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	<title>Georgia Nowak</title>
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	<description>Georgia Nowak</description>
	<pubDate>Tue, 22 Jul 2025 01:15:47 +0000</pubDate>
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		<title>Home Image Scroll</title>
				
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		<pubDate>Tue, 19 Nov 2019 00:08:52 +0000</pubDate>

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		<title>Info</title>
				
		<link>https://georgianowak.com/Info</link>

		<pubDate>Tue, 19 Nov 2019 00:08:53 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

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		<description>Georgia Nowak is an interdisciplinary artist and researcher who works between the mediums of installation, sculpture and film. For a full CV and work profile or for any other enquiries please contact: georgia@georgianowak.comGeorgia Nowak is based on Wurundjeri Country in Naarm (Melbourne), and pays respect to all people of the Kulin Nation on whose unceded land and waters she lives and works.



	

Recently Exhibited:
National Gallery of Victoria (NGV), Australian Centre of Contemporary Art (ACCA), RMIT Design Hub, Platform Arts, PSAS, c3 Gallery, TCB Gallery, Galeria Balucka, Melbourne Design Week


Recent Media:Dispatch Review
* Review here
Hyperlocal News‘Channel’
* Article here
Union Magazine
Review ‘Heartbeats’
* Article here

un Magazine&#38;nbsp;Limits to Hope / Surplus of Growth by Chantelle Mitchell and Jaxon Waterhouse* Article here
National Gallery of Victoria (NGV)&#38;nbsp;
Melbourne Design Week  2020 
award recipient alongside 
Eugene Perepletchikov for Aurum.
*&#38;nbsp;Review here
National Gallery of Victoria (NGV) 
Live in-studio visit
* Link here

Spaced-Apart Online symposium &#38;nbsp;* Recording here
Spaced Apart is an initiative by U-P 
co-curated RMIT Design Hub, 
PHOTO 2021, Denise Neri (Aesop), 
Keinton Butler (Powerhouse Museum) 
and Molonglo.

TheAge / Sydney Morning Herald for 
Jack’s Reloaded, Melbourne Design Week&#38;nbsp;
* Link hereFakt Media, Poland for Ślady
* Link here



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		<title>Trawling</title>
				
		<link>https://georgianowak.com/Trawling</link>

		<pubDate>Tue, 22 Jul 2025 01:15:47 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

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		<description>Trawling

&#60;img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/1a97aeae5bc9443810df2673c40e68ed3cc952f29b8603e20bff1db6b524658b/Screen-Shot-2022-11-16-at-5.46.03-pm.png" data-mid="236113211" border="0"  src="https://freight.cargo.site/w/1000/i/1a97aeae5bc9443810df2673c40e68ed3cc952f29b8603e20bff1db6b524658b/Screen-Shot-2022-11-16-at-5.46.03-pm.png" /&#62;HD Video / Fieldexplorer Residency&#38;nbsp;
Berlin&#38;nbsp;
2022“A‘wet ontology’ can reinvigorate, redirect, and reshape debates that are all too often restricted by terrestrial limits”. Steinberg + Peters

This project investigates human / more-than-human relationships in the aquatic surrounds of Berlin, Germany.  Western structures imposed on water systems have had a profound effect on ecological health.  The historical legacies carried within the human/fish relationship specifically are used to highlight the damage caused by anthropocentric and capitalist structures.Trawling the German Film Archive during a one month residency reveals a commodified system that categorises water, and the associated more-than-human worlds, as resource. 

