Stranded. Pink Lake Brunswick.   Frozen algae bloom water from the lake under Westgate Bridge. In hot weather salinity in the lake increases until conditions create an algae bloom that temporarily changes the water colour dramatically.    I visited the lake for the first time this year. I made up for lost time and went on three occasions. The first time I took some of my ice sculptures to the waters edge to photograph. I took water samples home and returned with frozen blocks that had transformed slightly in colour, meanwhile the lake had intensified to a colour that seemed as dark and milky as it was possible for a pink to get. The third time I took pink objects to create a pink-ometer, attempting to measure the pinkness and then I took one last water sample, knowing that I would not be returning while the lake was still pink. This sample I combined with grasses and driftwood from the lakes perimeter to create a frozen biomodel. While ice sculptures are generally considered to be ephemeral, in this instance the ice is less ephemeral than the environment it borrows from. As the lake under the bridge returns to its regular industrial water hues this small lake slab has returned to my freezer where it will continue to be pink until the freezer is switched off or the power goes out or it melts away under a communal gaze. This A2 icescape has given me the feels and got me thinking about the implications and ethics of speeding up and slowing down, replicating, reimagining and inverting natural processes and the value of experimentation in art combined with/versus science where my research and investigation are carried out without an emphasis on answers. My knowledge on my current research topics is always temporarily intense (hot pink) during research until the information dissipates, the colours flatten out and the curiosity relocates.  My empathy lies with the lake, quaking in its existence under heavy traffic, having being reshaped by outside forces, undergoing regeneration and awaiting the next transformation.   #lichenkelp  and  @dylanmartorelll  are currently recording a soundtrack to accompany video footage of the pink lake trips by  @hypertext.87
 In May 2018 Forum of Sensory Motion set out on a road trip with a group of diverse artists, performers, photographers and musicians for an interstate, interspecies collaborative art adventure, set in the salty coastal plains of remote South Australia.  All colour photos by David Haines, unless otherwise specified.
 Established in 2014 by Lichen Kelp and Dylan Martorell, KochiAIR is an artist residency program held in Kochi, Kerala, India. The program is held in Pepperhouse studios and supported by the Kochi Muziris Biennale.   The residency is self initiated and self funded by Lichen Kelp and Dylan Martorell. Artists are encouraged to apply for individual funding to attend.   In 2017 the residency will be curated by Simon Spain and Victoria Ryle, who are introducing a Tasmanian and Keralan artist residency reciprocal agreement.  image of Pepperhouse Studios by Lichen Kelp  more information;
 Kelp D, electronic ikebana, at MPavillion more images  here
 Colour Chemistry kids workshop, Kochi, Kerala, India 2014. This workshop was held by Lichen Kelp as part of the program of events for KochiAIR residency co-curated by Lichen Kelp and Dylan Martorell. Supported by the Kochi Muziris Biennale Foundation. Images from the residency program can be seen  here
 The Seaweed Appreciation Society International (SASi) is a community-based algae research group dreamt up by Lichen Kelp with deputy Danni Zuvela. It operates as a mobile classroom with an emphasis on group learning and practical experimentation, and aims to connect artists with marine biologists, kelp farmers, other experts and appreciators in the investigation of marine habitat restoration methodologies and everyday uses of seaweed.    Pictured; a well camouflaged cuttlefish in seaweed appreciation mode.  Image by Justin Gilligan.