After losing 20 years of collected material in Lismore’s floods, the Quandamooka artist reflects on the climate crisis, colonialism and catharsis
in which Melbourne choked beneath black and red skies – was bound for Paris in 2020 before the sickness and death of pandemic brought the world to a halt.But the catastrophe in Untitled runs deeper still. The sonic sculpture is made from bits of discarded mining tools, blasted earth and violin, double bass and cello strings, sculpted into instruments which, when played by a team of musicians, mimic the haunting cry of the bush stone-curlew.
“All of my exhibition catalogues, all of the exhibition catalogues of my friends that I’ve been collecting,” Cope says. “The sort of things that, as an artist, go into a museum when you die.” “I kept saying in France that, ‘Really, when we think about it, it’s kind of your fault that we’re in this position,’” Cope says.Because when, in the 17th century, René Descartes pronounces “I think, therefore, I am”, Europe’s “philosophical relationship with the whole world changes, suddenly”.
“It is also about when we listen to nature, and we respect it, and we honour its power as a sentient being that holds knowledge of millions of years,” Cope says. “Animals do have knowledge, they can guide us into the right action, into understanding how environments can be restored and climates can be stabilised.”
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