Null is Not an Object
Mary Cherry Contemporary 2025
Taking its title from a recurring error message in film editing software Adobe Premiere Pro—null is not an object—this solo exhibition meditates on the physical materiality of analogue film, and the thresholds between presence and absence in cinematic experience.
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Cage Study with Leader (blue), 2025, inkjet print, 16mm film leader.
56 x 66 cm (frame)
This diptych captures the playful and uncanny rituals of cinema-going, exploring anticipation and spectacle. Both photographs feature a figure wearing a Nic Cage mask, gifted to attendees at the Australian premiere of The Surfer (2024) at the Astor Cinema, where the entire audience participated in a moment of collective performance. The protruding 16mm blue film leader extends from the prints like a curtain, evoking both the physical mechanics of projection and the theatrical anticipation of the screen. In one work, the leader cascades across the image like a draped curtain, shrouding the masked figure and suspending this moment of cinematic spectacle.
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Mirror Mirror: Intervals in Gold, 2025, antique gold mirror acrylic, 35mm film leader (yellow)
90.5 x 120 cm (mirror)
In Mirror Mirror: Intervals in Gold, Valender transforms the peripheries of cinema into moments of reflection and reverie. Yellow 35mm film leader drapes across panels of antique gold mirror acrylic, cascading like molten gold or honey, shimmering with the opulence of old Hollywood. The works are at once minimalist and sumptuous: surfaces catch the light, inviting the viewer to see themselves within the folds of the material, to inhabit a space where anticipation, memory and reflection converge.
Empty frames of film leader hold their promise quietly, hinting at stories that never fully arrive. These luminous panels ask us to linger, to consider the poetry of pause, the material traces of cinematic spectacle and the intimate interplay between audience, object and light.
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Pink Intermissions, 2025, vintage 35mm cinema film trailers (1970s), glass panels, fringing.
39 x 31 cm (frame), 138 x 31 cm (with fringing)
This collection of collaged film works draw on the material and cultural residue of cinema. Each piece is constructed from vintage 1970s 35mm cinema advertisements, cut frame by frame and arranged between panes of glass, set within black wooden frames adorned with fringing. The use of pink-toned celluloid lends the works a spectral quality, both nostalgic and uncanny, where promotional fragments of a bygone cinema era are suspended in fragile mosaics.
Placed on the gallery’s windowsill, the works harness shifting natural light as a secondary medium. Throughout the day, the collaged frames glow and project their shadows across the gallery walls, echoing the ephemeral mechanics of projection itself. What once functioned as peripheral material—pre-show trailers, intermission ads—now occupies centre stage, transformed into sculptural light catchers that embody cinema’s ghostly architectures.
The fringed frames introduce a touch of the ornamental, aligning with the cinema advertisements they encase; both devices of allure, crafted to entice and seduce. The fringing also evokes the ceremonial sweep of cinema and stage curtains, framing each collage as a miniature theatre where light and shadow perform. Together, these elements operate as residues of spectacle, remnants lingering as ghostly traces, inviting viewers to inhabit the thresholds between memory, materiality and the fleeting drama of the cinematic experience.
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Deaf Pixels, 2021, 5min30sec, single channel projection.
Drawing on Valender’s experience as a cinema projectionist in New Zealand, where economic necessity meant working long hours and balancing multiple jobs, this work reflects on the tension between cinematic fantasy and lived reality. While projecting films that celebrated the opulence of love, adventure and promise, Valender navigated the modest possibilities of life in a rural town. Deaf Pixels transforms these experiences into a patchwork of projected imagery, where the glow of analogue film and digital pixels becomes a metaphor for longing, absence and the contrasts between aspiration and circumstance.
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September, 2025
Mary Cherry Contemporary 2025
Taking its title from a recurring error message in film editing software Adobe Premiere Pro—null is not an object—this solo exhibition meditates on the physical materiality of analogue film, and the thresholds between presence and absence in cinematic experience.
Cage Study with Leader (blue), 2025, inkjet print, 16mm film leader.
56 x 66 cm (frame)
This diptych captures the playful and uncanny rituals of cinema-going, exploring anticipation and spectacle. Both photographs feature a figure wearing a Nic Cage mask, gifted to attendees at the Australian premiere of The Surfer (2024) at the Astor Cinema, where the entire audience participated in a moment of collective performance. The protruding 16mm blue film leader extends from the prints like a curtain, evoking both the physical mechanics of projection and the theatrical anticipation of the screen. In one work, the leader cascades across the image like a draped curtain, shrouding the masked figure and suspending this moment of cinematic spectacle.