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Contemporary footage is also taken within the river and water systems of Berlin that are a visual marker of an ongoing anthropocentric legacy.&#38;nbsp; Piped over/underground networks expose an artificial relationship that rivers and fish have to the sprawl of an urban environment; always in sight, and contrasted by the film archive hidden deep within a vault. &#38;nbsp;

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&#60;img width="2538" height="1422" width_o="2538" height_o="1422" data-src="https://freight.cargo.site/t/original/i/de688663eaa68583c2c3289bc65c29db4730d88ddcb4b69b5e2ca53d627d77ea/Screenshot-2025-07-22-at-11.59.02AM.png" data-mid="236113938" border="0"  src="https://freight.cargo.site/w/1000/i/de688663eaa68583c2c3289bc65c29db4730d88ddcb4b69b5e2ca53d627d77ea/Screenshot-2025-07-22-at-11.59.02AM.png" /&#62;
&#60;img width="2528" height="1414" width_o="2528" height_o="1414" data-src="https://freight.cargo.site/t/original/i/cb45ed9d8fd76ecfe2fe671436f6125971c6c4588e7dc88d1ac581167573b0e2/Screenshot-2025-07-22-at-11.58.28AM.png" data-mid="236113934" border="0"  src="https://freight.cargo.site/w/1000/i/cb45ed9d8fd76ecfe2fe671436f6125971c6c4588e7dc88d1ac581167573b0e2/Screenshot-2025-07-22-at-11.58.28AM.png" /&#62;
&#60;img width="2538" height="1420" width_o="2538" height_o="1420" data-src="https://freight.cargo.site/t/original/i/6452d2411a1ee2b2041b86ce6b88b9fce0e7392127c08aa7c05c0fc18a30725e/Screenshot-2025-07-22-at-11.59.15AM.png" data-mid="236113939" border="0"  src="https://freight.cargo.site/w/1000/i/6452d2411a1ee2b2041b86ce6b88b9fce0e7392127c08aa7c05c0fc18a30725e/Screenshot-2025-07-22-at-11.59.15AM.png" /&#62;

The residency concluded with a public presentation and film work outcome presented in 2024.Fieldexplorer, BerlinResidency in collaboration with Fieldstations

</description>
		
	</item>
		
		
	<item>
		<title>Planetary Bodies</title>
				
		<link>https://georgianowak.com/Planetary-Bodies</link>

		<pubDate>Fri, 26 Jul 2024 03:55:35 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Planetary-Bodies</guid>

		<description>Planetary Bodies










&#60;img width="2880" height="2880" width_o="2880" height_o="2880" data-src="https://freight.cargo.site/t/original/i/053bfac95bf4a3811a99a760839b807cd68cda18a00f27ec7c51c3b148ed5b95/Whitagram-Image.JPG" data-mid="215390651" border="0"  src="https://freight.cargo.site/w/1000/i/053bfac95bf4a3811a99a760839b807cd68cda18a00f27ec7c51c3b148ed5b95/Whitagram-Image.JPG" /&#62;

Ultra HD Video
4 hours 25 minutes
2024

“Blood, bile, intracellular fluid; a small ocean swallowed, a wild wetland in our gut; rivulets forsaken making their way from our insides to out, from watery womb to watery world: we are bodies of water.” Astrida Neimanis

The human body is not discrete or individual, it is not sealed and defined; it is sponge like and weeping, it exists intermingled and reliant on other matter.&#38;nbsp; Cultural theorist Astrida Neimanis speaks of the myth of individualism, of how one's body is “multiscalar and multigenerational; porous and palimpsestic…it is never only one thing, in only one place, or only ‘itself’”.&#38;nbsp; Through this we recognise that the delineation of membranes are complex, that we must ponder how to locate oneself amongst a sea of other matter. We are planetary bodies.

Biologically the body is watery, flowing with intracellular and extracellular fluids. It is fed by rains, rivers and tides. It secretes and absorbs, replenishing itself before leaking once again. We are in constant exchange with our environment, physical, cultural and geopolitical, storing the histories of the water we ingest. Our brains, bones and organs are all watery flesh, a continuous flow that endures even once burned or buried within the earth. A hydrological cycle unto itself. 

One year ago my body became part of its own hydrological cycle while birthing a child; followed closely by a placenta. I leaked amniotic fluids and plasma. I became part of generations of people whose bodies circulated through birth and death in minutes, the arrival of a vernix coated baby and the discarding of a now lifeless temporary organ.&#38;nbsp; Over forty litres of blood per hour passes through the placenta to support life in utero, over fifty percent water.&#38;nbsp; Whatever the mother ingests; food, liquid, medication, pollution, social unrest, disease, flows through the placenta.&#38;nbsp; It filters and pumps life, a womb connected to its environment.

