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<channel>
	<title>Rebecca Najdowski</title>
	<link>https://rebeccanajdowski.com</link>
	<description>Rebecca Najdowski</description>
	<pubDate>Sat, 13 Jan 2024 09:43:28 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://rebeccanajdowski.com/Home-1</link>

		<pubDate>Sat, 05 Sep 2020 13:14:23 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Home-1</guid>

		<description>
	



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	<item>
		<title>Book: Ambient Pressure</title>
				
		<link>https://rebeccanajdowski.com/Book-Ambient-Pressure</link>

		<pubDate>Sat, 13 Jan 2024 09:43:28 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Book-Ambient-Pressure</guid>

		<description>

	Book: Ambient Pressure2023 &#124; Tall Poppy Press, Melbourne











The book features images from the project&#38;nbsp;Ambient Pressure and includes text from The Nature Book by Tom Comitta.&#38;nbsp;

25.4  x 20.3 cm &#124; 10 x 8 in&#38;nbsp;
88 pages
Exposed spine binding
Box board cover with printed and varnished design
Edition of 200




Available through&#38;nbsp;Tall Poppy Press
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		<title>Inverted Landscapes</title>
				
		<link>https://rebeccanajdowski.com/Inverted-Landscapes</link>

		<pubDate>Sun, 04 Jul 2021 07:12:32 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Inverted-Landscapes</guid>

		<description>
Inverted Landscapes2020 &#124; PhD thesis exhibition &#124; chromogenic prints, pigment prints, gelatin silver solar prints, digital video, digital 3D models











“The Anthropocene casts a long shadow over everything. I made these artworks as a response to the climate crisis, answering the urgent need to conceptualize nature differently.”

	
&#60;img width="1986" height="3000" width_o="1986" height_o="3000" data-src="https://freight.cargo.site/t/original/i/2f9f3dc22590f3f2b91034520b3e4adb0fc4298c9572470bc1b78174e5f8e6c3/najdowski_inverted-landscapes-14.jpg" data-mid="112987405" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/2f9f3dc22590f3f2b91034520b3e4adb0fc4298c9572470bc1b78174e5f8e6c3/najdowski_inverted-landscapes-14.jpg" /&#62;

Exhibition at&#38;nbsp;Fiona and Sidney Myer Gallery, Melbourne, Australia










Photo Credits: Mark Ashkanasy





	
Composed of three projects — Ambient Pressure, Surfacing, and Echo — the artworks in the exhibition were formed through creative practice PhD research that addresses how nature is envisioned through photography, video, and scanning technology. 

At a time of extreme environmental upheaval, Inverted Landscapes exposes how photography objectifies, abstracts, and distances nature; it simultaneously undermines material semblance and the representational structures of photography. By haptically manipulating conventional landscape imagery, enmeshing photo-materials with natural phenomena, and harnessing the limitations of digital 3D scans of flora, this artistic research highlights the relationalities between nature, culture, and technology. 

Inverted Landscapes contends with the material and political implications of visually representing the Anthropocene and attempts to shift habitual ways of seeing — and therefore relating to — more-than-human nature.







&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/e596c9e87e0374c276428d694a7ad9a183745c8f1bf5d9f1aaa0161e2d5af8c3/najdowski_inverted-landscapes-7.jpg" data-mid="112987398" border="0"  src="https://freight.cargo.site/w/1000/i/e596c9e87e0374c276428d694a7ad9a183745c8f1bf5d9f1aaa0161e2d5af8c3/najdowski_inverted-landscapes-7.jpg" /&#62;

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	<item>
		<title>Interference Pattern</title>
				
		<link>https://rebeccanajdowski.com/Interference-Pattern</link>

		<pubDate>Sat, 05 Sep 2020 09:08:44 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Interference-Pattern</guid>

		<description>
Interference Pattern
2018, 2022 &#124; collaborative installation with Vivian Cooper Smith &#124; chromogenic prints, pigment prints, colored gels


