back
works to date.

And Other Love Machines, 2022 (image)

And Other Love Machines, 2021-2022 (extract)
Writing practices:





And Other Love Machines (2022) is a continuation of Innes' auto theoretical writing. Engaging with clubbing and raving as a site of collaboration, community, realisation and catharsis, the text traces their encounters, between every ride-share, venue and night. A love letter of sorts to queer bodies - dear friends, lovers, flings and the community that assembles at the periphery. This text is currently in the process of being edited and at this time is unpublished.
Vestiges of a Body: Affect of Touch is a personal essay that sounds out intimacies through theoretical citations. It negotiates the skin, the haptics and the language of touch through autobiographical events. It follows a series of vignettes; the grounding events that brought a body in retrograde back to itself after a time of crisis.

Vestiges of a Body: Affect of Touch, 2022 Soft Stir Publication, #2, Sydney (image)

Vestiges of a Body: Affect of Touch, (image)

It was written in the summer of 2020 after time in isolation and further revised and published in 2022 by Soft Stir Publication in their second issue, Stories of Healing. In print, it is paired with images taken in both Eora and Wilyakali land. You can purchase a copy here ​​​​​​
During a residency with UNSWAD in May 2021, Innes spent time on WIlyakali land studying the landscape. They made hand built ceramics from red raku clay and barrel fired them as night fell. 

Stoneware vessel with flashing from barrel firing

Responding to their residency, Innes created an interactive webpage as a sort of artists book. You may view this here
Ceramic practices: The logic of work made in during this residency continued on from contemplations on an exchange of labour and energy during the making process. The large scale ceramics made at this time were sacrificial, often entrancing Innes from real time into hyper fixation. This bodily occurrence fascinated them, so their interest in livening an object was of great importance to equalise forces into balance. Innes composed pieces of synthetic, ambient music to be played from a small speaker inside the vessels. This would bring intimacy to the object, allowing a glowing audio to exude softly from each object, inviting the audience in. 

2021, Stoneware vessel with original glaze

2020, stoneware candlestick holders with original glaze

2020, Brigette with earthenware vessel, florals

Innes studied printmaking including lithography, screen printing and etching during their undergraduate program. Their work consisted of residues, text and transfers. Their works often centred poetry, partying, and loss. Their continued fascination with understanding the experience of reality and corporeality with theoretical studies in phenomenology were and continue to be central to their practice. 

                                                           
                                     Lithographs

 Chloe, 2020 lithograph on BFK Rives archival paper

Over + Above, 2020 lithograph (pictured on limestone)

Suspended screenprints of poetry onto retroreflective fabric were produced during 2019-2020. 


Body Atomic, 2019 screen print on retroreflective fabric, nangs, screen works, chains

Body Atomic, 2019 (detail)

n khjb kb k

Embodiment / Unbodiment, 2020 screenprint on synthetic cloth and retroreflective fabric, chains

Their early etchings were mainly found text - some dialogues left on bathroom walls, text messages, etc. 

Untitled, 2019 (detail)

Untitled, 2019 etching, solvent transfer on BFK Rives archival paper

further imagery, information or examples of work available by request -  please email hello@elijahinnes.com