In 2015, A Published Event found(ed) artists, Justy Phillips and Margaret Woodward as an experiment in speculative eventing. A love. No less. A tripartite Medusa that publishes events.

Exploring chance encounter, constructed situations and the shared authorship of lived experience, A Published Event is an event always in the making–already made felt. A cut that releases and absorbs. Leaks and floods. In relations of body, duration and event. Our hybrid works—a kind of fusing-distilling-slagging of fictiō-critical writing, prose, book-works, video, installation and performance—explore the metaphysical language and speculative publishing of lived experience.

Now and then, A Published Event invites a program of speculative eventing around a specific proposition and collaborates with other artists and cultural institutions to test this proposition through the making of published events.


Justy Phillips is an artist, writer and publisher. She has a PhD: Scoreography: Compose-with a hole in the heart! (2015) from RMIT University, Melbourne.

Margaret Woodward is an artist, writer and publisher. Margaret has a PhD in Design: Overlapping dialogues: the role of interpretation design in communicating Australia’s natural and cultural heritage (2009) from Curtin University of Technology. She is Adjunct Professor and member of the Institute for Land, Water & Society at Charles Sturt University, NSW.



Raymond Arnold is a renowned Australian printmaker whose work reflects the construction of the Tasmania landscape, in particular that of the west coast, his adopted home.Raymond has held more than 50 solo exhibitions and participated in group shows in Australia, Europe and the USA. His work can be found in the collections of the Imperial War Museum, the Victoria and Albert Museum in London, the Bibliotheque Nationale and the Musee Courbet in France, as well as the National Gallery, the Australian Parliament House and all state galleries in Australia. In 2006, Raymond established Landscape Art Research Queenstown (LARQ) with a dream to develop a wilderness art space as a ‘nest’ for incubation and a supporter of artists’ in residence.


Ally Bisshop is an artist, writer and researcher, dividing her time between Berlin and Sydney. Her practice engages process philosophy and ideas around aberrant language, materials, and temporalities. Ally is currently undertaking a PhD in Visual Arts at UNSW Art and Design, Sydney and holds a with first class honors (majoring in microbiology) from the University of Queensland, Brisbane, Australia (1999) and a Bachelor of Fine Arts through the College of Fine Arts, UNSW Sydney, majoring in sculpture and installation. Ally's writing has featured in runway and Berlin Artlink and she is an editorial board member of the runway journal for Australian experimental art, a position held since 2013.

Lucy Bleach's practice focuses on human’s varied relationships to tenuous, contingent and at times volatile environments, seeking engagement with communities that authentically experience such relationships, exploring links between the geologic and the intimate, and investigating the potential of vibrational ground. She has produced solo commissioned and collaborative work within national and international contexts and received national funding, awards and international residencies. Lucy is Coordinator of Sculpture and 3D Design Studios, Tasmanian College the of Arts, University of Tasmania.

Robin Banks has a passion for geology and the printed page. In her professional career, Robin has been involved in a broad range of human rights advocacy activities and has a strong background in disability rights in particular. She holds a Bachelor of Laws from the University of NSW (1999). In 2000 she was admitted to practice as a Barrister and Solicitor in the Supreme Court of NSW and the High Court of Australia. Robin is currently a PhD candidate at the University of Tasmania, her thesis, an examination of whether and how discrimination law could use a conceptual framework that incorporates learnings from other disciplines, such as those of prejudice and unconscious bias from psychology, and what effect this might have on prevention and resolution.


Shevaun Cooley is a Western Australian poet, essayist, and climber. Her poetry has been published in Cordite, Island, Poetry Wales, Meanjin, Southerly, The Best Australian Poems (2009, 2017), and she has been shortlisted for both the Newcastle Poetry Prize, and the University of Canberra Vice-Chancellor's International Poetry Prize. Her debut collection of poems, Homing was released in 2017 by Giramondo Publishing.


Helena Demzcuk is a painter based in Queenstown on the west coast of Tasmania. The daughter of Ukrainian migrants, Helena lived in Papua and New Guinea before enrolling at QIT, Brisbane and Monash University, Melbourne to study Ukrainian language and literature. In 2005 Helena completed a BFA at the University of Tasmania, School of Art which included a semester at the Glasgow School of Art. Her artwork focuses on people, landscapes and the colour that unites them.

Jerry de Gryse is a landscape architect and co-founder and director of Inspiring Place. Jerry has practice experience that ranges in scale from square metres to thousands of square kilometres and in setting from the city centre to the wilderness. In his work, Jerry seeks out the essential values of a place to understand how these influence the physical form of the built environment and the personal experience of outdoor space. Jerry believes that exceptional public spaces are created where the needs of people for a vibrant setting are integrated with a community’s vision for its place and environmental sustainability principles. Jerry is a Fellow of the Australian Institute of Landscape Architects.


Catherine Evans is an artist working across photography, sculpture and installation. Initially trained in science and then photography, her studio and research practice is focused on geologic time and where this intersects with our own human timescales: as found in our bodies, their materiality, and our subjective histories through colonialism and archaeology. Dividing her time between Melbourne and Berlin, she was the 2017 Georges Mora Fellow, Melbourne, and received first prize in the 2020 Neukölln Art Prize, Berlin.


Julie Gough (AUS) is an artist, freelance curator and writer. Her research and art practice often involves uncovering and re-presenting often conflicting and subsumed histories, many referring to her own and her family's experiences as Tasmanian Aboriginal people. Julie holds a PhD from the University of Tasmania and has exhibited widely in Australia since 1994 including: undisclosed, National Gallery of Australia, 2012; Clemenger Award, National Gallery of Victoria, 2010; Biennial of Sydney, 2006; Liverpool Biennial, UK, 2001; Perspecta, AGNSW, 1995. Her work is held in most Australian state and national gallery collections, and she is represented by Bett Gallery, Hobart.

Ross Gibson is an artist, writer and Centenary Professor in Creative & Cultural Research at the University of Canberra. Recent works include the books 26 Views of the Starburst World (UWAP) and Stone Grown Cold (Cordite Books) and the co-production of the ABC Radio National Feature 'Energy Grids'. Outside academia he was inaugural Creative Director at the Australian Centre for the Moving Image (1998 - 2002) and a Senior Consultant Producer for the establishment of the Museum of Sydney (1993 - 96).


Bianca Hester's is a practising artist, writer and senior lecturer at UNSW Art and Design. Her research engages with the fabric urban space, where place is approached as a complex constellation of human timescales, nonhuman durations, atmospheric forces, objects, histories and geologic materialities. Her projects often unfold as a series of actions in dialogue with a range of contexts, interlocutors and audiences. Bianca completed PhD at RMIT (Melbourne, 2007) and was a founding member of CLUBSpropject inc. (Melbourne, 2002–2007) and is a continuing member of the Open Spatial Workshop collective.

Ruth Hadlow is a visual artist with a process-based practice which incorporates temporal wall drawings, writing, performative lectures and artist’s books. She has exhibited nationally and internationally, undertaken numerous residencies around Australia and New Zealand, and been the recipient of several Australia Council grants for research projects. Ruth has a PhD from the University of South Australia, and is known for her freelance teaching focused on process-based contemporary arts practice.


Lyndal Jones is a Melbourne-based artist whose work coveres a wide range of practices, including performance, theatre, dance and video. Jones' work focuses on the politics of context, place and gender through very long-term projects, including The Avoca Project (2006-2016), centred around the Watford House – including land works, exhibitions, performances, film showings, concerts and symposia, always , an international art project in regional Victoria, Australia. She has exhibited extensively in both solo and group shows in Australia and overseas. In 2001, Jones represented Australia at the Venice Biennale with the work Deep Water/Aqua Profunda.

Sarah Jones is an artist, writer and curator. Through first person narrative, both written and performed, Sarah is interested in the desire for the dissolution of the perceived self in the spaces between the landscape and the body. Understanding text as a kind of emotional cartography, Jones explores the (text)body in (time)space. She explores publishing as the unfolding of a making public —an act of collaborative desiring; the demand for a witness who is simultaneously present and absent.


Loren Kronemyer is an artist living and working in remote lutruwita (Tasmania), Australia. Her works span interactive and live performance, experimental media art, and large-scale worldbuilding projects aimed at exploring ecological futures and survival skills. As part of duo Pony Express, she is co-creator of projects like Ecosexual Bathhouse, a touring queer sex club for the entire ecosystem.  She collaborates frequently with laboratories, including most recently as the first resident at the International Centre for Radio Astronomy Research, and received the first Masters of Biological Arts Degree from SymbioticA Lab at the University of Western Australia. She is a mentor at the Icelandic Academy of Art for their Masters of Performing Arts program, and a PhD candidate at the University of Tasmania. 

