Artwork title: borrow -- lend

Water cyclically transforms and transfers energies; an all-consuming connector of time, space and memory. Astrida Neimanis discusses the phenomenological relationship with water we all have in Bodies of Water: Posthuman Feminist Phenomenology, she states we are all "bodies of water” alluding to the idea that water can transfer parts of our lived experiences onto the next body. The brutalist architectural aesthetic of raised reservoirs that perch overhead of neighbourhoods in Sydney exudes a sense of stagnation where the past and present interweave together. Reservoirs are the time in-between. The space where water lays after emission from a previous body and the time before entering into the next. We hold water hostage until needed. Years and years piled together in a designed infrastructure so detached from nature that it looks alien to the society who built it. Reservoirs hold layers upon layers of memories, it is a space where you unknowingly approach the past, present and future. By directing the camera to focus on the connector of time, space and memory — the ultimate documentarian of all life — I aim to contribute to the curatorial theory of the hydrocene.

Lulu Blayney is currently studying for a Bachelor of Media Arts.

Acknowledgement of Country

UNSW School of Art & Design stands on an important place of learning and exchange first occupied by the Bidjigal and Gadigal peoples.

We acknowledge the Bidjigal and Gadigal peoples as the Traditional Custodians of the land that our students and staff share, create and operate on. We pay our respects to Elders past and present and extend this respect to all First Nations peoples across Australia. Sovereignty has never been ceded.