All human and non-human bodies are entangled to this watery planet through a fluid continuum. Our aqueous imaginary must no longer perceive water as ‘out there’, it is definitively close, it binds us and holds us, it makes bodies and networks and ecologies proliferate.

&#60;img width="1900" height="1342" width_o="1900" height_o="1342" data-src="https://freight.cargo.site/t/original/i/c8d08a837b030ddea0fc375589707a97c4f2687fb7039af2a0cb1e462210444b/Screen-Shot-2024-07-29-at-1.07.53-pm.png" data-mid="215419103" border="0"  src="https://freight.cargo.site/w/1000/i/c8d08a837b030ddea0fc375589707a97c4f2687fb7039af2a0cb1e462210444b/Screen-Shot-2024-07-29-at-1.07.53-pm.png" /&#62;

With thanks to my kin Ida for bringing this story into my world and offering me a way of understanding my own body as part of a planetary whole. To my partner Wilson for sharing this journey with me.
Edit and sound design: Wilson Bambrick
Platform Arts, Geelong. January - February 2024</description>
		
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	<item>
		<title>Channel</title>
				
		<link>https://georgianowak.com/Channel</link>

		<pubDate>Sat, 18 Sep 2021 03:09:15 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Channel</guid>

		<description>Channel










&#60;img width="4494" height="3000" width_o="4494" height_o="3000" data-src="https://freight.cargo.site/t/original/i/fd8bafed1fc20b405b1766198938c27d95f4aa20b08dadc7e29fd37b82d74cfa/Georgia-Nowak_Chanels_CoM_LowRes_17.jpg" data-mid="140125933" border="0"  src="https://freight.cargo.site/w/1000/i/fd8bafed1fc20b405b1766198938c27d95f4aa20b08dadc7e29fd37b82d74cfa/Georgia-Nowak_Chanels_CoM_LowRes_17.jpg" /&#62;
Installation
2022Channel is an installation that acknowledges the Birrarung (Yarra River) as a living entity and highlights the value of water as central to ecological survival.

Water embodies all survival, as flow, eddy and stream. Water channels through our blood and underneath our cities, as monument, politics and breath.&#38;nbsp; In the same moment we are both within, and composed of, bodies of water.&#38;nbsp; We are as interconnected to the river systems as we are reliant on the ocean's current.&#38;nbsp; We are as bound to water as the dry soil beneath our feet.&#38;nbsp; It is through this lens that Channel comes to life.

Channel acknowledges the Birrarung (Yarra River) as a living entity and highlights the value of water as central to ecological survival. Since colonisation the development of cities have shaped new landscapes, carved up ecosystems and eradicated natural flows.&#38;nbsp; Drought and flood have increased in severity and habitats destroyed.&#38;nbsp; In a time of climate emergency it is imperative that the value of water is renegotiated, where culture and nature no longer collide.

Channel is a temporary installation that casts light onto the effects of stormwater pollution in river systems.&#38;nbsp; Highly contaminated urban runoff is channeled into the river from the Elizabeth Street main drain, once a thriving waterway known as William’s Creek.&#38;nbsp; One of the most affected stormwater drain outlets in Melbourne, this runoff is one of the largest contributor to pollution in the Lower Yarra catchment and disturbs habitats within the river and further downstream into the bay.&#38;nbsp; As a live testing site Channel siphons water from this polluted point and treats it through natural processes.&#38;nbsp; The large tank holds approximately 1300L of stormwater from the river below, containing many residual pollutants as a result of urbanisation. The water is being treated by microscopic insects, aquatic snails, endemic plants and macrophytes as well as charcoal created from timber found in the local Bandalong litter traps.&#38;nbsp; These organic materials will help to increase oxygen levels and neutralise impurities before returning it to the river at the completion of the work.









