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> Artists' Books 2012–2019 > Artists' books 2000–2011 > Why books?
> Zines 2019 > Zines 2015–2018 > Zines 2012–2014 > Zines 2002–2011
> Exhibitions > Published works > Related projects
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An Introduction ARTISTS' BOOKS > Artists' Books 2012–2019 > Artists' books 2000–2011 > Why books? ZINES > Zines 2019 > Zines 2015–2018 > Zines 2012–2014 > Zines 2002–2011 EXHIBITIONS & PUBLISHED > Exhibitions > Published works > Related projects
Gracia & Louise
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In the gallery

From now until the 9th of July, you can see six of our tiny works created especially for  Port Jackson Press Print Gallery's winter salon exhibition.

Port Jackson Press Print Gallery
84 Smith Street
Collingwood

graciahaby_louisejennison
Collaborative projectsGracia LouiseJune 16, 2015Salvaged Relatives, winter, Port Jackson Press Print Gallery, Ballet Russes, cartes de visite
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Following the soft percussion of your tread

Artists' booksGracia LouiseJune 17, 2015Following the soft percussion of your tread, collage, Château de Fontainebleau, State Library of Queensland
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Artists' booksGracia LouiseJune 14, 2015State Library of Queensland, Following the soft percussion of your tread, collage, Château de Fontainebleau
 
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News
Aug 19, 2019
MIFF 2019, from present to past tense
Aug 19, 2019
Aug 19, 2019
Jul 22, 2019
Sights Unseen: Recent Acquisitions from the Moreland Art Collection
Jul 22, 2019
Jul 22, 2019
Jul 21, 2019
Salvaged Relatives
Jul 21, 2019
Jul 21, 2019
Jul 13, 2019
Other Worlds 2019 Short story competition
Jul 13, 2019
Jul 13, 2019
Jul 10, 2019
Near to the lake’s edge
Jul 10, 2019
Jul 10, 2019
Jul 9, 2019
Light and Shade
Jul 9, 2019
Jul 9, 2019
Jul 8, 2019
Small things; precious things
Jul 8, 2019
Jul 8, 2019
Jun 23, 2019
Like Light
Jun 23, 2019
Jun 23, 2019
Jun 17, 2019
File under ‘Eye’
Jun 17, 2019
Jun 17, 2019
Jun 14, 2019
It came like light out of the walls
Jun 14, 2019
Jun 14, 2019
Jun 11, 2019
Evolve
Jun 11, 2019
Jun 11, 2019
Jun 10, 2019
“The stability of nature can no longer be taken for granted”
Jun 10, 2019
Jun 10, 2019
Jun 3, 2019
Keep an eye on
Jun 3, 2019
Jun 3, 2019
May 31, 2019
In the museum
May 31, 2019
May 31, 2019
May 23, 2019
Watercolour and pencil, blue, green, more
May 23, 2019
May 23, 2019
May 22, 2019
Through a glass eye
May 22, 2019
May 22, 2019
May 18, 2019
Through a forest
May 18, 2019
May 18, 2019
May 17, 2019
Trees of Life for The Big Issue
May 17, 2019
May 17, 2019
May 16, 2019
Divides and reassembles
May 16, 2019
May 16, 2019
May 15, 2019
Windigo
May 15, 2019
May 15, 2019
May 6, 2019
Shopfront
May 6, 2019
May 6, 2019
Apr 15, 2019
Imprint: A Survey of the Print Council of Australia
Apr 15, 2019
Apr 15, 2019
“A series of images are performed”
Mar 31, 2019
“A series of images are performed”
Mar 31, 2019
Mar 31, 2019
Mar 28, 2019
“A Certain Slant of Sunlight”
Mar 28, 2019
Mar 28, 2019
Mar 28, 2019
Dark Night
Mar 28, 2019
Mar 28, 2019
Mar 27, 2019
“I am remembered; remember me.”
