Luna Mrozik Gawler is a multidisciplinary artist and writer who lives and works upon, and in collaboration with, the unceded lands of the Kulin Nation.
Queering expectations of human supremacy and separatism, her work examines the ideological foundations, and ramifications of Anthropocentric paradigms through installation, performance, media, and text. This work is often site-responsive, durational, immersive and/or interactive, and leads participants into speculative encounters.
Luna's research-led practice considers knowledge production and embodied processes to expand upon post-human and new materialist frameworks. With an interest in exposing and disrupting notions of power and identity, her work asks - How are we to live within the ruins of a damaged planet? How do we approach the (de)composition of a multispecies world? How do we speak about extinction?
Engaging learning acquired during three years of training with Medicine men and Nyoongar custodians in Western Australia, Luna's work is composed through an inclusive ecological methodology, interrogating colonial and capitalist assumptions and practicing alternative knowledge by working collaboratively site and multispecies communities.
This work has featured at festivals throughout Australia including Mapping Melbourne, Queensland Poetry Festival, Crack Theatre Festival, HillsceneLive, Critical Animals and Fremantle Festival.
In 2018, Luna was awarded the Miengunyah Award from the Ian Potter Foundation for her video work PALIMPSEST and co-founded L&NDLESS, a live art collective based in Naarm. She was Artistic Director for Underground Cinema 2009-2012, Intern Puppeteer for Spare Parts Puppet theatre in 2013, and founder of the Yarna Performance troupe in 2015.
She writes speculative fiction, ficto-criticsm and poetry, and this work appears in Going Down Swinging, ROAR, TEXT, Bombay Gin and Underground Magazine, among other places.
Luna has just completed her Masters Thesis at the University of Melbourne, examining the potential role of text, and transdisciplinary art practice in troubling anthropocentric assumptions.
Photo by Devika Bilimoria