Adam Anderson amalgamates performance, jewellery, costumery, photography, and video to explore fetish as a method through which identity is considered for both its innate and performed qualities. His most recent work, Pearl (2019), explores fetish as a vehicle to create and destroy reflexively performed identities that are laborious to achieve and maintain. In her latest photographic series, Tether (2019), Jacinta Giles interrogates the slippery shift between fiction and reality in a digitally fixated society. By reconstructing television content through experimental photographic processes, Giles explores themes relating to memory, witnessing, and the affect of mediality. Annelize Mulder combines experiences of human migration with concepts of belated trauma. Best-laid Plans (2019)is a hanging sculpture produced from fabric and polyurethane that emulates migrant experiences as they attempt to settle in Australia. Initiated from a personal perspective and explored through the body as metaphor, Mulder aims to capture an extraordinary sense of vulnerability. Making visual reference to ‘ghosting’—a term used to describe the permanent imprint of an image onto the surface of a screen through over exposure—Ghost Light(2019) by Victoria Wareham draws from multiple areas of lens-based practice, ranging from 16mm film to HD video, to challenge the relationship of the viewer to the screen-based image. A Blue Landscape (2019) is an immersive installation by artist Rachael Wellisch. Comprising of indigo infused salvaged textiles and a soundscape developed with Peter Houtmeyers and Eric Fassbender, this work offers a unique insight into the relationship between waste and landscape within the Anthropocene.