Water, as a living entity in its own right, supports multiple life forms and needs to be reimagined within the context of colonised urban networks. As Donna Haraway so aptly comments “Our task is to make trouble, to stir up potent response to devastating events, as well as to settle troubled waters and rebuild quiet places.”


&#60;img width="2164" height="1456" width_o="2164" height_o="1456" data-src="https://freight.cargo.site/t/original/i/560bd85f5715a1fea79eae8f67fe2954590519c96f6381ad721485c98e2be3bf/Georgia-Nowak_Chanels_CoM_LowRes_18_.png" data-mid="140125934" border="0"  src="https://freight.cargo.site/w/1000/i/560bd85f5715a1fea79eae8f67fe2954590519c96f6381ad721485c98e2be3bf/Georgia-Nowak_Chanels_CoM_LowRes_18_.png" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/d72460736f5d46472822973edd8437f03f293b67da99d235a9833088bc6c9c1c/014A0989_sm.jpg" data-mid="140125993" border="0"  src="https://freight.cargo.site/w/1000/i/d72460736f5d46472822973edd8437f03f293b67da99d235a9833088bc6c9c1c/014A0989_sm.jpg" /&#62;


This project is co-produced by the City of Melbourne and Testing Grounds, and curated by Arie Rain Glorie as part of Test Sites Phase 2. Channel is presented as part of ACCA’s (The Australian Centre of Contemporary Art) program Who’s Afraid of Public Space, which explores the role of public culture, the contested nature of public space, and the character and composition of public life. 

With thanks to The Science Gallery, Australian Ecosystems, Light Projects, Dr. Peter Breen, Bob Sowter, Ky Starcevich, Domenica Wenban and Wilson Bambrick.

This project acknowledges the Wurundjeri and Boon Wurrung people of the Kulin Nation, on whose unceded land the Birrarung flows. This project acknowledges them as Traditional Owners of the land and waterways of this Country, and pays respect to Elders, past present and emerging.

&#60;img width="2370" height="1753" width_o="2370" height_o="1753" data-src="https://freight.cargo.site/t/original/i/1e145e24a98173330ee01aa2ba52e8608b41730ece952fbdca31ae9bb78cf15a/IMG_5938_.jpg" data-mid="140125935" border="0"  src="https://freight.cargo.site/w/1000/i/1e145e24a98173330ee01aa2ba52e8608b41730ece952fbdca31ae9bb78cf15a/IMG_5938_.jpg" /&#62;
&#60;img width="1654" height="2480" width_o="1654" height_o="2480" data-src="https://freight.cargo.site/t/original/i/bf017be6d55c69cbc73066c94f245cade57c40ebf5c76ae3324c4e980dba14a1/IMG_5940_.jpg" data-mid="140125936" border="0"  src="https://freight.cargo.site/w/1000/i/bf017be6d55c69cbc73066c94f245cade57c40ebf5c76ae3324c4e980dba14a1/IMG_5940_.jpg" /&#62;
&#60;img width="1654" height="2480" width_o="1654" height_o="2480" data-src="https://freight.cargo.site/t/original/i/2f87d19cbb8ba83e64054d304a2d6f4c6d29cd3ce66a884dd364ef3fed131a12/IMG_5992_.jpg" data-mid="140125937" border="0"  src="https://freight.cargo.site/w/1000/i/2f87d19cbb8ba83e64054d304a2d6f4c6d29cd3ce66a884dd364ef3fed131a12/IMG_5992_.jpg" /&#62;







A trace object from this project is also presented here [Untitled].
Images courtesy of the artist, Aaron Claringbold and Peter Tarasiuk
Media Link:
 Australian Centre of Contemporary Art (ACCA)
Hyperlocal News
</description>
		
	</item>
		
		
	<item>
		<title>Untitled</title>
				
		<link>https://georgianowak.com/Untitled</link>

		<pubDate>Wed, 20 Apr 2022 07:07:35 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Untitled</guid>

