spoke a little about my new work DIGGERMODE 2: Cloud Ceding For Vision Machines: Operations at the @mca_australia bringing together artists and researchers Olga Boichak, Anna Munster, Michael Richardson, myself and Sian Troath to unpack the systems behind machine seeing. This session is co-presented with @the_power_institute as part of the three-part Vision Machines event series on art, technology and new ways of seeing.

The 2026 Adelaide Biennial of Australian Art: Yield Strength, curated by Ellie Buttrose, will be presented as part of the 2026 Adelaide Festival. Yield Strength reveals how materials, selfhood and society are tested - and transformed - under pressure. Twenty-four artists push their media to build visual complexity, or contort them to convey the curious side of existence. Remaining attentive to aesthetic details and receptive to the intricacies of life, the exhibition fosters intimacy through layered viewing experiences across the Art Gallery of South Australia, Samstag Museum of Art and Adelaide Botanic Garden. It features new works by Robert Andrew, Nathan Beard, Lauren Burrow, Francis Carmody, Mark Maurangi Carrol, Milminyina Dhamarrandji, Matthew Teapot Djipurrtjun, George Egerton-Warburton, Prudence Flint, Brian Fuata, d harding, Matthew Harris, Helen Johnson, Kirtika Kain, Jennifer Mathews, Archie Moore, Josina Pumani, Julie Nangala Robertson, Erika Scott, Joel Sherwood Spring, Charlie Sofo, John Spiteri, Isadora Vaughan and Emmaline Zanelli. @elliebuttrose @agsa.adelaide

Today’s data infrastructures are intertwined across geographies, policies, mines, fibre optic cables, switch points, mobile telephone towers, automated ports and factories. By extension the spaces of everyday life, contemporary data driven society embodies what is called Cartesian enclosure, a spatial and epistemic system that extends beyond the more visible grid, their knots coalesced in seemingly unassuming architectures such as the data centre.

DIGGERMODE 2 Cloud ceding Stills from a video essay moving through 2010s surveillance and 2020s YouTube fatigue. The violence of analogies and the technologies, territories and temporal lobes obscured

DIGGERMODE 2 - chapter 2

DIGGERMODE 2 Cloud Ceding An installation combining documentary and narrative filmmaking, archival materials and sculptural elements. The work revolves around Kira, a drone operator at RAAF Edinburgh, who has just bought a Defence Housing Australia house in Northwest Quarter Estate in Adelaide’s Angle Park. It traverses soldier-settlement histories, land-title registration, lifestyle vlogging, data-centre real-estate monopolies, and how Australia’s strategic position in the Pacific secures future rare-earth extraction. Diggermode 2 is a joint project with the 2026 Adelaide Biennial. It has been curated by Ellie Buttrose and Robert Leonard, and supported by Create NSW, the Keir Foundation, and IMA Commissioners Circle. @instituteofmodernart @elliebuttrose 📷 Joe Ruckli

DIGGERMODE 2 cloud ceding @instituteofmodernart now Co-curated by Robert Leonard and @elliebuttrose

Dual use, 2025 VMS sign, text, animation, declassified datasets How are materials moved through and from this place? The immediacy of this moment condenses and abbreviates. Simplifying and flattening languages and the worlds inside them. A crisis of collective intention. Crushing lateness and routinised abjection increasingly limit imaginative departures from reality. The sign/work directs you to and through a dataset compiled of multiple freedom of information documents detailing all the exports from Australia to Israel since 07/10/23 Domestic goods, electronics, motor vehicles and weapons. @artspacesydney @sarahrosecurator @hamishmcintosh

You can’t win, 2025 @schmickcontemporary Curated by @sarah_r_serfati

CLEAN$ED 2024, Saudi Arabia Text cycle by Myself and Jazz Money Photos @g.lochis

HOLECODED, 2024 DEEP TIME, REAL TIME @simulaa_ Opens 27 February - RMIT DESIGN HUB