Louisa King is an artist. Her practice is one of site responsive landscape experimentation, carried out through installation, drawing and performative writing. Turning towards the Anthropocene, Louisa’s practice explores the dialectic potential of landscape architectural practice in accessing the nature/culture collapse. Her interest lies in cartography, ficto-criticism, and temporary event based landscape design and material explorations of the geologic city. Louisa is a lecturer in landscape architecture at University Technology Sydney and PhD candidate at RMIT University, Melbourne.

Therese Keogh is an artist who lives and works in Sydney, Australia. She has exhibited her work in solo and group exhibitions around Australia and internationally, employing research methods to examine the structures that produce and transform, space through an engagement with site, landscape and histories of making. Therese is currently studying for a Masters of Fine Art, at Sydney College of the Arts.


Caroline Loewen is curator at the Lougheed House, a historic house museum in Calgary, Canada. She holds a Master’s degree in Art History from the University of St. Andrews, as well as a BA in Archaeology and a BA in Art History from the University of Calgary. Her degrees in both Art History and Archaeology support her interests in art, history, and land; her curatorial practice focuses on exploring ideas around cultural geography, place-making, memory, and cultural/natural landscapes.

Greg Lehman is an Indigenous Visiting Research Fellow at the Australian Institute of Aboriginal and Torres Strait Islander Studies and has recently completed a PhD at the University of Tasmania’s School of Art on visual representations of Tasmanian Aborigines. Greg is also an Honorary Research Fellow at the Australian National University’s Humanities Research Centre, supporting the development of Encounters exhibition. He is also a member of the National Museum of Australia’s Indigenous Advisory Committee, and the Tasmanian Museum and Art Gallery’s Aboriginal Advisory Council.

Trygve Luktvasslimo is an artist whose work examines seduction, worship and redemption in music and in visual and verbal narratives. Through a diverse practice he locates spiritual projects outside of the religious field, and he looks at how these faith-based concepts influence the construction of characters and stories. He exhibits and performs internationally in galleries, museums, festivals and clubs. Trygve holds an MFA in Visual Art from Malmö Art Academy, Sweden (2006). He is a board member, Fond for lyd og bilde, Arts Council Norway and a public art consultant KORO, Norway Office for public Art.


Nicholas Mangan's practice is driven by the desire to make sense of the world by unpacking the histories and possible narratives that surround specific contested sites and objects. This investigation explores the unstable relationship between culture and nature. Nicholas' recent work Limits to Growth (2016–) in The National: New Australian Art at the Art Gallery of New South Wales.

Tine Melzer connects the philosophy of language with visual art and her main motif is language. She works both as an artist and researcher and has taught at various academies and universities since 2004. Since 2014, she has taught at HKB Bern University of the Arts, at the transdisciplinary Y Institute and has been active as a tutor for the MA in Contemporary Arts Practice and as a lecturer at the Department of Art & Design.

Wendy Morrow is a Hobart based dance artist working in the area of new dance. Her career spans across 35 years and includes performing with the Monte Carlo Ballet, The Scottish Ballet, The Sydney Dance Company and Danceworks. Morrow has worked with Australia's most influential makers in new dance, studied and traveled internationally with her work and established an interdisciplinary practice. She has extensive teaching experience working with professional companies, independent artists and most tertiary arts institutions around Australia.


James Newitt is an artist who lives and works in Hobart and Lisbon. James’ work explores specific social and cultural relations, often embracing mutability and paradox. James has exhibited his work in exhibitions in museums, galleries and public spaces throughout Australia and Europe. In 2012 he was awarded the prestigious Samstag Scholarship to participate in the Maumaus Independent Study Program in Lisbon. In 2010 he won the City of Hobart Art Prize and in 2009 he was awarded the Qantas Foundation, Encouragement of Contemporary Art Award. James is a Lecturer, at the Tasmanian College of the Arts.


Jo Paterson Kinniburgh's research operates between architecture, performance and inter-medial studies, with a focus on possible futures for small contemporary live music performance venues. My work challenges the colonial performance space located on confiscated Maori land for contemporary indigenous performance, by rejecting the stage and working in the margins. Jo is a doctoral candidate working on a thesis entitled The Spatial Dramaturgy of Live Music Performance.

Perdita Phillips is an Australian artist/researcher primarily interested in the environment who often refers to scientific understanding in her work. At the same time she is interested in things that aren’t explained by science which might be about what is not seen or logically sensible. Using many different media including walking, mapping and listening, her work is marked by a continuing interest in the relationships between humans and nonhuman others (rocks, plants, animals, ecosystem processes). She has published Invisible Monsters (2018), A simple rain (Vivienne Glance and Perdita Phillips 2012) and birdlife (2011, edited by Nyanda Smith and Perdita Phillips) with Lethologica Press and in 2017 she created the limited edition Wingenretnuh with BookMachine.


Jane Rendell (BA, DipArch, MSc, PhD) is an academic and writer. She trained and practiced as an architectural designer, before studying for her MSc and PhD in feminist architectural history. Her interdisciplinary work, through which she has developed concepts of ‘critical spatial practice’ and ‘site-writing’, crosses architecture, art, feminism, history and psychoanalysis. Her books include Site-Writing (2010), Art and Architecture (2006), and The Pursuit of Pleasure (2002), and co-edited collections like Pattern (2007), Critical Architecture (2007), Spatial Imagination (2005), The Unknown City (2001), Intersections (2000), Gender, Space, Architecture (1999) and Strangely Familiar (1995). Jane is Professor of Architecture and Art at the Bartlett, UCL.


Mary Scott lives and works in Hobart, Tasmania. Selected recent exhibitions include Facts and Fictions, [2015], UK Drawing Projects, The Drawing Centre, Trowbridge, UK; Drawing Now, [2015 and 2014], Despard Gallery, Hobart; Hobart City $15,000 Invitation Art Prize, [2015], Tasmanian Museum and Art Gallery; Black Powder, [2013], Contemporary Art Tasmanian and Detached Cultural Organisation; Down the Line: an exhibition of drawing, [2013], Near and Far, [2011] Tasmanian Museum and Art Gallery; Wilderness: Balnaves Contemporary Painting, [2010], Art Gallery of NSW. Mary has been a recipient of several New Work Australia Council Grants [2008; 2002]. When she is not in her studio Scott works at the Tasmania College of the Arts where she is Senior Lecturer.


Erica Van Horn is an artist and writer, born in the United States. An early exhibition I’ve Been Making Books Since the Day President Kennedy Was Shot at Franklin Furnace (NYC) gathered together an selection of her Artist Books. Her work has increasingly evolved from the combined visuals and text of the Artists Book to the form of writing itself. Recent publications include Living Locally (Uniformbooks 2014), Em & Me (Coracle 2018), Too Raucous For A Chorus(Coracle 2018), with its French translation due later this year (Héros-Limite/Geneva 2020). She lives and works in rural Ireland.


Ben Walter is a Tasmanian writer of lyrical fiction and poetry who has been widely published in publications such as Island and Southerly. He has twice been shortlisted in the Tasmanian Premier’s Literary Prizes, and was the recent guest editor of Overland’s special anti-/dis-/un-Australian fiction issue. Ben is one of Australia's most widely published writers of short stories. His essays have appeared in The Guardian, Meanjin and Island.

Rory Wray-McCann is an underground miner who has lived on the West Coast of Tasmania for nearly three decades, working and helping to raise and fund a family of three. He got out of 'the black rabbit game' a while ago and rebadged himself as a surface tip rat with a creative bent. Rory uses the materials of the Tasmanian landscape, mainly rocks and crystals, as his palette, creating large scale geological compositions set in concrete.

Tricky Walsh works both collaboratively and in a solo capacity. Their projects focus on both spatial and communication concerns and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes. They are represented by Bett Gallery, Hobart, Tasmania, and MARS Gallery in Melbourne and have exhibited extensively throughout Tasmania, Australia and Overseas.

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A Published Event Contents
PMVABF 24–28 February, 2021

We are launching Seam IX at the inaugural Printed Matter Virtual Art Book Fair 2021. It's the penultimate seam!

Fall of the Derwent 2014 — 16
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Fall of the Derwent


54.7% Download hydrographic score

Fall of the Derwent (2015–16), is an experiment in hydrographic publishing by artists Justy Phillips and Margaret Woodward, commissioned and presented by GASP (Glenorchy Art & Sculpture Park) Tasmania, as part of Swimmable: Reading the River.

In their ambitious hydrographic score, Fall of the Derwent (2016), Phillips and Woodward draw from the river(s) Derwent, a living organism that re-composes with every reading. Generated in response to the current Energy in Storage Levels of the River Derwent, each hydrographic score is completely unique. You can download your score here or you can visit GASP and scan the permanently installed QR code on the banks of the River Derwent at Wilkinson's Point, Elwick Bay, Tasmania. An invitation to move-with a marking, cutting, flooding deluge in the making.