Mar 27, 2019
Mar 27, 2019
Mar 26, 2019
“4 Signs Your Heart is Quietly Falling You”
Mar 26, 2019
Mar 26, 2019
Mar 26, 2019
Distant Sky
Mar 26, 2019
Mar 26, 2019
Mar 23, 2019
Lady Example
Mar 23, 2019
Mar 23, 2019
Mar 22, 2019
“I help you to make your own world visible”
Mar 22, 2019
Mar 22, 2019
Our #MIFF2019 may have ended with the anticipated succession of everyday blows in Ken Loach’s ‘Sorry We Missed You’, but it ended on a promising note; forty-four films in a handful of days and we feel invigorated, ready to move into a period of real and energetic making. I close my eyes, and I can see movement; a series of frames, some moving quickly, others lingering. It is not unlike jet lag, which makes sense given all we’ve seen, and I love the toll the festival takes on my head, heart, and body. I love that it gives so much in return for stamina and guts. My body may be sore from making it hold a series of right angle positions, but this can be stretched to what works best in the coming days. Right now, we’re focusing on the impressions left. On the ‘fastrunningjoinedtogether’ poetry of a combine harvester auctioneer in Frederick Wiseman’s ‘Monrovia, Indiana’. The film began with agricultural machines and ended with a grave being filled with a trailer-load of soil; with an undertaker tossing a funeral wreath on the fresh mound as casually as the pig farmer marked his pigs with a crude stripe down the length of their spines. Oh, the mourning‪. Mourning for the soul of a country, mourning ‬that rolled into Patricio Guzmán’s ‘The Cordillera of Dreams’ and his own cordillera (“little rope”) of memories and hope “that Chile [can] rediscover its childhood and its joy”. The archived and ongoing footage by Pablo Salas bears witness to Pinochet and in doing so reveals the wounds still open to be like the mountain range. “In Chile, when the sun rises, it had to climb hills, walls and tops before reaching the last stone of the Cordillera. In my country, the Cordillera is everywhere. But for the Chilean citizens, it is an unknown territory. After going North for ‘Nostalgia for the Light’ and South for ‘The Pearl Button’, I now feel ready to shoot this immense spine to explore its mysteries, powerful revelations of Chile’s past and present history”. — Patricio Guzmán. Our MIFF2019 is anything but over. Films 41–44, the last four ‘Monrovia, Indiana’ Frederick Wiseman ‘The Cordillera of Dreams’ Patricio Guzmán ‘Noah Land’ Cenk Ertürk ‘Sorry We Missed You’ Ken Loach
Forty films so far, and four more to go before the curtain comes down on #MIFF2019, and the picture house becomes a bingo hall, a memory. Image credit: Granada Tooting, now a bingo hall #film #MIFF #cinema #memory #MIFF2020
Walking according to the length of our step. China and Tibet, today. Macedonia, Colombia, USA, Syria, Japan, Mauritius, UK, Russia, Venezuela, Greenland, France, Spain, Portugal, South Korea, Cambodia, Morocco, Iceland, Belgium, Ukraine, Palestine, Ireland, Chile, Sudan, Denmark, Peru, Afghanistan, Greece, Italy, Germany, Taiwan, Australia, our yesterdays. Turkey, tomorrow. #MIFF2019, films 39–40 ‘Leftover Women’ Hilla Medalia, Shosh Shlam ‘Jinpa’ Pema Tseden #film #travel #onfoot #bydream #byscreen #thisiswinter
The bonds formed while smoothing the long strands of dough to make perfect homemade rziza (‘Adam’), and strengthened while eating grapes together to usher in a new year (‘Journey to a Mother’s Room’). The home as a haven. To the outside world, and loss. Grief, change, and moving forward. Making one cup in the morning instead of two: it’s the little things and what they recall and in turn reveal. Scratching at a mark on a glass tabletop, wetting a finger to make sure the mark is gone. Pressing each corner of a napkin firmly as you fold it, as if the cloth would otherwise spring out of shape. “You can’t always be strong.... Sometimes you need other people to help you as well”. Two quiet, remarkable films about the personal journeys of Samia and Abla (in ‘Adam’), and the mother and daughter in ‘Journey to a Mother’s Room’, “towards things that are essential for them in their lives”. The