**ON HIS BREATH CAME LOTHLORIEN**

From the empty devouring maw of the dark sea

From the vast endless breathless empty

The eternal king exhaled the heavens forth

Where no thing dwelled, all came to be

It was in his song

where death could not walk

and all was sweet with the taste of life -

From his lips spilt

the valleys rivers and seas

Off his breath floated

trees, bees, and all that was green

He spoke such that - it must be

The boughs laden with golden flowers;

mirth bubbling

from every spring.

From the law of his word

we were meant to bow

It is on the eve of rest

I wish to return to dwell

for when the king of heaven spoke

the dark empty nothingness was dispelled

ORIGINS:  Vivafication

A series of photographs from the artist's explorations of Lake Weyba during a provocation focusing on ‘The Feminine Landscape’.  These provocations were carried out as part of the collaboratory project A Topography for Reflection in the Floating Land Festival 2021.

What does memory look like?  How does my body in the landscape reactivate those memories, particularly as a feminine presence in the landscape, both literally and metaphorically.


Land Response 3

Acrylic on canvas 

100x100cm

2020

Germany

The clearing sky, deep in the sea and an amethyst somewhere downthere

**NEW ENGLAND SILENCE**

It is the mornings in late fall,

the quiet foggy silence filled ones.

  
When loneliness is its most profoundly beautiful

and all the world seems suspended in the mist of a dream.

It is the mornings when i see no face but mine

and speak not a word to another soul

  
When time feels eternal and fleeting all at once

as ink dances from my brush under a familiar faded song

  
It is these days that the touch of soft cloth on skin

and hot tea held to the chest blossoms warmth

  
And it is these days that I am most content with being

OBSERVING  SILENCE:  Memoir of Solitude

**I THINK I HAVE POOR LEADERSHIP**

  
I have a deep seeded fear

  
That voicing my wants

Gives gorged form to my desire

  
That it establishes in the minds of

others that I would take up space

Inconsiderate of the space others need

me and all my distructive tendencies

  
So how do I choose?

  
How do I grasp the truth of service

How do I fill the my self to brim with

the vigor of living

  
Can I bare the burden of forgone

responsibility

  
Or will I be crushed under the weight

of its judgment

OBSERVING  SILENCE:  Filling of the Self

**HUMMED SILENCE**

  
Pursed lips in the silence speak

though musings

  
As the willow’s dance ceases in the

stillness of the fog and the weight of

the worlds cloak quiets all beasts and

beings

  
The clarion cry of seeking disrupts

morning sleep and a need for something

more pulls the broken from slumber

  
It is here that fractured pride and

the boasting soul kneel; humbled

  
It is here that the dreaded call of

healing afflicts the unresponsible and

the blameworthy

  
Here in the awakening of the sublime
  
  

ORIGINS:  Whispers on the  Morning Mist

BALM OF HOPE

The Song that creates -

Ascribes the glory of making on darkness

  
The Voice that thunders across the waters.

The Voice that breaks the cedars;

strikes the mountain and shakes the earth.

  
The voice that roils with the might of the sea

and bares life on its breath.

  
That commands the deepest ocean to bare

symphonies of life and flourishing.

  
The whispers find me

As a cry of the seagull, the dance of dolphins, and the

mournful lamentations of the whale.

  
It finds me in the gentle kiss of waves against my feet,

and the thunderous roar of a Tempest at sea.

  
It is the rhythm of the universe, the heartbeat of

creation heard in the silence between the notes of a song,

and directs my ever wandering site

commands my ever drifting attentions

with a tender caress of the soul gentility nudging me

towards hope beyond the chaos waters
  
  

ORIGINS:  Hymns of The Ocean Verdure

CORESPONDING POEM

  
**DREAMING OF A DEAD THING**

In another life

 One where this dead hope did not die

 I would have loved you differently

 I could have been there for you differently

  
Now under sleepless sky I mourn

the death of a different universe

one where lamenting hope was not the outcome

 Where the fading whisper of night carried more

 than a fruitless tomorrow between souls

  
one where I could sit comfortably in the

weight of my ethos

 \-not encumbered by acquiescence or the weighty

 silence of never

MUSES: First Love

Together Apexing and Oasis render dualistic realities of 2020 – the cataclysmic unfolding of alarming events and the temporary euphoria of an unexpected hiatus from the daily grind.  A surreal ambiguity has overcome the human race as virtual and tangible realities overlap.  As we watch the destabilisation of our everyday reality on our screens, real events take on an air of fiction, a fiction that causes a cognitive collision as we step out of our doors into the smoke, the masks, the silence.  Through enforced isolation and liberated from our time we retreated to our interior world, into our homes, into ourselves and into cyberspace.

The first chapter of this diptych APEXING, is a construction of news media, sourced through a process of searching the daily headlines from 1st Jan 2020 through to the end of March. An evocative image and a word were selected as signifiers of events that defined each day, particularly as a marker within major sagas of the time. Revealed through this process was the language and imagery that infiltrated our collective identity through the universal drama that was 2020. As the video bombards its audience with pictures and words of trauma, it makes for a challenging watch, even within its fleeting one-minute timespan.