Through a year-long process of research-creation that included in-depth archival research, walking, writing, making, recording and publishing, the artists entered into relation-with the river as living event. Over two recent summers, the artists walk from the sea to the source of two Rivers Derwent. First, they walk from Workington to Borrowdale (UK) and then from Blackmans Bay to leeawuleena (Tasmania). They encounter more than one namesake. And then comes the fall. Fall of the Derwent is an actual, mythical event in the making–already made felt. A moving blackwards. No less.

The People's Library 2017–18

The People's Library


Enter the project website

Tethered in everyday acts of writing, reading and telling, The People’s Library is an invitation to write an original book-length work in any genre. Part performance library, part contemporary artwork, The People’s Library will publish one hundred and twenty three books – unpublished works of fiction, memoir, science fiction, biography, non-fiction, history, crime, thriller, poetry, plays and experimental other.

An opportunity to leave a trace, locate a life or sweep a narrative arc within a living library, The People's Library is a supported publishing opportunity which invites its writers to contribute to a unique, collective artwork. Amateur and professional, we are publishing Tasmanian authors who write for leisure, pleasure or necessity.

In 2018, The People’s Library will be installed at Salamanca Arts Centre, Hobart, creating a movement of public tellings – book groups, live readings, salon events and lending library. A groundswell of histories, cultures and experience awaits.

Lost Rocks 2017—21
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Lost Rocks


Lost Rocks (2017–21) is an ambitious, slow-publishing artwork – a library of forty books, four books published twice yearly for the next five years. Forty single traces, ten dynamic seams, or one spectacular forty-rock Lost Rocks Library. Brought to life by Australian artists Justy Phillips and Margaret Woodward (A Published Event) and composed by forty contemporary artists from around the world, Lost Rocks is an accumulative event of mineralogical, metaphysical and metallurgical telling.

Seam IX (six fictionellas)


To coincide with the launch of this latest seam at the Printed Matter Virtual Art Book Fair (24–28 Feb, 2021) we are offering all six fictiōnellas of seam IX in one special bundle. You can also buy individual titles from this seam, alongside all of our in-print editions by expanding the spines below and adding your selection to the cart. Seam IX rocks/artists are: Granite V (Nancy Kuhl, US); Fossil IV (Robin Banks, Aus); Fossil V (Erica Van Horn, US/Ire); Fossil VI (Ilana Halperin, US/ Sco); Silver II (Jen Bervin, US); Copper IV (Loren Kronemyer, US/Aus).

  • 96pp
  • 11 x 18cm
  • English
  • $75 (aud)
Copper IV (Kronemyer)

Loren Kronemyer

To go shallower, turn to page 21. To return to the present, turn to page 23.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Silver II (Bervin)

Jen Bervin

July 17 Dreaming of the library, the fennel, the stars, the shortcuts, the steepness, a post office box, one good café, javelina, accordian, walks.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil VI (Halperin)

Ilana Halperin

And now, in some ways, we are part of an international conglomerate, intrinsically bound together by the virus. Invisible glue, holding everyone together in a shared catastrophe.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil V (Van Horn)

Erica Van Horn

When the rubble got moved down to this spot, and I found the green pieces from her kitchen, or from a room that was not her kitchen, it was as if I was greeting her again. Then the woodcutters took all of that away.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil IV (Banks)

Robin Banks

Countless days of childhood spent searching, hunting for that elusive critter, that unfamiliar plant, hidden from light and air, hidden from my inquisitive gaze, revealed with the hammer crack of a rock breaking open. What wonder is this?

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Granite V (Kuhl)

Nancy Kuhl

Stories about Granite / One story is time beyond / comprehension. The end. // There is something called / a melt; it has a plot: beginning, // middle, and the last of it. / And the fever when it forms. // Solid parentrock and / percolation along margins. // See how it takes a shine. / The end, the end, the end.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Crocoite (Woodward) – SOLD OUT

Margaret Woodward

When H saw the rock board in the local tip shop, she knew she had to have it. IGNEOUS, SEDIMENTARY, FOSSILS, METAMORPHIC and MINERALS, its 52 specimens displayed in five taxonomic groups, each labelled with red DYMO tape. These were the labels of a carefully arranged mineralogical landscape, the force fields of its specimens tamed and framed. With two gold coins she purchases the rock board, brings home this trophy of small losses and lives with it. She could not have known the hand that had brought these samples, these fragments, together but like so many others circulating the globe, this dispersed collection carries with it the zeal of a geological education – a portable landscape of Tasmania’s idiosyncratic terrain...

Crocoite II (phillips) – SOLD OUT

Justy Phillips

  1. We are all born with a hole in our hearts.

In the womb of our mothers, before we are breathing air, this hole acts as a kind of trapdoor that allows blood to bypass the lungs. In most cases this trapdoor closes itself during the first few days after birth. In rare cases, its hole remains open. This hole, you might come to know, as an ‘organism that persons’. A seam that grows-with. This is what happened to me. Medically, a hole in the heart or ‘patent foramen ovale’ can present in either the upper (atrial) or lower (ventricular) chambers of the heart, causing what is known as atrial and ventricular septal defects. These congenital heart ‘defects’ or rupturing malformations, enable blood to travel abnormally between the chambers of the heart. This diversion allows...

Silver (Rendell) – LAST COPIES

Jane Rendell

A prospector, he was born on 7 October 1846 at Stuttgart, Duchy of Württemberg, where he was educated. A clerk in a chemical firm, he later trained as an edible-oil technologist with a large chemical manufacturing company in Hamburg, where he worked in the export department as he was fluent in English and French. He was delicate and the bitter winter of 1868 brought on a serious lung weakness, so he decided to leave Germany for a warmer climate. He arrived in Melbourne in 1869 and, on advice from friends, moved to New South Wales. He worked on Walwa station, then wandered from place to place until engaged as a boundary rider on Mount Gipps station in the Barrier Ranges in the far west. After discoveries of...

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Silver/Lead (Jones) – SOLD OUT

Sarah Jones

I am digging a hole. I had thought that the hole would be around a metre deep, but already, at thirty centimetres, the ground is harder than I’d planned. I had planned (plans for the Earth?) that the Earth would submit to this unannounced displacement. Looking into the poor excuse that is the beginnings of my hole, I consider that the earth might have had other plans. The soft burn of frustration at dirt that will not heed my effort is rising in my cheeks. Two types of scarlet exertion flush my face. I’m probably also sunburnt; three. I stop digging. Hot from the inside and the outside, I throw the shovel down, the short unsatisfying thud it makes does nothing for what feels like an inherent specie-al inferiority. The dirt is too hard, the sun is too hot, I have no impact of the scale that...

Basalt (Gibson) – LAST COPIES

Ross Gibson

In teeming numbers the eels move through this vibrant world of water. Arriving during the rainy season when the remnant-lakes swell and the volcanic plain swells like a colander in a tub, the eels leave the salt water, summoned to the freshwater by a baffling endocrinal change that compels them landward to furlough as another kind of fish for a while.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Conglomerate (Walter) – LAST COPIES

Ben Walter

They had pressed through the early discomfort of their slack suburban muscles into true track hardiness, lean and strong, but had then stepped further into a new phase: vicious cramps, the sweat dissolving their joints. The slow, patient wear and tear needling away and sewing them a suit of weariness and strain that covered their whole bodies.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Marble (Bisshop)

Ally Bisshop

This is how we move. We break one world to make another. And the remnants of the first world are always passaged, transformed, traced into the new one.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Crystal Bone (Lehman)

Greg Lehman

Only one seal remains with her on the rock. Unlike the dark forms that have returned to the sea, her companion is silvery white, and has fixed her in a wide-eyed, liquid gaze. She waits for a movement, when she knows that she must quickly strike. But when the movement comes it is her that draws back.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Petrified Wood (scott)

Mary Scott

I, like you, am curious about nature, drawn to its vivid forms, its minutiae and exquisite variation. I see the world more deeply than many and know that when we are sensitive to the breaking waves of sunlight, the force of agitated water or the warm steamy air rising from the forest floor, our consciousness sharpens and bites like a knife
upon a stone.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil (Newitt)

James Newitt

Networks severed and networks tested; or, networks ruptured and networks restricted; or, networks cut and networks cut. Some can’t take the waiting, or the food, or the lights, or the bodies, or the families, or the conversations, or the dead flowers, or the smells, or the tea … and OK, I guess.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Petrified Wood II (Keogh)

Therese Keogh

As the log lay motionless, the activity of the past 24 hours was replayed in inertia. The tool marks, falling into the tree from thrown shoulders and a chunk of rock, were suddenly rigid, rehashing each moment in stillness.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Copper I (Arnold)

Raymond Arnold

A small clear tannin stream continuously flows around and below the shelf and provides a constant and pure source of water. Apart from the very occasional appearance of large birds of prey there is little sign of other fauna.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Copper II (de Gryse)

Jerry de Gryse

I find myself asking how does an 'age' begin? How does someone living 10,000 years ago 'discover' copper and start a period of weaponry, artistry and utility unlike that seen )or imagined) previously?