	
&#60;img width="1999" height="1333" width_o="1999" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0485bfb292a45e04fa203488d7e8b49f4633caac9624738353c51da07b57eae3/VCS_RN_InterferencePattern_MG_8314.jpg" data-mid="81846638" border="0"  src="https://freight.cargo.site/w/1000/i/0485bfb292a45e04fa203488d7e8b49f4633caac9624738353c51da07b57eae3/VCS_RN_InterferencePattern_MG_8314.jpg" /&#62;

Interference Pattern is a collaborative installation with artist Vivian Cooper Smith developed from a shared an interest in critiquing the ways photography constructs our perceptions of nature through the concept of landscape. The project is informed by the scientific feminism of Karen Barad, whose diffractive methodology measures ‘interference patterns’ — the effects of difference rather than the differences themselves. Like intersecting ripples made by two rocks thrown into a pond, these differences interact — some intensifying and some negating the other. The installation operates as an interference pattern, it maps the effects of two artists working in complementary and contrasting ways and opens up possibilities for new materialist pathways through photography.




&#60;img width="1999" height="1333" width_o="1999" height_o="1333" data-src="https://freight.cargo.site/t/original/i/93cf7f9b16ad4e4fbd886860011f3204b85e3b6a2d8d751e49eeda1358b00fd0/VCS_RN_InterferencePattern_MG_8283.jpg" data-mid="81895557" border="0"  src="https://freight.cargo.site/w/1000/i/93cf7f9b16ad4e4fbd886860011f3204b85e3b6a2d8d751e49eeda1358b00fd0/VCS_RN_InterferencePattern_MG_8283.jpg" /&#62;

Exhibited at Horsham Regional Art Gallery, Horsham, Australia &#124; images from Ambient Pressure have been incorporated in the installation</description>
		
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	<item>
		<title>Another Nature</title>
				
		<link>https://rebeccanajdowski.com/Another-Nature</link>

		<pubDate>Sun, 27 Aug 2023 06:03:10 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Another-Nature</guid>

		<description>
Another Nature (in-progress)2022–ongoing &#124; digital infrared photographs, video, micro CT scans, scanning electron microscope, satellite data
Australia’s Black Summer megafires became the catalyst for this work, which uses multiple imaging technologies to speculate on more-than-human sensing of wildfire and its effects. I harness infrared, scanning electron microscopy (SEM), micro-CT scanning, and satellite data to reveal what lies beyond human perception – imaging techniques I adopt as a counter to conventional depictions of climate collapse. Drawing on Jakob von Uexküll’s concept of umwelten (species-specific perceptual worlds), the iterative moving image installation Another Nature proposes a ‘multi-umwelt’ approach to envisioning wildfire. I frame the project as an affective assemblage of imaging modalities that expand the human sensorium toward non-human perceptions: infrared renders visible wavelengths we cannot see; microscopy reveals textures and architectures at imperceptible scales; satellite time-lapse compresses planetary patterns into perceptible duration. Through this sensory expansion, I seek to build a capacity for kinship with the more-than-human world.
	
	

	
	
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Research Assistant – Alex ThorneMicroscopy – Dr Chaitali Dekiwadia and Dr Louisa Huang, RMIT University Microscopy and Microanalysis Facility.

Developed with the support of RMIT University Career Reignite Funding and the Centre for Project Art
	
</description>
		
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	<item>
		<title>Deep Learning the Climate Emergency</title>
				
		<link>https://rebeccanajdowski.com/Deep-Learning-the-Climate-Emergency</link>

		<pubDate>Tue, 11 Apr 2023 02:53:51 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Deep-Learning-the-Climate-Emergency</guid>

		<description>

	Deep Learning the Climate Emergency2022 &#124; GAN-generated moving image with audio, 07:35

	
&#60;img width="3024" height="2160" width_o="3024" height_o="2160" data-src="https://freight.cargo.site/t/original/i/c11428f6751dff25dfb397e78d8f50307d8c2a17a6de67f4937b31945e34927f/Najdowski_Deep-Learning-at-Fed-Square-2.jpg" data-mid="174911904" border="0"  src="https://freight.cargo.site/w/1000/i/c11428f6751dff25dfb397e78d8f50307d8c2a17a6de67f4937b31945e34927f/Najdowski_Deep-Learning-at-Fed-Square-2.jpg" /&#62;