		<description>Untitled&#38;nbsp;


Sculpture
Sump oil, water
2022

A trace object from Channel is presented at ACCA over the duration of the exhibition.&#38;nbsp;  From extraction processes to post-life burial, vehicular pollution has seeped into our waterways causing concern for stormwater catchments in high density urban centres.&#38;nbsp; The oil used was extracted from the artists car after 20,000km of driving, being entirely aware and complicit in the system.
The viscous, rich qualities of sump oil embody all that water is not.&#38;nbsp; Oil drowns the oxygen in the water below, resting in the vessel as two discreet liquids.&#38;nbsp; What is the future of our ecological systems when these liquids co-exist?

&#60;img width="1008" height="1800" width_o="1008" height_o="1800" data-src="https://freight.cargo.site/t/original/i/d9e52d9a489441c2b37cff6513ad1a30edd2a9d537012bd322fc236456a2b672/3.jpg" data-mid="140129028" border="0"  src="https://freight.cargo.site/w/1000/i/d9e52d9a489441c2b37cff6513ad1a30edd2a9d537012bd322fc236456a2b672/3.jpg" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2b772ff18c7aca2e39b74b2c4bf7901c7391949e90eb280b4531dafd6d2d87b2/the-hoarding_AC_3365.jpeg" data-mid="140130128" border="0"  src="https://freight.cargo.site/w/1000/i/2b772ff18c7aca2e39b74b2c4bf7901c7391949e90eb280b4531dafd6d2d87b2/the-hoarding_AC_3365.jpeg" /&#62;
&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/cb094d1f81078facbb992d1386d91ffd22c0fd3a26174ab39d48a87250457e95/014A9860.jpg" data-mid="140230172" border="0"  src="https://freight.cargo.site/w/1000/i/cb094d1f81078facbb992d1386d91ffd22c0fd3a26174ab39d48a87250457e95/014A9860.jpg" /&#62;&#60;img width="2268" height="1488" width_o="2268" height_o="1488" data-src="https://freight.cargo.site/t/original/i/d584f1ebbb508ffcceb5278b6653c20137c8faeb71ad1be9364b266a5f38de20/014A9801.jpg" data-mid="140129041" border="0"  src="https://freight.cargo.site/w/1000/i/d584f1ebbb508ffcceb5278b6653c20137c8faeb71ad1be9364b266a5f38de20/014A9801.jpg" /&#62;
This project is co-produced by the City of Melbourne and Testing Grounds, and curated by Arie Rain Glorie as part of Test Sites Phase 2. Channel is presented as part of ACCA’s (The Australian Centre of Contemporary Art) program Who’s Afraid of Public Space, which explores the role of public culture, the contested nature of public space, and the character and composition of public life.
Exhibition design by Sibling Architecture.</description>
		
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	<item>
		<title>Token</title>
				
		<link>https://georgianowak.com/Token</link>

		<pubDate>Sat, 18 Sep 2021 03:10:33 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Token</guid>

		<description>Token











&#60;img width="4612" height="2260" width_o="4612" height_o="2260" data-src="https://freight.cargo.site/t/original/i/a8a69c631c064c49bc4a51ab26bfcbd4209952b4bc018e41543fba7f4dd1cb45/Token2021_02_crop.png" data-mid="130542558" border="0"  src="https://freight.cargo.site/w/1000/i/a8a69c631c064c49bc4a51ab26bfcbd4209952b4bc018e41543fba7f4dd1cb45/Token2021_02_crop.png" /&#62;