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Lead Sulphide (Melzer/Kummer)

Tine Melzer & Markus Kummer

The sense of stability is deceptive, if even insurance advertises it.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Bleisulfid (SOLD OUT)

Tine Melzer & Markus Kummer

Der Halt trügt, wenn auch die Versicherung dafür wirbt.

Mudstone (Wray-McCann)

Rory Wray-McCann

I commence this roll in the mud account, that sets out to loosely predicate and prevaricate, on the little known shiny pleasures that are sometime observed, in the most boring of all the clastic-ites and shytes ... the much maligned and ill-forgot mudstones.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Shale (gough)

Julie Gough

Shale compresses and covers, yet can erupt and crack and split and reveal what it has held firm, and shows that everything is interconnected, cause and effect.
In this sense shale is Tasmania. Layer upon layer. A dark confusion.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Rhyolite (Bleach)

Lucy Bleach

As the route gains altitude, the integrity of the road’s surface diminishes; cracks reveal substrate, edges soften into the landscape and the village dissolves into a relaxed form of agriculture, then a feral fusion of native plants and weeds. The ascent becomes so acute that the Ape struggles to maintain its speed and, suddenly spent, spontaneously gives up, making a sound similar to a baby releasing a slow-motion raspberry from its wet lips.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil II (Morrow)

Wendy Morrow

To go underground –
Penetralia; the innermost secret parts and recesses; to go within, between rock and body, mysteries and doubt. A place of stillness – the black quiet world of fossil.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Mudstone II (Luktvasslimo)

Trygve Luktvasslimo

There was a whiff of petroleum in the air. He turned and was faced with the towering sight of a cruise ship’s front hull. There was a dead body hanging by one leg from a rope that was attached to the anchor opening, and immediately to the right, in huge capital letters, was written THE WORLD.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Granite (Hadlow)

Ruth Hadlow

Each day I sit on the slab of granite, estrange myself from the surrounding world, to find and spend time with you.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Granite II (Cooley)

Shevaun Cooley

What comes
next: the long descent.
To let our tired bodies down,
over rock that has weathered
us, under the swift mallet
of light that grinds us
to the ground.
Beloved this world
isn’t even ours.
And it is also,
profoundly, ours.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Fossil III (Phillips)

Perdita Phillips

This is not a jellyfish

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Marble II (King/Paterson Kinniburgh)

Louisa King & Jo Paterson Kinniburgh

It was an industry that spawned respectable businessmen in the Australian cities, whose names still designate streets and suburbs: men who made their start on the islands off Tasmania.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Stalactite (Walsh)

Tricky Walsh

These things leach through the unconscious one drip at a time.

A tube of copper, a tin of coffee, a pair of broken wheels. Timber, always timber and string.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Sandstone (Hester)

Bianca Hester

Millions of years of evolution buried deep within the double helix of my body's biologic fabric were on display during those few raucous hours. Rock enveloped in reptile embedded in mammal. Moan.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Granite III (Jones)

Lyndal Jones

It's the hardness that holds no moisture. It's the completeness, the stillness that has no give — no reflection of the other ... In this case at least it's not even a coldness. That would imply disdain.

No. These are the eyes of someone who does not love, nor even care. These are the eyes, as I remember them, as I looked up as a small child, into the face of my grandmother.

  • 96pp, Softcover
  • 11 x 18cm
  • English
  • $20 (aud)
Copper III (Evans)

Catherine Evans

But there was no implosion. The opposite happened; the hospital partially exploded and before we understood what was happening, great plumes of water rose up towards the sky as the shrapnel arched towards us. Great parts of the hospital flew at high speed towards the crowd in a silent theatre of gravity and mass and the unharnessed possibilities of matter.

  • 96pp, Softcover
  • 11 x 18 cm
  • English
  • $20 (aud)
Granite IV (Demczuk)

Helena Demczuk

It was Elena who started the conversation. ‘I use зелений, червонийй and синій for my portraits.’ I wasn’t sure I had heard correctly but she repeated it. ‘Green, red and blue to make skin tones.’

  • 96pp, Softcover
  • 11 x 18 cm
  • English
  • $20 (aud)
Red Sandstone (Loewen)

Caroline Loewen

If one could learn to read the distinctive handwriting etched into each stone, and the sometimes-illegible messages scrawled into its very structure, one might start to understand the history of deep time.

  • 96pp, Softcover
  • 11 x 18 cm
  • English
  • $20 (aud)

Justy Phillips (b.1975)

Justy Phillips, Crocoite, 2017 in Crocoite. Crocoite. Silver. Silver/Lead. A site-specific live event, Zeehan School of Mines and Metallurgy, in Sites of Love & Neglect for Ten Days on the Island International festival, curated by Jane Deeth. Installation view, Zeehan, 2017.

Justy Phillips, fifteen years, 2008. Five wall mounted lightboxes, each 2400mm x 1200mm x 300mm, Tasmanian Oak, acrylic, vinyl lettering. Installation view, Carnegie Gallery, Hobart, 2008.

Justy Phillips and Margaret Woodward, Fall of the Derwent, 2016. Live hand-to-hand publishing of a hydrographic score, case-bound 96pp book, charcoal, nine readers. Installation view, Glenorchy Art & Sculpture Park, Tasmania, 2016. Click here for full documentation

Justy Phillips, When your head is a bear, 2012. Video still, single channel video 05:04min. Skagaströnd, Iceland, 2012. [See video]

Justy Phillips, Crocoite, 2017, in Lost Rocks (2017–21), a collaborative slow-publishing artwork in 40 fictiōnellas, 96pp digital webpress, 181 x 11mm. A Published Event. Hobart, 2017.

Justy Phillips, magnificent (volume 1), 2009. A magazine style novella in three volumes, offset print, paper, bullet hole, each 210 x 280mm. Limited edition /300.

Justy Phillips, There are no butterflies in Iceland, 2012. Nine x 99mm x 210mm, paper, staple, ink. Documentation of an event in progress. México City, 2012.

Justy Phillips, Short circuit green, 2012. Production still, single channel video 02:28min. México City, 2012. [See video]

Justy Phillips, all of this, 2013. Single channel video 07:17min, commissioned rotulista Juvenal Diaz, house paint, wall. Documentation of a constructed event, ‘Because all of this may never come true’. México City, 2012. [See video]

Justy Phillips, Waveform, 2012. Still, single channel video 04:37min. Angangueo, México. [See video]

Justy Phillips, March 14, 2012, 2012. Still, single channel video 00:30min, Carbon copy on paper, 210mm x 297mm. Documentation of a constructed event. Plaza Santo Domingo, México, D.F., 2012.

Justy Phillips and Margaret Woodward, groundswell, 2017. Tasmanian woodchips. Before The People's Library. Digital image, 2017.

Justy Phillips, The Yellow Line, 2013. A pavement mounted light-work installed in two parts, each 2400mm x 200mm x 200mm; LED, aluminium, acrylic. Installation views, Salamanca Place, Hobart, 2013. Image credit: Jonathan Wherrett.

Justy Phillips and James Newitt, write/here, 2005–2008. Twenty seven advertising billboards, various materials, sites and sizes. Installation views, Hobart, 2007.

Justy Phillips and James Newitt, write/here, 2005–2008. Twenty seven advertising billboards, various materials, sites and sizes. Installation views, Hobart, 2007.

Margaret Woodward (b.1959)

Margaret Woodward and Justy Phillips, groundswell, 2017. Tasmanian woodchips. Before The People's Library. Digital image, 2017.

Margaret Woodward, The Sea is All Around Us, 2015. Chalk, Tea, cake, enamel mugs, flag, wooden stools. Documentation of a constructed event. Mission to Seafarers Victoria, Melbourne.

Margaret Woodward, The Sea is All Around Us, 2015. Wash up. After the event. Documentation of a constructed event. Mission to Seafarers Victoria, Melbourne.

Fall, now a river.26.11.16


Fall, now a river. Now a leech. Now a hook on a line on a rod on the arms of a man who walks with the night in a sweat-stained cornflower collar. Black lipped. Tight lipped. Union is strength.

