its creation.

Sean Miles (Ngati Raukawa) is a cute queer trickster artist living as an uninvited guest in unceded Kulin nation territory.Their multi-disciplinary art practice spans across performance, photography, video, installation and sculpture.

Angela Tiatia explores contemporary culture, drawing attention to its relationship to representation, gender, neo-colonialism and the commodification of the body and place, often through the lenses of history and popular culture. Tiatia's work has been included in a number of important institutional exhibitions, including After the Fall, National Museum of Singapore (2017/2018);  Personal Structures, 57th Venice Biennial (2017);  Eighth Asia Pacific Triennial of Contemporary Art (APT 8), Queensland Art Gallery | Gallery of Modern Art, Brisbane (2015/16); as well as Tūrangawaewae: Art and New Zealand, Toi Art, Gallery of the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (2018). She is represented by Sullivan + Strumpf in Sydney, Australia.

Duha Ali + Justine Youssef work across multiple disciplines through their collaborative practice, including video, installation, text and performance. Their practice is site-responsive and attentive to their respective origins in South-West Asia. The work is rooted in research into moments and places which allow them to move through questions surrounding post-colonial rhetoric, feminist lenses, and diasporic and material exchanges.

IMAGES |HODA AFSHAR Remain, 2018, three-channel digital video, 5:00min | TANÉ ANDREWS The Static of Nature, 2017, single-channel digital video of south sea pearl, porcelain, electronic device, motor, wood plinth, 1:56min. Footage: James Aiken. Music: Tane Andrews. Editing: John Scarpias | WALTER BAKOWSKI Embrace: A River Runs Through, 2019, single-channel Colour HD Video | NIKKI LAM Still... what is left, 2018, two-channel video installation and performance, 3:24min. Sound Design: Supina Bytol and Beatrice Lewis. Cinematography: Scott Heinrich | BLAKE LAWRENCE A Cathartic Action, 2016, digital video, 15:00min. | ANGELA TIATIA Holding On, 2015, single-channel High Definition video, 12:11min. Courtesy the artist and Sullivan + Strumpf | LÉULI ESHRAGHI + JOE JOE ORGANGIAS, Golden Flow of the Merri Yaluk, 2015, single-channel High Definition video, 10:10min. | SEAN MILES Pohutu, 2018, Single-channel digital video | LUCIE McINTOSH, Red Lagoon, 2017, Single-channel video, Continuous loop (∞) | JUSTINE YOUSSEF + DUHA ALI, Body/Cartography, 2018, Three-channel video, 4:00 min. | Images courtesy the artists and Sullivan + Strumpf.