Sculpture


Gold coin, peer-to-peer servers
2021
The collectable coin presented here was forged at the Perth Mint, a key filming location in Aurum. Inscribed on the coin is the unique contract address linked to a virtual NFT marketplace, where an edition of Aurum has been minted.&#38;nbsp; An NFT (Non Fungible Token) attaches a unique code to a digital artwork using blockchain algorithms making it collectible and scarce.&#38;nbsp; These decentralised crypto networks promise new models of production and trade, and with that new forms of speculation and investment. As we mine deeper into the virtual realm server farms may entirely replace the gold in vaults as stores of wealth.
&#60;img width="1134" height="1247" width_o="1134" height_o="1247" data-src="https://freight.cargo.site/t/original/i/49f99fda5b84ed55eaa92901a333bb06ac61c810af45fa88784d954682e7df8a/3.png" data-mid="130545259" border="0"  src="https://freight.cargo.site/w/1000/i/49f99fda5b84ed55eaa92901a333bb06ac61c810af45fa88784d954682e7df8a/3.png" /&#62;&#60;img width="2835" height="1890" width_o="2835" height_o="1890" data-src="https://freight.cargo.site/t/original/i/8b0d04cc25a7d1d9d11f15926f4900e5c3c37e64fd55ddfc6516d752882d409d/2.png" data-mid="130543218" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8b0d04cc25a7d1d9d11f15926f4900e5c3c37e64fd55ddfc6516d752882d409d/2.png" /&#62;&#60;img width="1613" height="1075" width_o="1613" height_o="1075" data-src="https://freight.cargo.site/t/original/i/605989cc6ddc5ea228992da1999ab45e8bafeff6bdfa39233e4b236edea52ab8/4.png" data-mid="130543219" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/605989cc6ddc5ea228992da1999ab45e8bafeff6bdfa39233e4b236edea52ab8/4.png" /&#62;

National Gallery of Victoria, August 2021 - February 2022
Media link: NGV</description>
		
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	<item>
		<title>I have lived a thousand lives already</title>
				
		<link>https://georgianowak.com/I-have-lived-a-thousand-lives-already</link>

		<pubDate>Tue, 13 Feb 2024 02:43:26 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/I-have-lived-a-thousand-lives-already</guid>

		<description>I have lived a thousand lives already











&#60;img width="2102" height="1581" width_o="2102" height_o="1581" data-src="https://freight.cargo.site/t/original/i/4f466ac785ca198e7a11a53eb8c7b3abb2bb01b2d510adec43e1ddbc475a3c6c/GNEP_web01.jpg" data-mid="204506105" border="0"  src="https://freight.cargo.site/w/1000/i/4f466ac785ca198e7a11a53eb8c7b3abb2bb01b2d510adec43e1ddbc475a3c6c/GNEP_web01.jpg" /&#62;
HD Video 4:3. Archival film footage 
2022‘Every day I unbury—I dig up. I find relics of myself in the sand that women made thousands of years ago’ exclaims Louis in ‘The Waves’&#38;nbsp; (1931) by Virginia Woolf.


This narrative is repositioned as more-than-human, memories and musings of basaltic flows formed as part of volcanic activity thousands of years ago.This work is part of ongoing research by Georgia Nowak &#38;amp; Eugene Perepletchikov into historical narratives stored in material and landscape. Fundamental to Victoria’s land and identity, the genealogy of basalt reveals a slow evolution - material becomes process within a mesh of geological and social systems.
The rhythms and ruptures of rock are animated by networks of energy flows. Like memory, material is coded through the movement of time, modulated and reconfigured, a restless sedimentation and flux that pulses through land and bodies, all entangled, never still.
&#60;img width="2102" height="1571" width_o="2102" height_o="1571" data-src="https://freight.cargo.site/t/original/i/1d40f09fc484b69d22758c85840985e92ebd62d4aba733f2480570255c76b523/GNEP_web02.jpg" data-mid="204506106" border="0"  src="https://freight.cargo.site/w/1000/i/1d40f09fc484b69d22758c85840985e92ebd62d4aba733f2480570255c76b523/GNEP_web02.jpg" /&#62;&#60;img width="2880" height="2150" width_o="2880" height_o="2150" data-src="https://freight.cargo.site/t/original/i/cae0b910b9a08a7ba9be84b707ad9341b52c77b6d08e33a7c438628a9ab22b97/Screenshot-2024-01-21-at-3.08.16-pm.jpg" data-mid="204506128" border="0"  src="https://freight.cargo.site/w/1000/i/cae0b910b9a08a7ba9be84b707ad9341b52c77b6d08e33a7c438628a9ab22b97/Screenshot-2024-01-21-at-3.08.16-pm.jpg" /&#62;&#60;img width="3452" height="2592" width_o="3452" height_o="2592" data-src="https://freight.cargo.site/t/original/i/81d20c868600373243b45fdbd6e96856ec38caa52fc7c1457a2285e59aadf722/ThousandLives_2.2.3_1.2.1.jpg" data-mid="204506129" border="0"  src="https://freight.cargo.site/w/1000/i/81d20c868600373243b45fdbd6e96856ec38caa52fc7c1457a2285e59aadf722/ThousandLives_2.2.3_1.2.1.jpg" /&#62;&#60;img width="4391" height="3270" width_o="4391" height_o="3270" data-src="https://freight.cargo.site/t/original/i/8cd8ba628a95051bacba44c7741444e8ea2ed08389e96ba009d9b06224f67b34/GNEP_Primary.jpg" data-mid="204506104" border="0"  src="https://freight.cargo.site/w/1000/i/8cd8ba628a95051bacba44c7741444e8ea2ed08389e96ba009d9b06224f67b34/GNEP_Primary.jpg" /&#62;
ACMI Collections, Found Footage
</description>
		
