The Beechworth Biennale is known for its "site-responsive" approach, where invited artists create work specifically for Beechworth's historical and architectural layers.

Participating Artists

Frederick Beel/Zanny Begg/Penny Coss/Joe Wilson & Chenelle Collier/Matthew McKenzie, Richard Iskov & Liam Cuffley / Fabian Brown/ Japaljarri, Rupert Betheras, Joseph Williams Jungarayi, / Levi McLean & Tina Douglas/ Studio Drez/ Deborah Halpern/Locust Jones / Derek Kreckler / Ikuntji Artists / Katheryn Leopoldseder / Susie Losch / Victoria Cooper, Doug Spowart, Tegan Nash Ollett & Bree Marchbank/ Kellie O’Dempsey / Louise Paramor / Mike Parr / Drew Pettifer / Anthony Sawrey / Jen Valender

'Pitched' 2026 Single channel video projection, dur 4.19 min, solar lights, tent, wood. Installed on the roof of The Provenance , and former bank.

click here for video excerpt. https://drive.google.com/file/d/1aSLb9LlgomknQVCcFUEWvPdINLz5Wnf7/view?usp=sharing

A tent pitched high on the rooftop of a building references the multiple temporary camps that lined a nearby street, Camp Street , in the centre of Beechworth during the 1850’s goldrush .

The tent is situated on top of a former Bank built in local granite and and visible from Camp Street high above the ground. The Bank turned extracted gold into capital before closing hurriedly in 1884 during the financial crisis. The site of the tent symbolically echoes the unreachable heights of hope and ambition that drove small-scale miners and prospectors, many of whom ended in bankruptcy, crippling debt, and destitution.

A video is projected onto one wall from within the tent , a quasi narrative of familial history, it depicts moons of rock seen through a microscope falling like gold dust , the handling of myself and my father’s rock archives , and my grandmother sitting above us , high on a rock. The video mobilises matriarchal familial history as a counter-archive, re-situating the history of mining within intergenerational memory and exposing its entanglements with extraction, inheritance, and ecological consequence. 

Outside the tent a waning gibbous moon painted on a circular panel and suspended on a stick reflects the moon phase for this Beechworth Biennale. The possible vision of a double moon is a cosmologically expansive concept to me. Not quite full and not quite new, this point of the moon cycle is considered by some to be an auspicious time for reflection and forgiveness. I want to construct new ways of experiencing the world where human and more-than-human agencies are co-present and co-constitutive, circling and swirling between the vastness of time, location and matter.