Bridget Baskerville
Conduit
13 feb. — 4 apr. 2026
Bridget Baskerville
Conduit
13 feb. — 4 apr. 2026
Image: Bridget Baskerville, East Boyd Bay (detail), 2024, corroded brass, courtesy the artist.
Image: Bridget Baskerville, East Boyd Bay (detail), 2024, corroded brass, courtesy the artist.
Bridget Baskerville
Conduit
13 feb. — 4 apr. 2026
Based between Canberra (Ngunawal Ngambri Country) and Kandos (Dabee Wiradjuri Country), Bridget Baskerville presents Conduit, an exhibition that examines the relationship between human bodies, water bodies and extractive industries. Baskerville investigates how human bodies exist as bodies of water, and the relationship and parallels these bodies have with sites of extraction, pollution and intervention.
Conduit includes a series of brass, copper and mild steel plates that have been submerged and corroded in various waters from around NSW, ACT and TAS. This process etches fine details on the plates’ surface, including the artist’s own fingerprints from the handling of the metal plates. These marks made on the plates surface reflect the agency of this water, through the colour, textures and remaining sediment. This process also acts as a form of collaboration with nonhuman bodies, to further reflect the relationship between human and non-human.
Image: Bridget Baskerville, East Boyd Bay (detail), 2024, corroded brass, courtesy the artist.
Bridget Baskerville
Conduit
13 feb. — 4 apr. 2026
Based between Canberra (Ngunawal Ngambri Country) and Kandos (Dabee Wiradjuri Country), Bridget Baskerville presents Conduit, an exhibition that examines the relationship between human bodies, water bodies and extractive industries. Baskerville investigates how human bodies exist as bodies of water, and the relationship and parallels these bodies have with sites of extraction, pollution and intervention.
Conduit includes a series of brass, copper and mild steel plates that have been submerged and corroded in various waters from around NSW, ACT and TAS. This process etches fine details on the plates’ surface, including the artist’s own fingerprints from the handling of the metal plates. These marks made on the plates surface reflect the agency of this water, through the colour, textures and remaining sediment. This process also acts as a form of collaboration with nonhuman bodies, to further reflect the relationship between human and non-human.