Deep Learning the Climate Emergency, screened on the digital facade of Federation Square, Melbourne, Australia
	Deep Learning the Climate Emergency uses photography and machine learning to (re)generate the aesthetic patterning of ecological collapse. For this work, I was interested to see if familiar images of the climate emergency, ones that have perhaps lost their potency through repetition, could be reconfigured into a new affective experience. The moving image artwork was made with generative adversarial networks (GANs) trained on image-based datasets depicting the effects of a heating planet: wildfire, bleached coral, drought, melting glaciers, and suns through smoke-filled skies. Refracted through the prism of machine learning, the video is a rendering of the shapes and textures of the climate emergency. &#38;nbsp;


	
&#60;img width="1752" height="1756" width_o="1752" height_o="1756" data-src="https://freight.cargo.site/t/original/i/4c6f0f085361c1198c7b9eb0d80a1b5df1653d6e4c03c8ddf4a051f0ea6c666b/Najdowski_Deep-Learning-still-image-2.jpg" data-mid="174890593" border="0"  src="https://freight.cargo.site/w/1000/i/4c6f0f085361c1198c7b9eb0d80a1b5df1653d6e4c03c8ddf4a051f0ea6c666b/Najdowski_Deep-Learning-still-image-2.jpg" /&#62;
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&#60;img width="1752" height="1750" width_o="1752" height_o="1750" data-src="https://freight.cargo.site/t/original/i/674e5cb9b09b1708fc70b7a5e7a2464456b8ae8e3bd07afeb166fe990c93b2b7/Najdowski_Deep-Learning-still-image-3.jpg" data-mid="174890595" border="0"  src="https://freight.cargo.site/w/1000/i/674e5cb9b09b1708fc70b7a5e7a2464456b8ae8e3bd07afeb166fe990c93b2b7/Najdowski_Deep-Learning-still-image-3.jpg" /&#62;


Stills from&#38;nbsp;Deep Learning the Climate Emergency
Video Preview</description>
		
	</item>
		
		
	<item>
		<title>Ambient Pressure</title>
				
		<link>https://rebeccanajdowski.com/Ambient-Pressure</link>

		<pubDate>Tue, 12 Jan 2021 04:10:11 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Ambient-Pressure</guid>

		<description>

	Ambient Pressure2017–ongoing &#124; 70+ pigment prints and chromogenic prints, digital video











Ambient Pressure is an ongoing project that draws attention to the ways that photography has literally and conceptually ‘framed’ nature. The artworks emerge from a combination of analog and digital interventions, involving the manipulation and physical modification of photographs. The images undergo a dual composition process: first during film capture, and then through the transformation of negatives, scans, and prints using tools such as blades, lighters, markers, plastic, rocks, bleach, and other materials. In the second phase of composition, intentional marks, ruptures, or overlays are applied to emphasize that photographs are not transparent windows to the world but rather constructed representations. This process — which changes the material surface of the photographs — exposes the photographic conditions that objectify and create a distance between nature and our human experience.


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&#60;img width="2400" height="3000" width_o="2400" height_o="3000" data-src="https://freight.cargo.site/t/original/i/8d08983a9866c792f7455ebb282b3ffd8c3332359a99744173f2ddf164261c96/Rebecca-Najdowski_Ambient-Pressure-20.jpg" data-mid="201677941" border="0"  src="https://freight.cargo.site/w/1000/i/8d08983a9866c792f7455ebb282b3ffd8c3332359a99744173f2ddf164261c96/Rebecca-Najdowski_Ambient-Pressure-20.jpg" /&#62;

	A selection of images from this series is available as editioned prints, 20 x 24 in and 42 x 50 in.&#38;nbsp;
In 2023,&#38;nbsp;Ambient Pressure was published as a photobook with Tall Poppy Press.&#38;nbsp;