Wilkinson's Point

GASP / Glenorchy Art & Sculpture Park
Elwick Bay Foreshore
Brooker Highway
Glenorchy 7010


With black in hand, the readers stand. Some of them lean as the concrete shimmers. Others scan the crowd for a flicker. A shifting eye. A presence of something so slight. Yet leaking.

Clinging to their skin, a blanket of tree dust. The dying atoms of tree flesh and tree roots and tree leaves that once were green and ochre. Some of them purposefully spread the little black atoms up their arms. Touching now and then, the sweet spots of the neck. Brush hair from a fringe. Rub their fingers against the smooth of their lips and let the black just sit there. Some might call it an attractor to a river. A magnet that calls her glassy silver spine up and into their liver. Until they lick it clean. The black. Let the tree fall deep and fast into their chest. Let the dust settle.

I’ve had my eye on a teenage reader. Slumped against the glass that’s pink and shattered. He is different to the others, tries in vain to stop the blackness from feeding his palms. With his eyes he draws a line across his wrist and then tries really hard not to break it. He can’t see the small black mark on the side of his face that’s about to bite him hard.

The black’s unruly. That’s the problem as far as I can see. And I’m just an innocent bystander. I look at my hands. Now I’m the one who’s staring.

It’s just after sunrise on the Alum Cliffs. A pacific gull splayed upside down in the pit of a broken tree. Should have taken more care.

Her telltale red-tipped bill bleeds orange into the great yellow disk of the sun. All these years of life’s tethering. Osiris, god of the dead, whispers, inside our salty breath, water darkens everything.

I can’t quite work out what’s going on. But one of the readers comes and stands alongside. Opens a small black book and starts to read aloud. It’s funny, at first it’s not their voice that I can hear but I watch intently, their silvery lips moving up and down the river. The sound is coming from behind and to the right. It’s a woman. An older woman’s voice. And now there are people laughing. Amongst themselves. And others listen. But the man at my side does not leave me. Does not stop his reading. Not for the noise. Nor the river that’s trying to draw him blackwards. It’s sad what he’s reading, the parts I can hear anyway. Something about a man in a moss-filled forest. A pair of lungs full of river. When he looks up, the reading man, I think he’s crying. But he’s not. It’s me. Have the tears come up and out of me yet? I can’t tell where my skin in any more. He looks me right in the eye, the man. Doesn’t say a word. Just places his finger into the length of the book. As if to remember himself to the page. Brings the covers together and places it into my open hands. I am a raven full of maggots. A broken mother of pearl. Shards of light from the shell illuminate the maggots. Sets off a feeding frenzy obliterating dark matter from the hold.

Whip snake.

Sessile oaks and ash and rowan. All the body’s vital organs. In the hold.

The wind’s picked up. Small white crests are whipping new peaks into water. I don’t want to open the book. Not right now.


In Fall, now a river. Now a leech. Now a hook on a line on a rod on the arms of a man who walks with the night in a sweat-stained cornflower collar. Black lipped. Tight lipped. Union s strength, Phillips and Woodward invite a site-specific publishing of their ambitious hydrographic score, Fall of the Derwent (26 November, 2016). Made public with one hundred hand-to-hand publishers, this reading score is a marking, cutting, flooding deluge in the making. Each line, released through the current Energy in Storage Levels of the River Derwent. It is a call to move-with the river of life. An actual, mythical event in the making–already made felt. A moving blackwards. No less.

Readers: Cullen Butters, Jerry de Gryse, Ruth Hadlow, Sarah Jones, Clare Larman, Justy Phillips, Colin Maier, Amanda Robson, Margaret Woodward.

Black here

we invite black to compose us. To touch. Make. Retch. Thrust. Keel. Us. Allow it to taste us, to smack its lips onto our lips. And make us.

Black there

we walk into its shadow. See how it lives beyond and without us.

black and greasy

‘graphite is of a peculiar iron-grey or dark steel-grey colour with metallic lustre. It is absolutely opaque and feels greasy to the touch...Used for writing on paper it makes a clean, distinct black mark, which can be rubbed off with bread-crumbs or India rubber (caoutchouc)...The finest lumps of graphite were formerly obtained almost entirely form Cumberland, where they were found in the slate rocks of Borrowdale’. (Ansted, 1880, p.186).


an act of becoming-black.


another name for wad, graphite, plumbago, black cawke or black lead. A colour. In A Word-list of the Tasmanian Aboriginal Languages, N.J.B. Plomley notes that, ‘No wide resemblances have been noticed between ‘black’ and the blackness inherent in certain objects and situations, e.g. (black) man and (black) woman, the night, and charcoal.’ (Plomley, 1976, p.165).

blackberry cane

a vigorously growing stem of the blackberry bush (Rubus fruticosus). Recognised as one of the worst weeds in Tasmania, the blackberry was declared a Weed of National Significance in 1999.


moving-with and already towards, black.

black breath

when we visited Dad in the Cottage Hospital, we both thought we saw tiny particles of black air fill his mouth.


‘’ – N.J.B.Plomley, in A Word-list of the Tasmanian Aboriginal Languages, notes that ‘The blacklead of the aborigines was probably the mineral iron glance, which is found on the surface of the ground in several localities in Tasmania. It was used by the natives to make lines of black on the skin, such as markings around the eyes.’ (Plomley, 1976, p.166).


‘This remarkable mineral, known by various names of which black-lead and plumbago are the most familiar, is particularly interesting in its relation to the rare, brilliant, and costly diamond, and the much more valuable and abundant coal, on whose presence and convenient position for extraction the national wealth and progress of England have so much depended. Chemically, graphite, diamond, and coal may be said to be identical. They differ only in the mode of aggregation of the atoms of carbon of which each alike is made up.’ (Ansted, 1880, p.185).

Black lead

a carbon mineral first found in lump form deposits in the early 1500s at Grey Knotts in Borrowdale, England. Between the early 1600s–1800s, blacklead was used as lubricant, medicine and for the making of armaments. The best-known of the graphite-based industries is pencil making. The first pencils to be developed from Borrowdale graphite emerged around 1800, with the first pencil mill in Keswick opening in 1830. Black lead or graphite is currently mined commercially (amorphous and flake) in China, India, Brazil, Korea, Canada, Russian Federation, México, Ukraine, Turkey, Madagascar, Zimbabwe, Sri Lanka, Norway and Austria.


a feeling of saturating depth without colour. Colourless. Of every possible colour.

Black devils

‘Shoot the black devils down’: (Fawkner, 2007, p.23–24).

Black market

an expression with origins in the illegal trading of graphite. First coined in the ale houses of Keswick, Cumbria.

Back Sal

a notorious smuggler of wad who scavenged the mineral from tailings at the Borrowdale mine. Robbers like Black Sal made nightly raids on the mine and surrounding grounds, risking serious penalties if caught with even a trace of pilfered ‘black gold’, (Black Sal herself was allegedly hunted to death by a pack of hounds). As Tyler writes, ‘This quiet backwater had now become an area for vagabonds, rogues and thieves, who would stop at virtually nothing to get their hands on the precious wad.’ (1995, p.90). In 1751, George II’s Act of Stealing from Blacklead Mines was passed, dealing exclusively with the theft of wad. Penalties were harsh, making the stealing or receiving of illegally obtained wad punishable by a public flogging, a year’s hard labor or a term of seven years transportation to the colonies. This is what happened to James Butson, one of 186 convicts transported to Van Diemen’s Land on the ship ‘Circassian’ in 1832. Butson was sentenced to 14 years at Bodmin Quarter Session for stealing 1lb of black lead. The 1751 Act of George II states that, ‘Theft punishable with two years imprisonment. Everyone commits felony and is liable on conviction thereof to two years hard labour as a maximum punishment who steals or servers with intent to steal the ore of any metal or any lapis calaminaris, munick or any wad, black cawke, or black lead, or any coal or cannel coal from any mine, bed or vein thereof respectively.’ – (Stephen, 1887, p.269).

Black Line

a military campaign designed to subdue, incarcerate, expel and ultimately eradicate the Aboriginal peoples of lutruwita. On the 1st of November 1828, Lieutenant-Governor Arthur proclaimed martial law within the settled districts of Tasmania. By this proclamation he conceded the existence of a state of war and effectively ‘declared war against the whole Aboriginal population of Van Diemen’s Land’ (Calder 2010, p.181). Arthur strengthened military posts, by first forming ‘roving parties’ (groups of civilians set up to capture or expel the Aborigines), and then styled a levée en masse. On the 7th October 1830, 550 troops of the 15th, 57th and 63rd Regiments of the Van Diemen’s Land garrison formed a ‘line’ of men with the purpose of driving all remaining Aborigines southwards onto Tasman’s Peninsula. A campaign map drawn by the Land Survey Department commenced on the east coast at St. Patricks Head, then west to the Meander River, terminating in the south at Eaglehawk Neck. At an estimated cost of £30,000–£35,000, the Black Line campaign was a complete failure with Governor Arthur admitting that ‘no single party discovered any traces of the Natives’: (Melville, 1962, p.113). As Calder writes, ‘Martial law ended with the proclamation of the end of the campaign, and the status quo prevailed; that is, the people were once more British subjects under the care and protection of the Crown.’ (2010, p.189).

black lines

marks that extend in both directions and have no beginning or end.


