2-channel 4K UHD video, 5.1 audio, 28:14 minutes, 2020
Where Lakes Once Had Water is a spectacular and sensorial video and sound installation that transports us to remote northern Australia - from the ancient dry lakes of the Northern Territory, to Nitmiluk Katherine Gorge and coastal Girraween Lagoon.
Sonia Leber and David Chesworth have completed the first CABAH Art Series Commission, built up around the fieldwork of Earth scientists working with Indigenous Elders, rangers and participants from the Marlinja, Elliot, Jawoyn and Larrakia communities.
Where Lakes Once Had Water takes us on an imaginative journey, exploring the labour of Earth scientists and Traditional Owners as they dig and delve into the past, reading the signs and signals in the landscape, over concepts of deep time.
'Our project test the hypothesis that the Earth is experienced and understood through different but interconnected ontologies. These ways of being, seeing, sensing, listening and thinking can align with art, Indigenous thought, science, ancient and modern cultures, the non-human, and somewhere in between.' - Sonia Leber & David Chesworth
From fieldwork in Australia’s expansive deserts, to microscopic work in the laboratory, the scientists seek evidence of Earth's forces over long-term cycles of wet and dry. Many of Earth's forces – wind, temperature, long-term aridification and tectonic movement – are invisible to the human eye or lie beyond human timescales.
The video introduces Ray Dimakarri Dixon calling to ancestral spirits to watch over Country as scientists excavate the red earth of once-submerged lake beds. The fieldwork is observed by non-human cohabitants, as ecologies of birds, termites, flies and vegetation continue their own struggles of survival. Across the ancient shorelines, everyone is receptive to the signs, signals and rhythms of the land and water.
Leber and Chesworth deploy video as a tool, scanning the surface of the earth, observing markings in rocks and landscapes, registering erosions, tree lines, and the effects of sun, fire and water. The camera follows the path of a dusty riverbed over many kilometres, revealing unceasing aridity. We experience vegetation through the jerking head movements of a falcon.
A disquieting soundscape encompasses natural and human-made sounds, and also the acoustic biodiversity that exists beyond the range of human hearing.
Leber and Chesworth used an array of contact microphones, hydrophones and electromagnetic transducers, alongside regular microphones in order to capture and translate the hidden signals and energies both in the field and the laboratory.
This is analogous to the work of the Earth scientists, who capture sediments in cores to take back to the laboratory. There they unlock energies and understandings of time and climate – in electrons, isotopes, ancient pollen and flecks of charcoal – to uncover patterns in the long-term record.
Where Lakes Once Had Water contemplates how different, seemingly separate, investigative pathways and knowledge systems can converge and resonate in surprising ways.
Filmed on the lands of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia Communities in Northern Territory, Australia. We acknowledge and pay our respects to Elders past, present and future.
Filming, Editing and Sound design: Sonia Leber & David Chesworth
Colour grading: Peter Hatzipavlis
Voice: Bec Plexus
Touring curator: Judith Blackall
Exhibition space min 10m x 10m
Acoustically isolated screening space
2 x UHD 4K (3840 × 2160) video projectors
2 x 4-7 metre wide projection screens
or 10-15 metre wall for projection
Sync video via 4K Brightsigns
Stereo or 5.1 audio
Where Lakes Once Had Water is the inaugural CABAH Art Series Commission of the Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage (CABAH) in association with Bundanon. University of Wollongong Art Collection, Australia.
The artists gratefully acknowledge the support of the Marlinja community, particularly Ray Dimakarri Dixon and Eleanor Dixon; the Elliot community, particularly Auntie Susan Kingston and Claudette Albert; Newcastle Waters Station; the Larrakia Rangers; and the Jawoyn Association Aboriginal Corporation Rangers.
We are grateful for the support of many CABAH affiliates who appear in the work, with special thanks to Earth scientists Tim Cohen and Cassandra Rowe, as well as Aara Welz, Michael Brand, Nicola Stromsoe, Matt Forbes, Michael-Shawn Fletcher, Michael Bird, Ceri Shipton and Rainy Comley. We are grateful for the stewardship provided by Amanda Lawson, Richard ‘Bert’ Roberts, Chantal Knowles and Carolyn Cooke of CABAH; working with Deborah Ely, Sophie O’Brien, Judith Blackall and the team at Bundanon Trust. Our gratitude to the School of Art at RMIT University, Melbourne.
A comprehensive monograph has been published by Bundanon Trust with commissioned essays by Sophie Knezic, Fiona Gruber and Tim Flannery, plus Michael-Shawn Fletcher in conversation with Sonia Leber and David Chesworth. Design by Paul Mylecharane and Kim Mumm Hansen of Public Office. The publication has been generously supported by CABAH and the Gordon Darling Foundation.