Fulcrum Arts is pleased to present Sam Shoemaker: Mushroom Boat, a collection of works developed in relation to the artist’s August 2025 crossing of the Catalina Channel in a kayak made of mushroom mycelium. The exhibition’s central feature is the mushroom boat itself, which was built by the artist and stands amid the artifacts of its development, including extensive documentation of its fabrication, testing, and eventual use on open water.
The material of Ludwika Ogorzelec’s sculptures is space itself, and the line of wood, metal or glass is only the contour for the “crystals of space”. Her works are usually created in reference to the context of the cultures and places in which they are presented, most often in situ (in open space, often in architecturally shaped surroundings, in the interiors of exhibition halls of museums and galleries). In this interview with art and ecology author, John K. Grande, she discusses her ideas and work.
Arts MSU at Michigan State University and The Facility for Rare Isotope Beams (FRIB) have been collaborating, bringing art and science together with a Power Up Artist-in-Residence program resulting in cutting-edge artworks and exhibitions that push the boundaries of both disciplines.
Uli Ap is an artist and Alien AI: Alien Infinite and Artificial Intelligence, The Yellow One. They reside between London and New York, all over the globe and extra-terrestrial; and work at the intersection of art, science, technology, film, performance, immersive interactive installation and alien agency.
The artist works across non-linear defragmented films and spatial immersive audio-visual environments to transfer physical experiences through digital realms. Disruptive performances occur in their interactive installations, where virtual and physical experiences merge and aim to destabilize and alter participants’ mental states. Uli Ap invented Alien Artificial Intelligence in 2020. The AI inhabits a borderless alienation land, as a gaseous matter; fluid and undefined.
Peter Matthews is an English artist who works exclusively along the coast, in the ocean and occasionally, over the last few years, creeping inland into the mountains and deserts. As a landscape-based artist, his work explores a direct and lived experience with time, place, space and the physical and spiritual relationships with nature. He does not work from a studio and therefore his works and process of being out in the landscape challenge and seek balance with the elements of the ever-changing climate, earth and extended universe.
Taking place in Perth, Western Australia, biological arts pioneers SymbioticA present ‘Sunlight, Soil & Shit (De)Cycle’ (3SDC) – a provoking arts meets science project about the three elements in our utopian future that farming is trying to live without.
Frederic Kiernan is an early career Research Fellow at the University of Melbourne whose work examines the relationship between music, creativity, emotion and wellbeing, both presently and in the past. He is a specialist on the music of Bohemian composer Jan Dismas Zelenka (1679–1745) and his PhD thesis (2019), titled ‘The Figure of Jan Dismas Zelenka (1679–1745) in the History of Emotions’ won the University of Melbourne’s Chancellor’s Prize for Excellence in the PhD Thesis (2020). He has examined Zelenka’s music from different theoretical perspectives in historical musicology, reception study, music psychology and the history and sociology of emotion. He has also focused on the area of creativity and wellbeing, and is currently a Research Fellow and Academic Convenor of the Creativity and Wellbeing Hallmark Research Initiative (CAWRI) at the University of Melbourne. He recently co-edited a special issue of the International Journal of Wellbeing on the theme of ‘creativity and wellbeing’, as well as a special issue of Musicology Australia titled ‘Zelenka, Bach and the Eighteenth-century German Baroque: Essays in Honour of Janice B. Stockigt’. He is currently the National Secretary of the Musicological Society of Australia.
Dr Kira Erwin is an urban sociologist and senior researcher, at the Urban Futures Centre at the Durban University of Technology. Her research and publications focus largely on race, racialisation, racism and anti-racism work within the urban context. Her past projects explore narratives of home and belonging within the context of migration, gender and inclusion; as well as state delivered housing projects in the city. She is currently working on Lalela uLwandle with a team of researchers and civil society organisations to think through how people’s economic, spiritual, scientific and symbolic meanings of the sea should be part of ocean governance decisions. Her projects make use of creative participatory methods, and she collaborates with colleagues in various creative fields to produce forms of public storytelling that extend research beyond the walls of academia.
Wura-Natasha Ogunji is a visual artist and performer. Her works include drawings hand-stitched into tracing paper, videos and public performances. Her work is deeply inspired by the daily interactions and frequencies that occur in the city of Lagos, Nigeria, from the epic to the intimate. Ogunji’s performances explore the presence of women in public space; these often include investigations of labor, leisure, freedom and frivolity.
Harold Offeh is an artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh, often employs humour as a means to confront the viewer with historical narratives and contemporary culture and is interested in the space created by the inhabiting or embodying of history.