comfort of a nap on the sofa. The warmth of a home knit. Dinner with an episode. Ping! A face illuminated by a screen. Ah, the tenderness of it all. “One day, a young woman came knocking at our door looking for work.... My mum quickly understood that she wasn’t looking for a job, but as the woman was heavily pregnant my mother was worried about sending her away. At that time, it was illegal for a hospital to assist unwed women in giving birth, so my parents decided to take her in. I experienced how this woman was trying to suffocate her maternal instinct. She ignored her belly growing and tried to pretend that nothing was going on. The whole experience moved me very deeply.” — Maryam Touzani, on the origins of her debut film, ‘Adam’ MIFF2019 films 35–38 ‘Journey to a Mother’s Room’ Celia Rico Clavellino ‘The Orphanage’ Shahrbanoo Sadat ‘Judy & Punch’ Mirrah Foulkes ‘Adam’ Maryam Touzani #rziza #family #Morocco #friendship #LubnaAzabal #MaryamTouzani
In your chosen attire, dragging your crinoline skirt, can you still dance the syncopated tarantella with the necessary speed? ‘Sights Unseen: Recent Acquisitions from the Moreland Art Collection’ Until Sunday 18th August, 2019 Counihan Gallery in Brunswick 233 Sydney Road, Brunswick (‘Sights Unseen’ install photograph courtesy of Counihan Gallery in Brunswick.) #collage #collection #inthegallery #artistsbooks #BalletRusses #cabinetcards #SalvagedRelatives
Work commitments may have made for a quieter #MIFF2019 two-film day, but work, overseen by Arthur, here, Leonard and Olive, over there, was from a cosy place. As the last weekend of MIFF draws closer, we made a few changes to our list to accommodate a film told in ellipses. “What does a film that is more like a topography feel like? Or like a map, a landscape. Not landscape as in scenery or ‘beautiful’ backdrop. More as in that you as a viewer are standing in the topography, and the scenes from the film are places you can move between and link”. Yes, we’ve swapped a ‘Sunset’ for a ‘Ridge’ in a map. And added in ‘Iron Fists and Kung Fu Kicks’ for forty-five films in a handful of days. MIFF films 33–34 ‘LongTime No Sea’ Yung-Hui Tsui ‘A Regular Woman’ Sherry Hormann #holiday #thisiswinter #OrchidIsland #somechanges #catsofinstagram #ARegularWoman
“How do we store [everything we see in the world] and adjust? Or do we come to really not care at all? Is that possible? What will be the result if we all don’t care? Will there be any rationality, any purpose in life?” — Ai Weiwei (@aiww), on ‘The Rest’, which, compiled from footage and interviews collected for his macroscopic ‘Human Flow’ (2017), looks at the microscopic, individual trauma refugees face. .... “That is the condition I want to tell Europe: what Europe really is, what we think Europe is, and what we don’t understand. There are over 2 million refugees in Europe. I talked to many refugees. Yes, they’re safe — but at the same time, they’ve become nobody. It’s such a psychological issue: Have you really escaped? And what the struggle means to you. The meaning of your life. You become nobody. You become transparent. You become a number. Someone sees you simply as unsafe, or a threat to their life, or useless. It’s very hard to accept — a smart, intelligent, strong-willed person, or a young boy: Why do they have to feel abandoned like that?” #MIFF2019, films 31–32 ‘The Swallows of Kabul’ Eléa Gobbé-Mévellec, Zabou Breitman (screened with the short film ‘Son of the Sea’ Misagh Zareh, Soniya Sanjari) ‘The Rest’ Ai Weiwei #TheRest #AiWeiwei #animation #thisiswinter #TheSwallowsofKabul
The likelihood of our next zine or artists’ book being called “The figures are of natural size”: high. Nose to beak, up close to John Gould’s ‘A century of birds from the Himalaya Mountains’, ‘The birds of New Guinea and the adjacent Papuan islands: including many new species recently discovered in Australia’, and ‘The birds of Australia’, as part of National Science Week sessions at @museumsvictoria. Thanks for the wings and splendour, all. Gemma and Hayley, especially. #birds #ideas #upclose #JohnGould #inthemuseum #ElizabethGould #FrederickMcCoy
