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Collaborative Project
mori
What holds particular significance for you in/about Neilsen Park country and Bottle and Glass Point?
Seymour is particularly drawn to seaweed, a vital component in marine systems that provides food and habitat for diverse aquatic life. Seaweed aquaculture further positions itself as a potential aid in the climate crisis, holding uses as food, biofuels and fertilisers. It is important to recognise that First Nations have a deep and diverse traditional knowledge of Australian natural resources, including seaweed. Through Seymour’s research for the Rockpools project, she considers sustainable and ethical methods of ‘extracting’ seaweed as a material for artistic purposes.
Background
mori is a collaborative project about architecture: its place in the world, its tangents and its culture. It is an open question prompted by the proliferation of real estate and bad development in our city, an acknowledgement that architecture is a world-building act (political and altogether human).
mori’s room is an empty and address-less space structured by the constant choreography of a few furnitures and soft furnishings, a cute institution built by its relationality. She is named after the Japanese word for forest, whose character is a triplication of the character for tree. In the same way, mori is constituted by the proximity of objects to one another, a chair to a table, a chair to another chair, one person to another, forming new relationships.
mori is a place to interrogate the ruling conventions of our profession and to critically probe the urgent sociopolitical, ecological and cultural issues of our day. We have hosted exhibitions, curated our own and with other people, held reading clubs, made publications, hosted book launches and workshops. Even when we’re not there, we are always thinking about what is possible.
How do you create spaces for contemporary leadership, learning and collaboration with other people and the environment?
My work and leadership evolves tentatively but with focus. When people come together to discuss and learn, an approach that relies on openness, honesty, respect and dedication is required. I try to uphold this in all my movements as artist, collaborator, student and teacher.
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We live and work on Bidjigal, Birrabirragal and Gadigal Country. We honour the ongoing cultural and ecological relationships First Nations Australians hold with Country, waters and skies and acknowledge their continued custodianship.
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