Lisa Harms is an Australian artist, writer, curator, and early career researcher whose doctoral thesis, constellations: art & the after-life of images (2014) used inter-textual methodologies of assemblage to stage interplays—as ‘virtual conversations’—between philosophy, poetry, and politics. She has produced site-responsive installations—in collaboration and as curator—and has written experimentally and critically over a fifteen-year period; has an interest in coding digital platforms; and has presented papers (often exhibiting con-currently) at numerous conference/workshops locally, nationally and internationally.
Recent and ongoing installation and curatorial projects set out to map a felt topography in fragments, with textual and material ‘landmarks’ offered as points of light in a shifting constellation: desiring patterns materialised as elegiac refrains and ‘opened’ as social spaces… Here: ‘landscape’—and its more intimate corollary ‘the garden’—is understood as virtual stage/fugue/state upon which—untimely—negotiations are played out: between memory and forgetting, insistence and desire, belonging and not-belonging, love and loss; circling the post-colonial tensions—the layered domesticities—of dis-placement, dis-possession; socio-cultural-environmental care and consequence.
Her projects, in general, address the domestic, in relation to wider ‘domestic’ concerns, specifically: the poetics and the politics of post-colonial social and cultural relations; environmental care and consequence. The folding of private and public ‘domesticities’ into one another effects a series of ‘turns’—as movements in a restless sleep—proposing “… a different kind of political ecology, where the ‘cosmos’ becomes a landscape for thinking and feeling—outside of individual ways of seeing the world, and in the potential for connecting with others” (Isabelle Stengers, in Hope: New Philosophies for Change, edited by Mary Zournazi, (Annandale: Pluto Press Australia, 2002), 261).
‘She is travelling to Dublin to present a conference paper at DELEUZE + ART: multiplicities | thresholds | potentialites mid April. See https://deleuzeart.wordpress.com . The paper will reference her ongoing involvement as Artist and Writer in Residence at Sauerbier House culture exchange, supported by the City of Onkaparinga and Arts South Australia, focussing on the collaborative works (which will be exhibited as part of the conference) currently also showing at Sauerbier House… made in collaboration with mentor Georgina Williams Ngankiburka-Mekauwe (Senior Woman-of Water), Cultural Clan Custodian Kaurna (funded by a Guildhouse LIMBER-UP mentorship).’
As Writer in Residence at Stiwdio Maelor she plans to walk… (the forest pathways of Snowdownia National Parks… taking ‘field-note recordings’ as part of an ongoing project: notes for a virtual garden’); to work on a potential—related—collaboration with Veronica Calarco—following their overlapping residencies together at Sauerbier House in early 2016—involving translation and cultural mapping; and to research topographical links to the unwritten female pre-history of the house: of Emily Sauerbier nee Davies, English wife of George Sauerbier who built the house, an interest triggered by an archival record indicating ‘Sauerbier House’ was originally named Llanfairfechan (“Little St Mary’s Parish”): a town and community in the Conwy County Borough, Wales, roughly an hours drive from Stiwdio Maelor and with a similar combination of mountain/dune; village/house, mirrored
junctures: at the meeting of ocean and tidal estuarine flats at opposite ends of the globe.