(Prunus Spinosa L), a tree of ill omen. A deciduous tree also known as the Mother of the Woods and the Dark Crone of the Woods. It dwells on the edges of woodlands, forming dense hedgerows and thickets. An astringent useful in the treatment of diarrhoea, rheumatic illnesses, pimples or any kind of dermatosis; gallbladder stones and diabetes. The tree ‘bears wicked long sharp thorns, which if pricked, can turn septic’. (Hageneder, 2000, p. 185).

black swans

(Cygnus atratus) is the only entirely black-coloured swan in the world. They are a highly nomadic species that enjoy very much the brackish waters of the River Derwent, either side of the Bridgewater Causeway. They eat algae and weeds.

Black Milky Way

recorded by Plomley as ‘tone.ner.muck.kel.len.ner ’ (1976, p.408). Throughout trouwunna (Cape Barren Island), Aboriginal groups have a strong connection with the night sky. As Patsy Cameron writes, ‘the northeast Coastal Plains people claimed they were brought into being by stars which came from the constellations in the Milky Way...The arc of the Milky Way was identified in two parts–the Black Milky Way, tonenermuckkellenner, and the White Milky Way, pullenner’. According to Cameron, trouwunnans distinguished by name, not only those ‘shining objects that made up the non-intangible ‘white’ mass but also those in the intangible ‘black’ space that is also an integral part
of our galaxy’ (2016, p.27).

black wool

the thick and bristly wool of the herdwick sheep – a unique breed of domestic sheep, native to the fells of the central and western Lake District in Cumbria. So durable is their fleece, it is said that these sheep are ‘known to survive under a blanket of snow for three days while eating their own wool’. (Davies, 2009, p. 94).

black bream

(Acanthopagrus butcheri), a bronze coloured fish, reflecting green when fresh. Lives in the estuary of the River Derwent, Tasmania.


towards the thunder.

black lipped


black jay

the telling bird.

blackening heart

it’s happening right now.


a call to arms.


a way of moving-with the colour ‘broken black’.

Black land

Cape barren Island. Aboriginal land.

Black snake

(Notechis ater).

Black Bobs


Black Snake Creek

Black Sail Pass

Black Snake Road


Blackmans Bay


Blackwells Gully


Black Beck

Black Crag


Blackhall Gully


Blackhorse Gully


Blackstone Point


Black Bobs Rivulet


Black Hill Creek


Black Gully Creek


Black Hill


Blackboys Opening


Black Snake Rivulet*

Blacklead Mining Company (The Tasmanian)

a company with the only Tasmanian commercial mining lease for graphite, operating on Cape Barren Island. Registered by Mr. Robert James Sadler in Launceston on the 30th day of July, 1898.

black-gold seam


blackening ochre

a way of protecting the skin.

What3words is a geocoding system for the simple communication of locations. In a unique combination of just 3 words, it identifies a 3mx3m square, anywhere on the planet. To access this system of locative nomenclature visit:



  • Ansted, D.T. (1880). In Search of Minerals (Natural History Rambles). London: Society for Promoting Christian Knowledge.
  • Byers, R. L. M. (2004). Images of England: Workington. Stroud. Tempus.
  • Calder, G. (2010). Levée, Line and Martial Law: A History of the Dispossession of the Mairremmener People of Van Diemen’s Land 1803–1832. Launceston: Fullers Bookshop.
  • Cameron, P. (2016). Grease and Ochre. Hobart. Fullers Bookshop.
  • Carson, A. (2015). Short Talks. London, Ontario: Brick Books.
  • Carson, A. (2013). Red Doc>. New York: Vintage.
  • Coverley, M. (2012). The Art of Wandering: The Writer as Walker. Harpenden: Old Castle Books.
  • Davies, H. (2009). A Walk Around the Lakes. London: Frances Lincoln Limited.
  • De Waal, E. (2015). The White Road: a pilgrimage of sorts. London: Chatto & Windus.
  • Dickens, C. (1905). The Uncommercial Traveller. London: Chapman & Hall.
  • Duffy, C. A. (2012). The Bees. London. Picador.
  • Evans, G. W. (1967). A Geographical Historical and Topographical Description of Van Diemen’s Land. London: William Heinemann Ltd.
  • Fawkner, J.P. (2007), John Fawkner’s Reminiscences of Early Hobart Town 1804–1810, ed. John Currey. Melbourne: The Banks Society.
  • Hageneder, F. (2000). The Spirit of Trees. Edinburgh: Floris. Books, p. 185. Harvey, J. (2013). The Story of Black. London: Reaktion Books.
  • Ivison, H.C. (2003). River Derwent: From Sea to Source. Stroud: Amberley Publishing.
  • Kimberley, J. & pura-lia meenamatta [Everett, J]. (2006). meenamatta lena narla puellakanny : Meenamatta Water Country Discussion: A Writing and Painting Collaboration. Hobart: Bett Gallery Hobart.
  • Macfarlane, R. (2015). Landmarks. London: Hamish Hamilton.
  • Macfarlane, R. (2012). The Old Ways: A Journey on Foot. London and New York: Penguin Hamish Hamilton and Viking.
  • Melville, H. (1962). The History of Van Diemen’s Land, from the Year 1824 to 1835. Hobart: University of Tasmania.
  • Melzer, T. (2016). Taxidermy for Language-Animals. Zürich. Rollo-Press.
  • Morison, H. & I. (2009). Falling into Place. London and Bristol: Bookworks and Situations.
  • Norbury, K. (2015). The Fish Ladder: A Journey Upstream. London:Bloomsbury Circus.
  • Palmer, K. (2015). End Matter. London: Artangel and Book Works.
  • Pellant, C. (2000). Rocks and Minerals. London: Dorling Kindersley.
  • Plomley, N.J.B. (1976). A Word-list of the Tasmanian Aboriginal Languages. Launceston: N.J.B. Plomley and the State Government of Tasmania
  • Refshauge, W. F. (2016). The Killing at Risdon Cove. Melbourne: Australian Scholarly Publishing.
  • Reynolds, H. (2012). A History of Tasmania. New York: Cambridge University Press.
  • Roberts, G. (2007). Metal Mining in Tasmania 1804 to 1914: How Government helped shape the mining industry. Launceston: Bokprint and Fullers Bookshop.
  • Solnit, R. (2005). A Field Guide to Getting Lost. London: Penguin.
  • Stephen, Sir J. F. (1887). A Digest of the Criminal Law (Crimes and Punishments). New York and London: Macmillan and Co., p.269.
  • Tempest, K. (2015). Brand New Ancients. New York: Bloomsbury.
  • Tempest, K. (2015). Hold Your Own. New York: Bloomsbury.
  • Thompson, I. (2012). The English Lakes: A History. London: Bloomsbury.
  • Thorp, V. (2000). Derwent River Wildlife Guide Tasmania. Hobart: Tasmanian Environment Centre Inc.
  • Trueman, A. E. & Westell, W. P. (Est. 1890). Every Boys Book of Geology. London: The R.T.S.
  • Turnbull, A. & Hoare, P. (2015). Another Green World: Linn Botanic Gardens. London. Art Books Publishing.
  • Tyler, I. (1995). Seathwaite Wad and The Mines of The Borrowdale Valley. Carlisle: Blue Rock Publications.
  • Wainwright, A. (2005). The North Western Fells: A Pictorial Guide to the Lakeland Fells. London: Frances Lincoln.
  • Watson, D. (2009). Making sense of the Place Names of the Lake District. Glasgow: Photoprint.
  • Williams, M.E. (1934).The Hills are calling, in Poems of Lakeland: An Anthology, compiled by Mrs. Ashley P. Abraham. London & New York: Warne.
  • Woodman, P. (2015). The Topynymy of Absence. Review of Historical Geography and Toponomastics, (X: 19-20), 07-16.