Ambient Pressure (Black Hole), 2020–,&#38;nbsp;preview of looped video</description>
		
	</item>
		
		
	<item>
		<title>Echo</title>
				
		<link>https://rebeccanajdowski.com/Echo</link>

		<pubDate>Tue, 12 Jan 2021 03:11:44 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Echo</guid>

		<description>
Echo2020 &#124; digital 3D models from photogrammetry scans, digital video













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&#60;img width="640" height="360" width_o="640" height_o="360" data-src="https://freight.cargo.site/t/original/i/cba0122a5c99f6d8d3ada9af3d641908e84119c3c8a50dc23a3423c3faffadca/najdowski_echo_6.gif" data-mid="94752950" border="0"  src="https://freight.cargo.site/w/640/i/cba0122a5c99f6d8d3ada9af3d641908e84119c3c8a50dc23a3423c3faffadca/najdowski_echo_6.gif" /&#62;
(images link to manipulatable online artworks)

Generated from photogrammetric and depth scans of plants, Echo is a series of digital 3D objects whose botanical forms are riddled with flaws and information gaps. In order to explore the aesthetic and conceptual potential of digital thresholds, the project was made with a 3D scanner at the edge of viability in uncontrolled lighting conditions outdoors. Due to the intensity of light and the complex shape of plants, the scanner was unable to accurately convert the flora’s colors, forms, and textures into precise digital 3D models. The resulting artworks are digital botanical objects that carry with them visual glitches of their translation from physical to digital materiality. The photographic images depicting petals and grasses melt and blur. Other forms are missing structural information; as if eaten by insects, chunks of leaves are absent. These aesthetic aberrations are an expression of data’s instability, visual errors that expose the precariousness of representation within photomedia technologies. 

</description>
		
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	<item>
		<title>Surfacing</title>
				
		<link>https://rebeccanajdowski.com/Surfacing</link>

		<pubDate>Tue, 12 Jan 2021 05:35:44 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/Surfacing</guid>

		<description>
Surfacing2017-2018 &#124; gelatin silver prints,&#38;nbsp;chromogenic prints











Surfacing is a camera-less project that explores the materiality of photomedia and the potential for a new kind of landscape photography. These pictures are made ‘with’ rather than ‘of’ the environment by using natural phenomena as both the subject of and the means to create artworks. While landscape photography historically depicts scenery and implies distance, this project makes a direct connection between the forces of an environment and a photographic image. Created by exposing light-sensitive film and paper to geothermal activities and high-salinity environments, the series incorporates different approaches applied to both gelatin silver and chromogenic photo papers.


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&#60;img width="1572" height="2000" width_o="1572" height_o="2000" data-src="https://freight.cargo.site/t/original/i/2b8a68836ed652845bac81d2d3fc3fd5dd43d219a342dc49dc233d806dffc938/najdowski_Surfacing-gelatin-silver-11.jpg" data-mid="94758321" border="0"  src="https://freight.cargo.site/w/1000/i/2b8a68836ed652845bac81d2d3fc3fd5dd43d219a342dc49dc233d806dffc938/najdowski_Surfacing-gelatin-silver-11.jpg" /&#62;












Surfacing (gelatin silver), gelatin silver paper, geothermal activity, approx. 28 x 35.5 cm (11 x 14 in) or 40.64 x 50.8 cm (16 x 20 in) each





In this first approach, silver gelatin photographic paper was physically exposed to geyser plumes and steam vents to create unpredictable forms and colours. Black and white gelatin silver darkroom paper reveals pink, grey, blue, purple, and orange forms that developed through correspondences between the silver particles suspended in gelatin on the surface of paper, the chemical and temperature composition of the geothermal features, the UV rays from the sun, and the duration of contact.



