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Emma Pinsent’s work follows a process of reimagining objects, landscapes and materials into strange, embodied environments that teeter between real and speculative worlds. Spanning sculpture, drawing, painting and installation, Pinsent’s current practice involves the use of waste materials; found objects, paper pulp, and plant inks and dyes. The forms she creates seek to generate an ecological language that considers the entanglement of the human and nonhuman, the living and nonliving.

Emma Pinsent, Fouls of the beach, 2022, Found marine plastics and objects, wastepaper pulp, calcium carbonate, methylcellulose, dimensions variable (approximately H 2 x W 3 x L 2m)

Fouls of the beach (2022) is a sculptural installation that reconfigures waste materials collected from Arakwal beaches in the Northern Rivers/Bundjalung Country of New South Wales, Australia. Walking along the beach following hazardous weather and king tides, I have observed an abundance of debris within the shoreline: marine plastics, pumice, fishing rope and broken dune repair fencing, have become synonymous with the beach, entangled within the sand. Out of care and concern, I disentangle salty ties of waste materials from the masses of organic debris and carry buckets full of trash home to later clean - attempting to eliminate the stubborn biofilm that fouls their surface. In the ocean, communities of waste and pumice rocks raft together with the currents and tides in multispecies flotillas that are inevitably washed to shore. Deeply affected, the edges of each material become porous and unclear: water and weather bring into commonality oceanic life and anthropogenic waste. Often the materials I encounter and collect are transformed beyond reparation or recognition: the eschewal of their original form repeated through fragmentation and encrustation; barnacles, bryozoans, and algae foul waste materials as hybrid entities, and despite my attempts, I am unable to completely scrub or soak the sea away. In the studio, I form material relationships through a practice of re-assemblage, ruminating on the way that water dissolves boundaries between seemingly disparate human and non-human matter.