  • Bacon, C. A. (1987). Industrial minerals in Tasmania — graphite. Unpublished Report. Tasmania: Department of Mines.
  • Blake, F. (1947). The Furneaux Group of Islands. Unpublished report. Tasmania: Department of Mines.
  • Hughes, T. D. (1951). Commercial graphite in Tasmania. Unpublished Report. Tasmania: Department of Mines.
  • Petterd, W. F. (1910). Catalogue of the Minerals of Tasmania. Hobart: Department of Mines.
A river settles its own cairns underwater01.09.16


A river settles its own cairns underwater

Island literary magazine

Volume 146 3/2016
Pages 38–39

A slow-publishing event2017–21


Lost Rocks (2017–21), a slow-publishing event of mineralogical, metaphysical and metallurgical telling.

A library of 40 fictiōnellas
Composed by 40 artists
Publishing 4 books twice-yearly
March and September

Tasmania, Australia

She touched the board first, held it's frame high overhead. Signalled across the tip shop floor. Found my eyes swimming in a sea of armchairs and bedside tables, snooker cues, suitcases, preserving jars.

'We'll take it'.

And so becomes the conceptual heart of this artwork – a discarded rock board, found by the artists at the Glenorchy tip shop in Hobart's northern suburbs. Forty of its fifty-six Tasmanian rock specimens are missing. Over the next five years, we will commission forty contemporary artists to each select an absence from this incomplete board and re-compose it, not with a geological specimen, but with a 'fictionella' – a new kind of novella drawn from lived experience.

Each Lost Rocks fictiōnella is publishing in a limited edition of 250 paperback copies – an alchemical network of artists, readers and lovers of absence re-composed. In the hand, each book feels like a slim paperback novel (111mm (w) x 181mm (h) x 7mm (d), printed in black throughout with spot colour covers, the Lost Rocks fictiōnellas look handsome in any arena, home, studio, cafe, dental surgery or mining office.

Through a commissioning process born of rocks and relations, we’ve connected the first 20 artists (from Australia, Norway, Germany and Canada) to their lost rocks:

2017: Justy Phillips (Crocoite), Margaret Woodward (Crocoite), Sarah Jones (Silver/Lead), Jane Rendell (Silver); Greg Lehman (Crystal Bone), Ross Gibson (Basalt), Ally Bisshop (Marble), Ben Walter (Conglomerate).

2018: Therese Keogh (Petrified Wood), James Newitt (Fossil), Mary Scott (Petrified Wood), Julie Gough (Shale), Raymond Arnold (Copper), Jerry de Gryse (Copper), Rory Wray-McCann (Mudstone), Tine Melzer + Markus Kummer (Lead Sulphide),

2019: Trygve Luktvasslimo (Mudstone), Lucy Bleach (Rhyolite), Wendy Morrow (Fossil), Ruth Hadlow (Granite), Louisa King (Marble), Fayen D'Evie (Fossil), Perdita Phillips (Fossil), Bianca Hester (Sandstone).

Collect the entire Lost Rocks (2017–21) Library:
As well as all forty books, the Lost Rocks Library includes a spectacular limited-edition (/100) 'rock ledge'. Each rock ledge is hand-made from Tasmanian timber and a mountain top of west coast Stichtite serpentine on which to balance your collection. The entire library of 40 fictiōnellas spans a neat half-metre upwards or outwards depending on which direction you let it grow. Your fictiōnellas will arrive at your door in sets of four books, mailed twice-yearly over the next five years. You will have your complete Lost Rocks Library by 2021.

Over the next 5 years, we are planning a series of live events across Tasmania – readings, performances and conversations that will expand the distribution of Lost Rocks, and create opportunities for us to invite national and international artists to the state. We are also developing a series of portable vending machines so that future readers can buy their fictiōnellas on the street. The first of these events is series of distributed events and live readings at the Zeehan School of Mines and Metallury (March 18 –26th), commissioned by Jane Deeth for 'Sites of Love and Neglect' for Ten Days on the Island festival 2017.




Victoria Gunpowder Magazine

Queen's Domain
Tasmania 7000

I only know what I saw. That night in the dark. Residues of gunpowder. Labour hard felt. Lime wash. Woodworm. Soft blue light in the rafters.

She had already washed the floor but I didn’t see any of that, only the aftermath that started on the floor and crept ever so slowly through the walls beyond the oak lining and all the way to the white brick line. For the photographer, who scornfully berated the building for some time later, this line was not a line but a devision of equity. Of light and dark. It, standing out like the invasive beacon it was. When the palawa were murdered in their thousands. The light, she said, out there (gesturing far beyond the copper lined door) would never reach such heights nor depths in the lands this Magazine was built to protect. One kilometre. Two kilometres beyond the ground line. It’s just like the great king Osiris said, ‘Water darken everything’.

Earlier in the week, two biologists took to the floor for the Friends of the Tasmanian Museum & Art Gallery. Molluscs and soft bodied corals filled the room in all the muted colours of a world full of black out there and far below. Not so far south from here, the deep sea coral reefs of the Continental Shelf, flank the edges of vast seamounts. Invisible mountains with names like Pedra and St Helens. In my childhood in the north of England, St Helens was a rough industrial city. Hard to imagine its slopes flooded with soft corals tethering water to rock, the likes of which were on show in the Royal Society room this week. And urchins that feed directly from the water column by elongating their spiky bodies upwards upwards. Beyond this mass of black water.

As the body slowly slowly moves with the gestures of fossil’s making, it begins to absorb its own column of softly folding air, begins to collect the small piles of woodworm dust that before this movement, collected only where beams and posts touch floor. It is not the artist who moves, but the shadows of her othering, the saturating sinkholes, the years of muscle memory – the lines of words and thinking, always repeating from the core. This is how she writes her moves. How her moves re-compose the space.

For many of the audience, this is their first time in this extraordinary Gunpowder Magazine. Built in 1853 by convict labour, a significant feature of this Battery was a Hot Shoe Oven in which the balls were heated to red hot before being loaded and fired at wooden vessels. The vaulted brick ceiling was laid without mortar so that it, rather than the entire building should be blown clean off, in the case of accidental incendiary explosion.

FOSSIL performance, an exquisite opening of the space, of the seam, of Granite, Rhyolite, and Mudstone amongst it’s delicate layering of life and death, a synchronicity of rocks that never touched. Before. In the artist’s words, a penetralia of sorts; ‘the innermost secret parts and recesses; to go within, between rock and body, mysteries and doubt.’ (Morrow)

The occasion of FOSSIL Performance by Wendy Morrow (soundscape by Leigh Hobba with technical assistance by Dylan Sheridan) celebrates the launch of Lost Rocks (2017–21), Seam (V): Rhyolite by artist Lucy Bleach (Aus), Granite by artist Ruth Hadlow (Aus), Mudstone by artist and film maker Trygve Luktvasslimo (Nor) and Fossil by dancer Wendy Morrow (Aus).




19.10.18 – 21.10.18

The Unconformity


Rory Wray McCann is an artist. He is also a self-confessed tip rat. Rory knows or has seen almost everything there is to know about the geology of the West Coast of Tasmania. He has a vast collection of rocks – shiners, shytes and clastics and a (w)hole lot more; a library of survey maps, historical documents and cosmological ideas to die for. His mind is vast. Like the Universe itself. One can only imagine the effort it has taken to distill the essence of what he refers to as the 'most boring' of all the clastic-ites and shytes – the much maligned and ill-forgot mudstones – into an extraordinary fictiōnella. Re-inventing this fluid form in the process.



08.03.18 – 29.03.18

The Barn at Rosny Farm

Rosny Hill Road
Rosny Park
Tasmania 7018

Margaret saw the stumps of Huon Pine and I asked if we could rent them. Huon Pine $40 NOT DRY. HUON PINE $95 NOT DRY. HUON PINE $95 NOT DRY

She was the one who thought they might be good things to own, if only for a month on the Eastern Shore. Good beings for you to confide in perhaps, whilst in the presence of other petrifying, fossilising schisms. In the back room of a well known furniture showroom down the Channel, planks of rare and hard to find Tasmanian timber are stacked like well thumbed books along the length of each wall. Three felled torsos decapitated on the floor. In black marker pen their pitiful price is instantly reduced when the owner agrees to buy them back for half their value at the end of the show.

Heading down the Outlet, the three of them begin to suck the sunlight from our car, these half-price-three-thousand-rings-on-the-small-one-perhaps logs start to seep our cheapening souls. Start to fill us with cycles of a life we’ll never see. Stop it. All we care about is the price. And the fact that they are still, after all these years, not dry. Not dry enough for a kitchen bench top. A peanut bowl. A left handed salad server. All we care about is the price and their torso smell. Their slowly-slowly making-public smell.