Mirror Mirror: Intervals in Gold, 2025, antique gold mirror acrylic, 35mm film leader (yellow)
90.5 x 120 cm (mirror)
In Mirror Mirror: Intervals in Gold, Valender transforms the peripheries of cinema into moments of reflection and reverie. Yellow 35mm film leader drapes across panels of antique gold mirror acrylic, cascading like molten gold or honey, shimmering with the opulence of old Hollywood. The works are at once minimalist and sumptuous: surfaces catch the light, inviting the viewer to see themselves within the folds of the material, to inhabit a space where anticipation, memory and reflection converge.
Empty frames of film leader hold their promise quietly, hinting at stories that never fully arrive. These luminous panels ask us to linger, to consider the poetry of pause, the material traces of cinematic spectacle and the intimate interplay between audience, object and light.
Pink Intermissions, 2025, vintage 35mm cinema film trailers (1970s), glass panels, fringing.
39 x 31 cm (frame), 138 x 31 cm (with fringing)
This collection of collaged film works draw on the material and cultural residue of cinema. Each piece is constructed from vintage 1970s 35mm cinema advertisements, cut frame by frame and arranged between panes of glass, set within black wooden frames adorned with fringing. The use of pink-toned celluloid lends the works a spectral quality, both nostalgic and uncanny, where promotional fragments of a bygone cinema era are suspended in fragile mosaics.
Placed on the gallery’s windowsill, the works harness shifting natural light as a secondary medium. Throughout the day, the collaged frames glow and project their shadows across the gallery walls, echoing the ephemeral mechanics of projection itself. What once functioned as peripheral material—pre-show trailers, intermission ads—now occupies centre stage, transformed into sculptural light catchers that embody cinema’s ghostly architectures.
The fringed frames introduce a touch of the ornamental, aligning with the cinema advertisements they encase; both devices of allure, crafted to entice and seduce. The fringing also evokes the ceremonial sweep of cinema and stage curtains, framing each collage as a miniature theatre where light and shadow perform. Together, these elements operate as residues of spectacle, remnants lingering as ghostly traces, inviting viewers to inhabit the thresholds between memory, materiality and the fleeting drama of the cinematic experience.
Deaf Pixels, 2021, 5min30sec, single channel projection.
Drawing on Valender’s experience as a cinema projectionist in New Zealand, where economic necessity meant working long hours and balancing multiple jobs, this work reflects on the tension between cinematic fantasy and lived reality. While projecting films that celebrated the opulence of love, adventure and promise, Valender navigated the modest possibilities of life in a rural town. Deaf Pixels transforms these experiences into a patchwork of projected imagery, where the glow of analogue film and digital pixels becomes a metaphor for longing, absence and the contrasts between aspiration and circumstance.
"I think the two things that make this show special for me are the use of the film leader
and natural light. Film leader has a poetic quality of anticipation, like an orchestra tuning
up, where the potential experience to follow it is unknown and infinite. The suspension
of this feeling in the artwork was the starting point for this show. As was implementing
natural light, where the experience of the artworks installed on the windowsill change
throughout the day and with the weather. On a brilliant sunny afternoon shades of
raspberry, from the Pink Intermissions series, are cast across the gallery walls. As I was
creating the works I kept thinking about the different definitions of “projection"—to
project light; to protrude physically; to capture a psychological projection—and how
they could be embedded in the work." Jen Valender, Lowbrow review.
and natural light. Film leader has a poetic quality of anticipation, like an orchestra tuning
up, where the potential experience to follow it is unknown and infinite. The suspension
of this feeling in the artwork was the starting point for this show. As was implementing
natural light, where the experience of the artworks installed on the windowsill change
throughout the day and with the weather. On a brilliant sunny afternoon shades of
raspberry, from the Pink Intermissions series, are cast across the gallery walls. As I was
creating the works I kept thinking about the different definitions of “projection"—to
project light; to protrude physically; to capture a psychological projection—and how
they could be embedded in the work." Jen Valender, Lowbrow review.