On the soft-as-night heels of ‘Ghost Tropic’, a film-free day proved a challenge. The world demanded words, responses, and chatter. I could no longer sit and ponder, and draw threads from one film to another, finding the tail to the body to the head: a whole, magical giraffe! The world wanted emails, and now, and conversations required not the reading of subtitles and subtext, but snappiness. Or so it seemed. I longed to climb back into the 4:3 world of somewhere in Brussels. To see the light gently alter according to the slow shift of time. To hear the silvered lament within ‘Song Without a Name’. To return to shadows nibbling at outlines. To feel the weight and leap of the Danza de Tijeras’ (Scissor Dance). I am not yet feeling loquacious. And everything is too bright. #MIFF2019 films 28–30 (yesterday) ‘Ghost Tropic’ Bas Devos ‘Queen of Hearts’ May el-Toukhy ‘Song Without a Name’ Melina Léon #memory #yesterday #thisiswinter #GhostTropic #SongWothoutaName
A little mouse. A fairy tale, Grimm. Singing “what the birds know”. Climbing over lava rocks, overshadowed by Basalt cliffs. Animal shadow-hand puppets that crow and bark, alive on the walls. A figure encased in a glass coffin in the landscape. A wise bird in the juniper tree. Pick me a dandelion. A camel in a pink kerchief, their strong, long neck resting upon a blue chair back. Chewing, observing, left, centre, right, centre, ready for their close-up. “Alright, Mr. DeMille, I'm ready for my close-up”. The comic timing of a projection screen that rolls up and makes its action a part of a Charlie Chaplin scene. The shadows of hands as they tease the screen back in place. A budgie swinging in a cage, squawking before it is doused in tea. A young dog in a basket fashioned from a box, growling. Flies on the ceiling. A meadow on a printed dress. An orange-glow radiator. Stains on a shirt front. White bread. A shoe as a weapon. A tiger in a jigsaw puzzle, and a giraffe in a zoo. A camel that lost its hump (ZOO series). Enclosed. 🎞 Looking through the window. Three beautiful, hard, different films yesterday. Resplendent with animals. Three films, back to back, at the Forum. “.... animals are always the observed. The fact that they can #observe us has lost all significance. They are the objects of our ever-extending knowledge. What we know about them is an index of our power, and thus an index of what separates us from them. The more we know, the further away they are.... The zoo to which people go to meet #animals, to observe them, to see them, is, in fact, a monument to the impossibility of such encounters. Modern #zoos are an epitaph to a relationship which was as old as man.... The zoo cannot but disappoint. The public purpose of zoos is to offer visitors the opportunity of #looking at animals. Yet nowhere in a zoo can a stranger encounter the look of an animal. At the most, the animal’s gaze flickers and passes on. They look sideways. They look blindly beyond….” — John Berger, ‘Why Look at Animals?’ #MIFF2019, films 25–27 ‘Talking About Trees’ Suhaib Gasmelbari ‘Ray & Liz’ Richard Billingham (plus Giraffe image) ‘The Juniper Tree’ Nietzchka Keene
‘In the borrowed costume for a spirit of the hours, designed by Alexandre Benois, c 1909, with an Eastern kingbird (Tyrannus tyrannus).’ ‘In the borrowed costume for a friend of Queen Thamar, designed by Léon Bakst, c 1912, with a Dog bat (Rousettus aegyptiacus) and a Magnificent frigate-bird (Fregata magnificens).’ ‘In the borrowed costume of a Polovtsian warrior (Prince Igor c. 1909–37).’ ‘Conversations with a Brown pelican (Pelecanus occidentalis).’ ‘In the borrowed costume for a Maiden from The Rite of Spring, after Nicholas Roerich, 1913, with an Olive colobus (Procolobus verus).’ In light of our artists’ book, ‘Salvaged Relatives’, edition III, on display as part of ‘Sights Unseen: Recent Acquisitions from the Moreland Art Collection’, at Counihan Gallery, we’ve added five Salavged Relatives cartes de visite to our online store. http://gracialouise.com/shop/artwork-salvaged-relatives-on-cartes-de-visite #collage #costume #artistsbook #BalletRusses #SalvagedRelatives