You must be standing in the forest now, perhaps decapitated too. Grounded in the roots of an ancient tree. Scott drew that one from a 19th century book owned by her grandfather, Eric Oswald Scott. A 'fish man'. Or ichthyologist. His grandfather, Herbert Hedley Scott was a Palaeoxylologist – a wood man. In Petrified Wood, Scott meticulously traces the wise shape of Herbert Hedley, cleft in the roots of trees and other earthly matters. Here in the gallery, in graphite on untreated Ply, an image of a dis-assembled Oak. Limbs akimbo. Breaking down. Scott’s drawing suggests another technique for caring for the-lack-of-care. For as she writes to Herbert Hedley, ‘No one listens to the trees anymore’ (Scott 2018). Opposite Scott grinds cement dust or is it fossil casts.

Most likely, your soul’s been hijacked too.

Splinters axe the room from corner to corner. Facets of light split the screen. Split the logs. Leach the years before and after us. I’ve read Keogh’s Petrified Wood, hauling ancient logs up from the well. Her wax cast faceting of an underground marking surface hides the deepings of lost knowledge far below. In her fragmented gestures, Keogh scribes seven thousand years in the blackness of dark water.

‘Thousands of triangles were arranged in the shape of the timber beam made up of an expansive tetrahedral mesh, the digital plank was formed like crystalline structures. A singular dynamic movement wasn’t captured in a surface, but entered into a system of inertia through the untimely accretion of digital data. No single triangle came first. Instead, they co-emerged within a sprawling terrain.’ (Keogh 2018)

Her words flow ceilings into dust, split the concentric hearts of others.

Wide open. Mother and son. Lie side by side in polished vitrines. Or do I mean latrine. A communal toilet where two halves of a brain struggle to strike each other clean. All this in close proximity of Keogh’s hand-made adze. The Newitt’s are here together, appearing as concentric forms. Fistfuls of clay and a pointing finger are all that’s left to stop the weight of all this paper. Balls of perishing held in crisp white vitrines.

I try to calculate the cost in years of living organism. $40 for a 3ft length of someone else’s torso. I estimate one thousand years, thirteen thousand five hundred and eighteen turnings of the moon. And back again, Still. Not dry.

High in the rafters Scott writes a mirror, so we can all see what we choose to see in this reflection of communal perishing. Newitt has clearly been here before. In Fossil (2018);

We're very sorry ...

The disconnection of standing next to myself, hearing the anguish, so sorry, in my voice while feeling a deep sense of relief bubble in my chest. Almost joy. Being shocked at how bad I am at pretending grief. Thinking about breakfast. Wondering if I could do eggs.

– ready for you

Turned on a lathe perhaps, Scott’s grove of ready-mades. Weapon-like, decorative, salvaged tools that could have cut the the wood that Keogh’s spent months hauling out of the well. Could have carved and stitched the wound that his mother absorbed as the waters rose and blackened around her.

Large drawings of rings within rings give way to softer observations.

© A Published Event 2018.


A Published Event found(ed) artists, Justy Phillips and Margaret Woodward as an experiment in speculative eventing. A love. No less. A tripartite Medusa that publishes events.

Therese Keogh is an artist who lives and works in Sydney, Australia. She has exhibited her work in solo and group exhibitions around Australia and internationally, employing research methods to examine the structures that produce and transform, space through an engagement with site, landscape and histories of making. Therese has recently completed a Masters of Fine Art, at Sydney College of the Arts.

James Newitt (AUS) is an artist who lives and works in Hobart and Lisbon. James’ work explores specific social and cultural relations, often embracing mutability and paradox. James has exhibited his work in exhibitions in museums, galleries and public spaces throughout Australia and Europe. In 2012 he was awarded the prestigious Samstag Scholarship to participate in the Maumaus Independent Study Program in Lisbon. In 2010 he won the City of Hobart Art Prize and in 2009 he was awarded the Qantas Foundation, Encouragement of Contemporary Art Award. James is a Lecturer, at the Tasmanian College of the Arts.

Mary Scott lives and works in Hobart, Tasmania. Selected recent exhibitions include Facts and Fictions, [2015], UK Drawing Projects, The Drawing Centre, Trowbridge, UK; Drawing Now, [2015 and 2014], Despard Gallery, Hobart; Hobart City $15,000 Invitation Art Prize, [2015], Tasmanian Museum and Art Gallery; Black Powder, [2013], Contemporary Art Tasmanian and Detached Cultural Organisation; Down the Line: an exhibition of drawing, [2013], Near and Far, [2011] Tasmanian Museum and Art Gallery; Wilderness: Balnaves Contemporary Painting, [2010], Art Gallery of NSW.



BASALT. CONGLOMERATE. CRYSTAL BONE. Three rocks make a reading. Others populate the room.

The Piano Bar

100 Elizabeth Street
Tasmania 7000

In the room, we’d like to welcome to RHYOLITE (Lucy Bleach), FOSSIL (Wendy Morrow), STALACTITE (Tricky Walsh), MARBLE (Louisa King), COPPER (Anne Mestitz) and SHALE (Julie Gough).


Greg Lehman is a passionate, articulate and accomplished writer whose work fosters the recognition and understanding of Tasmania’s Aboriginal heritage and culture. He has recently completed a PhD at the University of Tasmania on visual representations of Tasmanian Aborigines.

Ben Walter is a Tasmanian writer of lyrical fiction and poetry He has twice been shortlisted in the Tasmanian Premier’s Literary Prizes, and was the recent guest editor of Overland’s special anti-/dis-/un-Australian fiction issue.

Ross Gibson is an artist, writer and Centenary Professor in Creative & Cultural Research at the University of Canberra. Recent works include the books 26 Views of the Starburst World (UWAP) and Stone Grown Cold (Cordite Books).




Sites of Love and Neglect.
Ten Days on the Island Festival
West Coast Heritage Centre

114 Main St
Tasmania 7469

A female mannequin in steel-grey overalls and wide smile wears yellow rubber gloves. Hands resting on hips, her safety helmet (has clearly taken a knock or two) suggests the need for vigilance. And feeling. Where the weight of words might fall. Might injure. Might turn living, breathing life into inanimate beings that populate museums just like this one. We move in unison to a central room filled on every wall with books and rocks and bits of equipment that measure and weigh. Assay.

Dressed in black and flattened oyster shell, CROCOITE opens her mouth. Speaks slowly through the ologies of her life. The rocks do not move. The minerals stay in orderly lines. One after the other. Beneath the safety glass. She reads.

We follow her into the World Class Mineral Room, filing past, one by one, the giant replica gold nugget.

Encased in a brass-lined mineral display case are the rarest specimens of red-lead clusters. Shards of crystaline crocoite illuminate her books. She reads in swathes of red, divining rivers and fathers and men who cut tracks and fight in wars and die in seas. A prospecting of relations.

We walk again. This time, over lush green grass and blistering light to the Underground Mine Simulation, that’s cleverly built above the ground from red brick and timber. Inside, every surface beyond the dirt floor has been blasted with shotcrete.

SILVER/LEAD speaks softly but with conviction from the start. Paints the cosmos with ink and water onto a giant screen that absorbs her voice into its porous skin and fills the parched cells of every living thing beneath this earth.

Thirteen seconds from the end, she takes a spade and cuts in two, an earthworm. The mantle breaks. Opens. Swallows.

Another cut. In the Power House, Urs Fischer’s, You gouges a massive hole in the floor of a New York gallery. Something about grains of sand falling from a woman’s shoe and the sedimenting cutting of a hole that is alive. A hole that beats with a heart and a car stereo speaks CROCOITE through a set of home-made speakers.

Walking again, snaking over the green green grass and up the concrete ramp. The Court House, basks like a sun fish in the great yellow light of an Indian summer. A drama for eight players. Scene 3. I am the RepRisk Analyst, perform my lines alongside SILVER’s CEO, Police Prosecutor and Philosopher (makes a late but dignified entry).

The audience ask questions and the sun starts to shy away. Now we are all touched, or maybe tainted. The court room jaundiced in the dying light. We head to the Cecil for Riccadona and Jimmy Barnes.

Four distributed events by CROCOITE: Margaret Woodward (AUS) in the World Class Minerals Room, CROCOITE: Justy Phillips (AUS) in the Power House, SILVER: Jane Rendell (UK) in the Court House and SILVER/LEAD: Sarah Jones (AUS) in the Underground Mine Simulation at the Zeehan School of Mines and Metallurgy, as part of Sites of Love & Neglect, curated by Jane Deeth for Ten Days on the Island 2017.

These site-specific events are each expanded from the artists’ four fictiōnellas, part of Lost Rocks, (2017–2021). Hobart: A Published Event – and take the form of sound, video, object and live performance. The work is open from Saturday 18th March – Sunday 26th March 10am–4:30pm daily (114 Main Street, Zeehan).There will be live readings on Saturday 18th March, 4:30pm, 5:00pm and 5:30pm.

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