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	<item>
		<title>Broken Water</title>
				
		<link>https://georgianowak.com/Broken-Water</link>

		<pubDate>Fri, 30 Jul 2021 07:22:37 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Broken-Water</guid>

		<description>Broken Water 

&#60;img width="1600" height="900" width_o="1600" height_o="900" data-src="https://freight.cargo.site/t/original/i/106e0ca2b2a769e54c27cc81b96efa535c92e740e6d3ffac4f3c33cf354e1da9/IMG_2833.JPG" data-mid="115011321" border="0"  src="https://freight.cargo.site/w/1000/i/106e0ca2b2a769e54c27cc81b96efa535c92e740e6d3ffac4f3c33cf354e1da9/IMG_2833.JPG" /&#62;











Single channel HD video
[work in development]


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	<item>
		<title>Memory-work</title>
				
		<link>https://georgianowak.com/Memory-work</link>

		<pubDate>Wed, 03 Apr 2019 04:47:02 +0000</pubDate>

		<dc:creator>Georgia Nowak</dc:creator>

		<guid isPermaLink="true">https://georgianowak.com/Memory-work</guid>

		<description>Memory-work
&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/5f6f4698aac2809f49ba7e54ed1cb8b8e9c43009077c5fb7f0a10999531b8405/unnamed.jpg" data-mid="39121773" border="0"  src="https://freight.cargo.site/w/1000/i/5f6f4698aac2809f49ba7e54ed1cb8b8e9c43009077c5fb7f0a10999531b8405/unnamed.jpg" /&#62;











HD three channel video, 29m12s
2019


Time accelerates and land begins to shimmer with motion, it’s rhythms and ruptures animated by networks of energy flows. Like memory, material is coded, modulated and reconfigured;, a restless sedimentation and flux that pulses through land and bodies, all entangled, never still. Part of ongoing research into material history, Memory-work &#38;nbsp;reveals basalt in motion and traces trajectories of relations and transformations that continue to unfold. 


The genealogy of basalt reveals a slow evolution; material becomes process within a web of complex systems, from geological activity to indigenous agriculture, colonial structures and socio-economic forces. From shaping the Victorian landscape to in-turn being reshaped by humans, basalt transmutes into foundations, iconic buildings and streets in the form of bluestone. Memory-work invites new readings of a familiar landscape and a space where new narratives can emerge; an all-together remembering. Project collaborator: Eugene Perepletchikov.
Exhibited: NGV Melbourne Design Week 2019, Jack’s Magazine &#38;amp; ADR Conference, MADA
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Archival footage thanks to ACMI collections, NFSA and private collections inclulding Grace Macgugan</description>
		
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