September, 2025
SPRING1883 Art Fair | Room 422
Jen Valender x ALPHA60 Project Space
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Sculptural forms encounter, endure and imagine bodies of water—from shower stalls and hotel loos to storm-washed shores—tracing the uncanny journeys between place, material and memory.
Bathroom
Hairy Storm Prawn, 2025, bronze, synthetic textile
Series of three
Bronze prawns, imagined as marine remnants washed ashore after a violent storm. Their forms are tangled with synthetic hair, merging crustacean anatomy with human detritus. Part of a series exploring objects caught between aquatic life and imagined aftermath.
Holding (after the storm), 2025, bronze crab claws, synthetic textile, gold pigment
Imagined as debris washed ashore after a heavy storm, the dismembered claws are adorned with hair and tipped with black paint. Unlike others in the series, this sculpture has not encountered water—existing instead as a vision of what might be left behind.
Alpha60 Goldfish, dead, 2025, brass, identification polaroid, fringe tassel. Body of water experienced: Alpha60 Chapter House loo.
Once a looping projection on the walls of Alpha60’s Chapter House, the goldfish is now well and truly gone. Cast in brass and tagged with an ID Polaroid it meets its final body of water—the Chapter House bathroom. One in a series of sculptures dispatched to experience different bodies of water.
Goldfish, dead, or how I learned about death, 2025, bronze, gold pigment, identification polaroid. Body of waters experienced: NGV International toilet + Windsor Hotel Room 422 loo.
A goldfish rendered in bronze and gold pigment and tagged with an ID Polaroid. This specimen has experienced two bodies of water: the NGV International toilet and the Windsor Hotel Room 422 bathroom. Part of a series charting the journeys—and endings—of sculptures through different aquatic sites.
Shower Opera, Prince Cover, 2025, single channel film, 3min, stereo sound, looped, refurbished portable Japanese audio-visual unit with contemporary digital enhancements, c.1970.
Filmed in situ in the shower of Room 422 at Melbourne’s Windsor Hotel, this single-channel, three-minute film captures a performance of Purple Rain by the Artist formerly known as Prince. The work merges shower singing with operatic delivery, staged through a refurbished 1970s Japanese audio-visual unit enhanced with contemporary digital technology. The unit serves as the singer’s head, with its fringing forming the body, presented as a continuous loop.
Opera singer: Tessa McKenna.
Bedroom
Stormborne, 2025, single channel moving image with stereo sound, 12min 30sec.
Director of Photography: Jen Valender
Assistant Director: Dr. D.
Sound mix: Simon Ratcliff, Sound & Motion Studios
Sound design: James Olivier
Composer: Sean Sutton
Colourist: Eva Otsing
Stormborne drifts through the salt-bitten air of Point Nepean, a coastline shaped by wind, war and quarantine. Once a military training ground and later a place of isolation during outbreaks of disease, this headland carries the weight of both human defence and surrender. Filmed in the shadow of Victoria’s long COVID lockdowns, the work listens to what lingers—grief, breath, weather.
At its heart are sculptural drums, assembled from salvaged local materials and an antique weather map. These instruments are not struck by human hands, but awakened by the storm itself—wind and rain pressing against skin, making sound, bearing witness.
Made during a winter residency, Stormborne captures the season’s rising turbulence and the elemental theatre of a changing climate. It is a portrait of exposure. Like infectious disease, environmental collapse offers no exemption—status, wealth, and borders fall away. We are equally porous to air, to atmosphere, to what comes next.
Storm Passage Lamp, 2024, Australasian weather map printed by George Philip & Son, Ltd, London, 1964, paper on cotton canvas, brass, water proof lights.
Born from the salt-bitten coast of Point Nepean, these drums are forged from salvaged local materials and an antique Australasian weather map. Unlike traditional instruments, they do not need hands—the storm itself strikes, presses, and sings through them. Having endured coastal storms, these sculptures stand as elemental witnesses to climate’s shifting theatre, bearing the scars and sounds of exposure.
Drain Charms, whitebait series, 2025, bronze, gold pigment, identification polaroids.
Edition of 12
Twelve bronze whitebait, gilded with gold pigment and tagged with identification Polaroids, undertake individual journeys through the storm drains beneath Elizabeth Street. Beneath the city’s streets runs a hidden river, feeding into the Yarra, and these drains carry the city above water during sudden downpours. Each whitebait traces its own passage, navigating the subterranean currents that sustain urban life.