The second chapter of this diptych OASIS, is a montage of images from Instagram posts sourced through searches like #covidreflections. Selected for their optimistic air they capture the short-lived phenomena of mass self-realisation brought on by a sudden profusion of free time in early Covid-19 lockdowns. Their depiction of playful freedom makes for a stark contrast to APEXING. As APEXING depicts the unfolding dilemmas of 2020, OASIS depicts the escapism that only the internet could offer during self-isolation and the grim reality of global events. 

By Bianca Tainsh. Music by Eco Futurism Corporation. Created with the support of Boxcopy, Brisbane.


APEXING & OASIS

As an endeavour to circumvent the paradigms of contemporary human existence, artist Bianca Tainsh traverses the shores of Lake Weyba to observe and coalesce with the natural world, creating interpretive documents of her experiences along the way. 

The title of this work comes from an essay by Astrida Neimanis - Hydrofeminism: Or, On Becoming a Body of Water, a key text for the artist’s current explorations.

Following a universal epoch of digital burnout and sensorial deprivation, Archive of Meaning & Matter encapsulates an exquisite exploration of the material and visceral, resurrecting moments of primordial connection to natural elements. As the artist transcends into the landscape, she ultimately embraces the experience as both an organic and techno being.


Archive of Meaning & Matter

As an endeavour to circumvent the paradigms of contemporary human existence, artist Bianca Tainsh traverses the shores of Lake Weyba to observe and coalesce with the natural world, creating interpretive documents of her experiences along the way. 

The title of this work comes from an essay by Donna Haraway - The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others, a key text for the artist’s current explorations.

The Semiotic Space called Earth is an archive of the artist’s ventures to transcend into the landscape, and transition from anthropocentric conditioning to become ‘a cohesive, natural being’. Her experience is explorative and liberating, as she is captivated by both the material and metaphysical elements encountered in a contentious landscape.


The Semiotic Space called Earth

Winner of the New Media category in the 2021 Queensland Regional Art Awards.

With a practice grounded in social change, open-disciplinary artist Bianca Tainsh generates spaces for reflection on social dilemma, with suggestive cues to self-evolve.  Her work To the Citizens of Paradise was conceptualised as a response to the exodus of urban inhabitants to idyllic rural locations, in the wake of COVID-19. As towns swell, commercial development is accelerated.  And this multidimensional work is an entreaty to these new neighbours to embrace a perspective of locality – biosphere and village culture - over notions of convenient consumerism.  

As this particular example (the Civic Centre expansion on the Sunshine Coast) exhibits, inserting mass consumerism into paradise ultimately erases its qualities and reconfigures them into a homogenised ideal of the ‘best life’.  A QR code actions the viewers’ phone to a video that makes this temporal transformation palpable.  At the same time, Paradise can be perceived as the natural world, in which case the work implicates us all as ‘citizens’.

The video component to this work is designed to be viewed on a mobile phone. View the video at https://www.biancatainsh.com/cp


To the Citizens of Paradise

As my home, Lake Weyba has been integral to my deep reverence for nature. The Tangible Landscape of Memory was created during an exploration into memory imbued within the Weyba landscape. With both natural and human phenomena unfolding around me, I was acutely aware of the emergence of new memories, and of my influence on the memoryscape. My feminine presence and artistic attention took real and imagined form, as I responded to Weyba and her many elements. A resonance was generated between our watery bodies. I transformed Weyba and she transformed me.

The Tangible Landscape of Memory

First day

Misty jungle

Acrylic on canvas

100x100cm

2020

Germany

from above, earth and waves

Acrylic on canvas

100x80cm

2020

Germany

Across the universe

Acrylic on canvas

80x100

2020

Germany

Mountains

Acrylic on canvas 

80x80 cm

2020

Germany

Harbour sunset

Cicadas Rhyme is a project born in 2016 from the collaboration of a group of artists who, at the end of their university studies, continued to experiment together despite the physical distance that separated them.

We created a game that allowed us to communicate not with words, but through the use of objects in our everyday spaces. Recently it has evolved into its current form and we decided to share it as a collective practice open to everyone who wants to participate.

Cicadas Rhyme is a non-verbal improvisation game that consists of creating visual rhymes using materials and objects chosen by each participant. A dialogue of forms develops through a video call and gradually leads to a visual agreement between the parts in a continuous listening process.

If you are curious to know more or would like to play a match, just contact us directly on Facebook or on the Cicadas Rhyme's website. We look forward to meeting new playmates!
www.cicadasrhyme.com

And, of course, we also have a wonderful Instagram page: 
https://www.instagram.com/cicadasrhyme/?hl=it



Cicadas Rhyme

This is the first magazine project attempt, "a visual archive about women and men, about love, fear and hate, about feelings and about me. Do not try to understand, just watch." It chose as a base for it's artworks the analog photographs that include a large category of thematics and symbols, such as portraits or the every day irony of society. Unlettered adj. /ʌnˈlɛtəd/ (of a person) poorly educated or illiterate.

Layout and collages: Bianca Mocan

Photo credits: Bianca Mocan, Andriana Oborocean, Madalina Gaceanu, Ainhoa Morales, Matus Kurdel

Add

Bianca Góis Barbosa

Opportunities

For Artists

ArtConnect

Support