Writing with Multiple Appendages

Abstract

Four pairs of images from the Postcards from the Underground (2022) print series are presented here as experiments in translating invertebrate underground worlds. Artist Perdita Phillips and cultural theorist Astrida Neimanis collaborated to create an interdisciplinary ‘walkshop’ event to the coal mining town of Lithgow, as part of Phillips’ Artsource both/and artist in residence at Artspace, Sydney in 2017. The many forms of stygofauna—small invertebrate animals including worms, mites, snails, insects and many crustacea—can be found in the millimetreswide in-between spaces in groundwater. Short-range endemism is common—due to their distribution in isolated patches beneath semi-arid to rainforest landscapes in Australia—and sporadic relic distribution world-wide. Working between Neimanis’ text and Phillips’ drawings and found images, the conversations with and through stygofauna, underground water and mining were then developed into colour postcards, that use a red/cyan optical masking technique. The images can be decoded with a red filter that is held up to the eye. The previously invisible cyan delineations are then revealed from beneath—alluding to the layers of concern and the double state of both/and—“caught up in both the noticing and notnoticing of each other” that the artist/author were articulating (Neimanis and Phillips 137). The swirling patterns of swimming and the complex fingering of many limbs were rendered into cryptic scores. The postcards explore notions of hiding/revealing and comprehension and miscomprehension of subterranean ecosystems, through the multiple scratchings of the skittering limbs of stygofauna.
 Phillips, Perdita and Astrida Neimanis. Postcards from the Underground. 2022. Private Collection.