Drain Charm #1
Flinders Street Station drain, Yarra River entrance, river level, bottom of stairs. American tourists commented “weird” in passing.
Drain Charm #2
Drain by riverside seating, Yarra River. Shoeless man watched while smoking a joint.
Drain Charm #3
Drain beside Clean Our Rivers National Landcare Program waterways filter. Sign nearby: Clean your waterways enquiries: 03 9465 1144.
Drain Charm #4
Drain by river works. High-vis vest pacing back and forth overhead. Underpass view partially blocked by Jehovah’s Witnesses.
Drain Charm #5
Flinders Street Station, Elizabeth Street underpass. Do not spit. Commuters giving strange looks. Staff ignoring.
Drain Charm #6
Stormwater drain, Elizabeth Street right side, facing away from the station, outside Melbourne Halal Kebab & Pizza. Woman with pink hair stopped to ask, “What is your point of view?”
Drain Charm #7
25 Elizabeth Street, left side, between two drains. Bronze almost run over by black Mercedes. Outside potential “retail goldmine” vacant lot.
Drain Charm #8
Outside Palermo Perfumes and Collins Street tram stop. Witnessed by a cluster of lime bikes.
Drain Charm #9
Corner of Little Collins. In the sun, in the cycle lane. Cyclists thought it was very strange. Right side.
Drain Charm #10
Outside Acne Studios, right side, corner of Little Bourke Street. Green electric box nearby.
Drain Charm #11
Between two trucks. Precarious. Almost lost the bronze in the drain. Guy with dreadlocks startled me; he asked, “How much did you win?”
Drain Charm #12
A rubbish truck crashing by. Violin player competing for sound space. Corner of Elizabeth and A’Beckett Streets. Almost knocked into drain by Deliveroo e-bike. Smelled like soy noodles in transit.
Documentation: Tom Noble
August 2025
Jen Valender x ALPHA60 Project Space
Sculptural forms encounter, endure and imagine bodies of water—from shower stalls and hotel loos to storm-washed shores—tracing the uncanny journeys between place, material and memory.
Bathroom
Hairy Storm Prawn, 2025, bronze, synthetic textile
Series of three
Bronze prawns, imagined as marine remnants washed ashore after a violent storm. Their forms are tangled with synthetic hair, merging crustacean anatomy with human detritus. Part of a series exploring objects caught between aquatic life and imagined aftermath.
Holding (after the storm), 2025, bronze crab claws, synthetic textile, gold pigment
Imagined as debris washed ashore after a heavy storm, the dismembered claws are adorned with hair and tipped with black paint. Unlike others in the series, this sculpture has not encountered water—existing instead as a vision of what might be left behind.
Alpha60 Goldfish, dead, 2025, brass, identification polaroid, fringe tassel. Body of water experienced: Alpha60 Chapter House loo.
Once a looping projection on the walls of Alpha60’s Chapter House, the goldfish is now well and truly gone. Cast in brass and tagged with an ID Polaroid it meets its final body of water—the Chapter House bathroom. One in a series of sculptures dispatched to experience different bodies of water.
Goldfish, dead, or how I learned about death, 2025, bronze, gold pigment, identification polaroid. Body of waters experienced: NGV International toilet + Windsor Hotel Room 422 loo.
A goldfish rendered in bronze and gold pigment and tagged with an ID Polaroid. This specimen has experienced two bodies of water: the NGV International toilet and the Windsor Hotel Room 422 bathroom. Part of a series charting the journeys—and endings—of sculptures through different aquatic sites.
Shower Opera, Prince Cover, 2025, single channel film, 3min, stereo sound, looped, refurbished portable Japanese audio-visual unit with contemporary digital enhancements, c.1970.
Filmed in situ in the shower of Room 422 at Melbourne’s Windsor Hotel, this single-channel, three-minute film captures a performance of Purple Rain by the Artist formerly known as Prince. The work merges shower singing with operatic delivery, staged through a refurbished 1970s Japanese audio-visual unit enhanced with contemporary digital technology. The unit serves as the singer’s head, with its fringing forming the body, presented as a continuous loop.
Opera singer: Tessa McKenna.
Bedroom
Stormborne, 2025, single channel moving image with stereo sound, 12min 30sec.