&#60;img width="1000" height="2144" width_o="1000" height_o="2144" data-src="https://freight.cargo.site/t/original/i/f3ed1cfe50ce2c3d5108c69859f6ec1d35ba5cbac40d99f012d2f81168e1c2d3/najdowski_Surfacing-chromogenic-2.jpg" data-mid="94758304" border="0"  src="https://freight.cargo.site/w/1000/i/f3ed1cfe50ce2c3d5108c69859f6ec1d35ba5cbac40d99f012d2f81168e1c2d3/najdowski_Surfacing-chromogenic-2.jpg" /&#62;
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&#60;img width="1000" height="2374" width_o="1000" height_o="2374" data-src="https://freight.cargo.site/t/original/i/7f2d6efdfe1a6d1442aaf68fc63d1f973f8605955213863b5f9b4acd4a89aff4/najdowski_Surfacing-chromogenic-5.jpg" data-mid="94758307" border="0"  src="https://freight.cargo.site/w/1000/i/7f2d6efdfe1a6d1442aaf68fc63d1f973f8605955213863b5f9b4acd4a89aff4/najdowski_Surfacing-chromogenic-5.jpg" /&#62;


	Surfacing (chromogenic), printed from photographic film submerged in salt and algae laden lake water approx. 101.6 x 213 cm to 101.6 x 228.6 cm (40 x 85 to 40 x 90 in)
For Surfacing (chromogenic), photographic film was submerged in lake water laden with salt, algae, and bacteria for months on end. Large prints on chromogenic paper were then made in the darkroom from these ‘environmental’ negatives. Instead of imaging the instantaneous photographic moment, a more earthly time emerged on the film. Salt crystals formed and the emulsion began to break down. The aim of these approaches was to generate images that resonate with aspects of the earth like minerals, time, and transformation.
	
&#60;img width="4800" height="3200" width_o="4800" height_o="3200" data-src="https://freight.cargo.site/t/original/i/0a6b358ae827913cf55894d96de6d8e2716e725ac08309ad4488e639fd101cb8/Surfacing-Chromogenic-at-CCP.jpeg" data-mid="174886470" border="0" data-scale="87.5" src="https://freight.cargo.site/w/1000/i/0a6b358ae827913cf55894d96de6d8e2716e725ac08309ad4488e639fd101cb8/Surfacing-Chromogenic-at-CCP.jpeg" /&#62;

Surfacing (Chromogenic) exhibited at the Centre for Contemporary Photography, Melbourne, Australia
Photo Credit: Hannah Nikkelson

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	<item>
		<title>The Image Looks Back</title>
				
		<link>https://rebeccanajdowski.com/The-Image-Looks-Back</link>

		<pubDate>Sun, 06 Sep 2020 03:21:29 +0000</pubDate>

		<dc:creator>Rebecca Najdowski</dc:creator>

		<guid isPermaLink="true">https://rebeccanajdowski.com/The-Image-Looks-Back</guid>

		<description>
The Image Looks Back2021 &#124; curated exhibition at RMIT Art Gallery, Melbourne, Australia &#124; part of PHOTO2021 &#124; co-curated with Alison Bennett, Shane Hulbert, and Daniel Palmer
If the photograph has conventionally been understood as a record or memory of the world, what happens when the image looks back? Thirty years after the commercial release of photo-imaging software such as Photoshop, this exhibition explores the reconfiguration of photography in the context of algorithmic processes, machine vision and networked circulation. It features responses by Australian and international artists, photographers and technologists, each speculating on the social and political ramifications of these profound changes in the ecology of the image. The exhibition asks how notions of visual truth and human experience are shaped by new technologies of vision. 

The exhibition catalog can be found here and the virtual version of the exhibition here.&#38;nbsp;



	Participating artists:&#38;nbsp;Jacqueline Felstead 
Joan Fontcuberta
Forensic Architecture 
Mike Gray 
Joe Hamilton 
Thomas Hirschhorn
Rhonda Holberton 
Fei Jun
Amalia Lindo 
Rosa Menkman
Tyler Payne
Joachim Schmid 
Winnie Soon
Queertech.io
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Installation images: The Image Looks Back, RMIT Gallery. Photographs: Mark Ashkanasy ©RMIT Gallery</description>
		
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