Future Relics started two years ago as a collaboration between artists Sandy Sigala, Christine Novosel and curator/writer Fiona Allan. We came together through our common interests in the archive, found material and methodology. The project has evolved over time, with the impetus being to look closer at the ways that we communicate aspirations, fears memories and self-reflections and how these sentiments are projected onto other people and objects. We are interested in questions like: what do we turn to when we're faced with a personal or societal collapse? How do we behave? What do we seek to protect? If we lose something, how can we commit it to memory? These questions have led us in different directions considering our varied practice, but our work in the gallery space is having a close, quiet conversation. We were all keen on realising the potential of sculpture, collage and writing to conjure up new definitions through recontextualising or juxtaposing images and forms. For Sandy, accessible, familiar objects have been broken apart and smashed together impulsively during install; the artist imagined what people living in a post apocalyptic environment would do with found materials to build idols and shrines. Her film and sound piece use archive footage and the artist's own recordings to consider our own presence in relation to the natural myths, religious passages and the way humans organise themselves in general. The distorted amalgam of superstitions and histories portrayed in Sandy's multimedia work is threaded into Fiona's scrawling on the walls, as she writes in free form scattered around the building. The found objects (postcards, votive candles and detritus salvaged from the beach) are decontextualised with the writing surrounding the compositions. Christine's prints, drawings and woodcarvings focus on mark making, articulating the sign of human hand and its failures or mistakes. Imagery of machinery parts and smoky chimneys speaks to the artist's interest in the industrial age, and how people's lives are informed by their concrete surroundings. The way we've used collage, drawing, sculpture, sound, film, found objects and writing in the space, and our varied perspectives gives the impression that you've walked in the front door and found an ancient relic from the future.

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Daydream Ingredients

Stereo sound, 13:21 mins


The soundscape is composed entirely by voiceover and field recordings made by the artist while traveling Vietnam cross-country. 


A distorted amalgam; the work explores noise behaviour of natural and urban sounds, evidence of human presence in relation to the natural in myths, rituals, banal consumer electronic notifications and yoga breathing exercises. 


Sound piece installed in gallery's staircase 


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Using Format