Director of Photography: Jen Valender
Assistant Director: Dr. D.
Sound mix: Simon Ratcliff, Sound & Motion Studios
Sound design: James Olivier
Composer: Sean Sutton
Colourist: Eva Otsing
Stormborne drifts through the salt-bitten air of Point Nepean, a coastline shaped by wind, war and quarantine. Once a military training ground and later a place of isolation during outbreaks of disease, this headland carries the weight of both human defence and surrender. Filmed in the shadow of Victoria’s long COVID lockdowns, the work listens to what lingers—grief, breath, weather.
At its heart are sculptural drums, assembled from salvaged local materials and an antique weather map. These instruments are not struck by human hands, but awakened by the storm itself—wind and rain pressing against skin, making sound, bearing witness.
Made during a winter residency, Stormborne captures the season’s rising turbulence and the elemental theatre of a changing climate. It is a portrait of exposure. Like infectious disease, environmental collapse offers no exemption—status, wealth, and borders fall away. We are equally porous to air, to atmosphere, to what comes next.
Storm Passage Lamp, 2024, Australasian weather map printed by George Philip & Son, Ltd, London, 1964, paper on cotton canvas, brass, water proof lights.
Born from the salt-bitten coast of Point Nepean, these drums are forged from salvaged local materials and an antique Australasian weather map. Unlike traditional instruments, they do not need hands—the storm itself strikes, presses, and sings through them. Having endured coastal storms, these sculptures stand as elemental witnesses to climate’s shifting theatre, bearing the scars and sounds of exposure.
Drain Charms, whitebait series, 2025, bronze, gold pigment, identification polaroids.
Edition of 12
Twelve bronze whitebait, gilded with gold pigment and tagged with identification Polaroids, undertake individual journeys through the storm drains beneath Elizabeth Street. Beneath the city’s streets runs a hidden river, feeding into the Yarra, and these drains carry the city above water during sudden downpours. Each whitebait traces its own passage, navigating the subterranean currents that sustain urban life.
Drain Charm #1
Flinders Street Station drain, Yarra River entrance, river level, bottom of stairs. American tourists commented “weird” in passing.
Drain Charm #2
Drain by riverside seating, Yarra River. Shoeless man watched while smoking a joint.
Drain Charm #3
Drain beside Clean Our Rivers National Landcare Program waterways filter. Sign nearby: Clean your waterways enquiries: 03 9465 1144.
Drain Charm #4
Drain by river works. High-vis vest pacing back and forth overhead. Underpass view partially blocked by Jehovah’s Witnesses.
Drain Charm #5
Flinders Street Station, Elizabeth Street underpass. Do not spit. Commuters giving strange looks. Staff ignoring.
Drain Charm #6
Stormwater drain, Elizabeth Street right side, facing away from the station, outside Melbourne Halal Kebab & Pizza. Woman with pink hair stopped to ask, “What is your point of view?”
Drain Charm #7
25 Elizabeth Street, left side, between two drains. Bronze almost run over by black Mercedes. Outside potential “retail goldmine” vacant lot.
Drain Charm #8
Outside Palermo Perfumes and Collins Street tram stop. Witnessed by a cluster of lime bikes.
Drain Charm #9
Corner of Little Collins. In the sun, in the cycle lane. Cyclists thought it was very strange. Right side.
Drain Charm #10
Outside Acne Studios, right side, corner of Little Bourke Street. Green electric box nearby.
Drain Charm #11
Between two trucks. Precarious. Almost lost the bronze in the drain. Guy with dreadlocks startled me; he asked, “How much did you win?”
Drain Charm #12
A rubbish truck crashing by. Violin player competing for sound space. Corner of Elizabeth and A’Beckett Streets. Almost knocked into drain by Deliveroo e-bike. Smelled like soy noodles in transit.
Documentation: Tom Noble
August 2025
ALPHA60 X JEN VALENDER
Stormborne
A Moving Image Installation
30 May – 30 June 2025 | Alpha60 Chapter House, MelbourneEnter the wild sonic landscapes of contemporary artist Jen Valender at Alpha60's Chapter House, an atmospheric and historic venue adjacent to St Paul’s Cathedral in Melbourne’s city centre.
Filmed during a winter residency at Police Point on the Mornington Peninsula, Stormborne captures a season of storms and rising winds along Australia’s vulnerable coastline.
