Home Participants 23rd Biennale of Sydney (2022) Jessie French
Jessie French


Jessie French
Born:
1988 in Naarm / Melbourne, Australia
Lives in:
Wurrung Country, Naarm / Melbourne, Kulin Nation

Jessie French explores speculative futures through algae-based bioplastic and water-based ecologies. Housed within an ethos of consumption, sustainability and regeneration, her practice invites others to engage with the possibilities of a post-petrochemical world. Through experimenting with other materials, she explores the potential of closed-loop systems of (re)use and conscious consumption and interaction with objects. In 2020, French founded OTHER MATTER, an experimental design studio working with algae-based bioplastics which engages others in the possibilities of new materials though objects, experiences and futures.
Liquid Languages – Our pre and post exhibition learning resources Liquid Languages enable students to connect with the key themes of rīvus ahead of and following their exhibition visit. Liquid Languages encourages students to channel new knowledge from their experience of rīvus into local environments.

Foreground: Jessie French, The Myth of Nature –agaG1, 2021-2022. Courtesy the artist & Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria. Background: Cave Urban, Flow, 2022 (detail). Courtesy the artists. Commissioned by the Biennale of Sydney with generous support fromAndrew Cameron AO and Cathy Cameron; David Haines & Joyce Hinterding, Pink Steam, 2022 (detail). Courtesy the artists & Sarah Cottier Gallery. Commissioned by the Biennale of Sydney with generous assistance from the UK/Australia Season Patrons Board, the British Council and the Australian Government as part of the UK/Australia Season; and Mike Parr, Blind painting of a falling tree, 2022(detail). Courtesy the artist & Anna Schwartz Gallery.Installation view, 23rd Biennale of Sydney, rīvus, 2022, The Cutaway at Barangaroo. Photography: Document Photography.

Foreground: Jessie French, The Myth of Nature –agaG1, 2021-2022. Courtesy the artist & Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria. Background: Cave Urban, Flow, 2022 (detail). Courtesy the artists. Commissioned by the Biennale of Sydney with generous support fromAndrew Cameron AO and Cathy Cameron; Leeroy New, Flotilla, 2022. Courtesy the artist. Commissioned by the Biennale of Sydney with generous support from the Australia-ASEAN Council and assistance from Mirvac and Parramatta Artists’ Studios; Paula de Solminihac, Fogcatcher, 2018-2021. Courtesy the artist.Commissioned by the Biennale of Sydney withgenerous assistancefrom Graeme and Mabie Briggs and assistancefrom the Catholic University of Chile and the Ministry of Foreign Affairs | Government of Chile; and Nicole Foreshew, YIRUNG BILA (SKY HEAVEN RIVER),2022. Courtesy the artist. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Installation view, 23rd Biennale of Sydney, rīvus, 2022, The Cutaway at Barangaroo. Photography: Document Photography.

Foreground: Jessie French, The Myth of Nature –agaG1, 2021-2022. Courtesy the artist & Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria. Background: Cave Urban, Flow, 2022 (detail). Courtesy the artists. Commissioned by the Biennale of Sydney with generous support fromAndrew Cameron AO and Cathy Cameron; and Ana Barboza and Rafael Freyre, Water ecosystem, 2019-2022 (detail). Courtesy the artists & Museo de Arte Contemporáneo de Lima. Installation view, 23rd Biennale of Sydney, rīvus, 2022, The Cutaway at Barangaroo. Photography: Document Photography.

Jessie French, A Matter of Matter –agaG1, 2022(detail); and Growthcentrism -C15H18NO8, 2022 (detail). Courtesy the artist and Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria.Installation view, 23rd Biennale of Sydney, rīvus, 2022, National Art School.Photography: Document Photography.

Jessie French, A Matter of Matter –agaG1, 2022(detail); and Growthcentrism -C15H18NO8, 2022 (detail). Courtesy the artist and Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria.Installation view, 23rd Biennale of Sydney, rīvus, 2022, National Art School.Photography: Document Photography.

Jessie French, A Matter of Matter –agaG1, 2022(detail); and Growthcentrism -C15H18NO8, 2022 (detail). Courtesy the artist and Anaïs Lellouche. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts and assistance from the Sustaining Creative Workers Initiative. The Sustaining Creative Workers Initiative is supported by the Victorian Government through Creative Victoria and Regional Arts Victoria.Installation view, 23rd Biennale of Sydney, rīvus, 2022, National Art School. Photography: Document Photography.