David Harris is an artist, designer, journalist, and scientist whose practice spans these fields. Not wedded to a medium, his work ranges across interactive objects, public art installations, mechatronic sculptures, living sculptural biomatter, performance, video, and web-based work. The majority of his current work explores the intersections between the arts and sciences with a particular focus on the interplay between the physical and digital. His work has been exhibited internationally in galleries, festivals, conferences, and online. He teaches in interactive media, art, and design at the Queensland College of Art, Griffith University in Brisbane, Australia.
Lee Gang a former student of the Victorian College of Arts, Li Gang has received broad acclaim in his native Beijing for his assemblages cum bronze sculptures. Applying an art povera aesthetic, he favoured inexpensive cast-offs such as shoes, plastic stools and components of bicycles. Coinciding with the emergence of post-digitalism, Li’s propensity to process societal detritus evolved to include redundant technologies such as analogue television sets, improvised pinhole cameras and video artwork.
Li has exhibited extensively throughout North America, Europe and Asia. Museums and galleries to have showcased his artwork include the Okgwa Art Museum in Korea, The Frauenmuseum in Germany and the Experimental Art Foundation in Australia.
Pamela See (Xue Mei-Ling) was born in Brisbane to first generation Australians. She applies Chinese papercutting techniques in a variety of post-digital contexts including: installation, animation, sculpture, textiles and printmaking. Since graduating from the Queensland College of Art in 1999, she has contributed to exhibitions in Australia, China and the United States of America. This includes initiatives at The Qing Tong Museum in China, International Studios and Curatorial Program in New York and the Queensland Art Gallery. Collections to house See’s artwork include the National Gallery of Australia, the Art Gallery of South Australia, Parliament House, Swire and Chinachem. Her technique resembles Foshan papercutting which is endemic to her maternal home province of Guangdong. This style emerged during the Song Dynasty (960 – 1279 CE) and is applied to both paper and thin foils of metal. In addition to metal, her papercuts have been translated into a broad range of media including acrylic, glass and textiles. Like the forebearers of her craft, See’s compositions are a form of narrative inquiry. The allegories explore the migrant experience using depictions of flora, fauna and water.