At its centre are sculptural drums, built from recycled local materials and an antique weather map. These instruments are played not by hand, but by the wind and rain—activated during inclement weather to translate atmospheric forces and generate haunting, percussive sound.
Projected across the walls of Alpha60’s Chapter House, the dual-channel film installation draws audiences into a visceral meditation on ecological fragility, climate history and the intensifying rhythm of coastal change.
The exhibition opens with a one-night-only performance event on Friday 30 May 6–8pm featuring live jazz percussionist Alastair Kerr & Associates (6pm) and the thunderous Wadaiko Rindo Taiko drumming troupe (6.30pm), extending the elemental experience into live movement and sound.
Stormborne is accompanied by the Stormborne Artist Series, a limited-edition collection of weatherproof garments created by Alpha60 and Jen Valender, inspired by the sculptural forms and storm-worn textures of the work.
Opening Night Friday 30 May, 6–8pm
Venue Alpha60 Chapter House, Level 2, 195 Flinders Lane, Melbourne
Exhibition Dates 30 May – 30 June 2025
Mon – Sat 10am – 6pm, Sun 11am – 5pm
Admission Free | No RSVP required
Supported by the City of Melbourne Arts Gants & Mornington Peninsula Regional Gallery’s Artist in Residence Program. Produced in partnership with Centre for Projection Art & Alpha60.
Also don’t miss:
ACMI Art + Film: Jen Valender Thursday 29 May 2025 6.30pm
A special in-conversation event at ACMI, where Valender will screen recent films and discuss her interdisciplinary practice exploring sound, weather and sculptural encounters. Info + tickets
TIDAL MOVEMENTS FILM COMMISSION
Clearfell
Lorne Sculpture Biennale
01– 30 March 2025Clearfell documents the transformation of an antique ABC TV satellite tripod into an Aeolian harp, a sculptural instrument activated by the wind. The materials used reflect the site’s layered history as a former clearfell logging tramway, referencing archival photographs. Harp bow horsehair and a brass amplifier materially echo the harnesses of these horse-drawn trams, while steel elements mirror the fittings used on timber trolleys, and salvaged wood recalls the felled Otway forests. The film features a performance between harpist Genevieve Fry and the sculpture, offering audiences a cinematic experience of the dynamic interplay between performer, artwork and site. In Clearfell, the wind becomes both performer and sound-maker, collaborating with live performers in an ephemeral exchange of sound and movement. The project renders the intangible—air currents and harmonic frequencies—tangible, fostering deep listening to the airscape and landscape.
16mm film capture: Ursula Woods.
Jen Valender, Clearfell, 2025, excerpt from single channel, colour film. Courtesy of the artist.
16mm film capture: Ursula Woods.
Jen Valender, Clearfell, 2025, excerpt from single channel, colour film. Courtesy of the artist.
Clearfell
Lorne Sculpture Biennale
timber, steel, aluminium, brass, nylon, horsehair
Clearfell transforms an antique ABC TV satellite tripod into an Aeolian harp, a sculptural instrument activated by the wind. The materials used reflect the site’s layered history as a former clearfell logging tramway, referencing archival photographs. Harp bow horsehair and a brass amplifier materially echo the harnesses of these horse-drawn trams, while steel elements mirror the fittings used on timber trolleys, and salvaged wood recalls the felled Otway forests. In Clearfell, the wind becomes both performer and sound-maker, collaborating with live performers in an ephemeral exchange of sound and movement. The project renders the intangible—air currents and harmonic frequencies—tangible, fostering deep listening to the airscape and landscape.
March 2025
Lorne Sculpture Biennale
timber, steel, aluminium, brass, nylon, horsehair
Clearfell transforms an antique ABC TV satellite tripod into an Aeolian harp, a sculptural instrument activated by the wind. The materials used reflect the site’s layered history as a former clearfell logging tramway, referencing archival photographs. Harp bow horsehair and a brass amplifier materially echo the harnesses of these horse-drawn trams, while steel elements mirror the fittings used on timber trolleys, and salvaged wood recalls the felled Otway forests. In Clearfell, the wind becomes both performer and sound-maker, collaborating with live performers in an ephemeral exchange of sound and movement. The project renders the intangible—air currents and harmonic frequencies—tangible, fostering deep listening to the airscape and landscape.
March 2025
Documentation: Christian Capurro