




The Myth of Nature – agaG1 [installation], 23rd Biennale of Sydney - rīvus, The Cutaway, Barangaroo, 12 March – 13 June 2022. Photos by Jessica Maurer.





A Matter of Matter – agaG1, 23rd Biennale of Sydney - rīvus, Artspace at National Art School, 12 March – 13 June 2022. Photos by Jessica Maurer.


Growthcentrism – C15H18NO8, 23rd Biennale of Sydney - rīvus , Artspace at National Art School, 12 March – 13 June 2022. Photos by Jessica Maurer.


The Blinding Obligation That is Our Vulnerability - β-L-galactopyranose, 23rd Biennale of Sydney - rīvus, Artspace at National Art School, 12 March – 13 June 2022. Photos by Heilam Choi and Jessica Maurer.






Response-ability is not a calculation to be performed – GH16, 23rd Biennale of Sydney - rīvus, The Cutaway, Barangaroo, 12 March – 13 June 2022. Photos by Jessica Maurer.



Custom comission - Campari Galleria at 23rd Biennale of Sydney - rīvus, The Cutaway, Barangaroo, 12 March – 13 June 2022. Photos by Jessica Maurer.







Algae Bioplastic Tableware [series], 2020-2021, winner of the Jardan Prize, Victorian Craft Awards 2022. Photos by Pier Carthew.





Alternative Provisions, Craft Victoria, February 10 – March 26 2022. Photos by Henry Trumble.




It’s Getting Hot in Here - 2022, Melbourne Design Fair, Craft Victoria, March 16 – 20 2022. Photos by Henry Trumble.



Dark Matter - 2022, Melbourne Design Fair, Craft Victoria, March 16 – 20 2022. Photos by Henry Trumble.

Algae Bioplastic Tableware [series], 2021. In-studio photos by Pier Carthew.






A Sea at the Table [installation], Melbourne Design Week - 26 March — 6 April 2021. Photos by Amelia Stanwix for The Design Files.



Algae Bioplastic Tableware [series] – 2020.

Seaweed Future: Red Gold, 1-54 Contemporary African Art Fair [offsite exhibitiion, Marrakech]

Research - Algal polymer supply chain sustainability, Morocco - January — February 2020
While we uncovered fossils from the past, our time on Earth may be marked, overwhelmingly, by Bic™ pen casings and other so-called disposable items.
French’s work explores the meaning
and value of the ephemeral; placing value in things that don’t last beyond our
lifetimes and challenging our obsession with the idea of ‘built-to-last’, which
largely fails to consider the ecological and social impacts of this everlasting
durability. Why
is it that objects which leave a geological mark lasting an epoch are so
readily available, with prices not accounting for their enduring environmental
burden?
Through her work – both material
research and production – French engages with and confronts our contemporary
environmental crisis. She proposes everyday solutions within the frame of human
production and consumption.
The polymers French uses come from
new algae, a renewable resource that has the potential to rehabilitate oceans
and the atmosphere through its sustainable production and harvest, rather than
ancient algae – a finite, mined resource that petroleum is made from.

I acknowledge the Wurundjeri People as the traditional custodians of the land on which I live and work, whose cultures are among the oldest living cultures in human history and who have one of the longest creative human histories on Earth. I pay respect to Elders of the community - past, present and emerging - and extend this respect to all First Nations people. Sovereignty was never ceded. My country has a rich history and its Indigenous peoples have unique cultural and spiritual relationships to the land, waters, seas and all living things in them.
Copyright Jessie French 2022