Yesterday’s #MIFF2019 films 22–24, ‘Vision Portraits’, ‘Dirty God’, and ‘Los Reyes’, sparked realisations akin to John Dugdale discovering Emily Dickinson’s poetry. “Dickinson flew over her house and observed her life from above before there were airplanes.... I totally identified with that when I was paralyzed. It was very easy to leave my body.” Dickinson’s words inspired ideas for his photographs that “instantly appear as a picture full blown in my mind.... Being blind is not what you think.... it’s not all darkness. My optic nerve still works and shoots a beautiful ball of brightly colored orange and purple and violet light and sparkling flashes all the time. My mother always used to say, ‘John, I would give you my eyes if I could,’ and I always told her that I didn’t really want them because this experience has been so magnificent. I feel like the Cheshire cat”. From finding ways to be free, soar, and be a Cheshire Cat accessing one’s own inner aurora borealis to being comfortable in your own skin (“I’ve hidden my scars for 15 years, and I’ve been called a monster for 15 years.... So doing this [film has] given me another window to look out. I see myself as a human now, and not as a monster. I love my scars. Look, there are different patterns in them”. Vicky Knight speaking about her own burns in ‘Dirty God’), we want to continue making our own new and honest work. We’ve increased urgency. MIFF2019, films 22–24 ‘Vision Portraits’ (@visionportraitsmovie) Rodney Evans ‘Dirty God’ Sacha Polak ‘Los Reyes’ Bettina Perut, Iván Osnovikoff #DirtyGod #LostReyes #thisiswinter #JohnDugdale #VisionPortraits
Leaving Bettina Perut and Iván Osnovikoff’s ‘Lost Reyes’ with #MIFF2019 orphan Lottie in mind. Be sure to follow her adventures at the Hotel of Bad Habits over on @pasadenamansions. And here’s to you Chola and Fútbol. #Lottie #ValeFútbol #thisiswinter #MIFForphan #dogsofinstagram
Hands in gloves, and gloved hands in pockets, beanies on, ears tucked in, we walk in and out of the city, either side of our #MIFF2019 film sessions. This quiet reflection gives us a chance to sift through what we have seen, heard, and felt, and what we anticipate lies ahead. To this growing memory harvest, I will place the sparrow from ‘It Must Be Heaven’, for their persistence and resourcefulness (finally flying over the hand that kept sweeping it aside), desktop hop-hop charm, and the absurdity of their placement within the neat walls of an apartment in Paris. I will also place the yum-yum hot chips family bond within ‘Rosie’, where brief outbursts were permitted when things became too much to bear, before banding together once more. Their care for each other as a whole gave me hope they’d be able to pull through, and find a safe place to live. Alongside this, the beauty and revelation of the opening scene of ‘Fire Will Come’. As each narrow ribbon of a tree is felled by a bulldozer to the heartbreaking sound of Vivaldi’s Nisi Dominus, there, as bright as headlights in the night, the illumination that things are not what they seem. Those glorious trees are an introduced species to Galicia, the invasive eucalyptus tree. Let’s also place in our collection, a tender and ordinary scene, warming bread on a hot plate in a kitchen. Walking through the loud green with three dairy cows and a dog named Luna. A horse who survived the fire, for now. “I don’t want to be a creator, I want to serve. I always say the same thing: I want to serve the viewer — but what’s the best way to do this? Well, being ambiguous. We have a need for clarity (the great stories, common places). But to “reveal” something you need to “cover it with two veils”. Films must transcend their authors; if they remain at the level of the directors then we’re losing the best of cinema.” — Oliver Laxe #MIFF2019, films 19–21 ‘It Must Be Heaven’ Elia Suleiman ‘Fire Will Come’ Oliver Laxe ‘Rosie’ Paddy Breathnach #MIFF #nature #Vivaldi #thisiswinter #imageharvest
From the pigs in the trough feeding to the ginger cat on the roof reflected in Eric Arthur Blair’s (George Orwell) room as he works on ‘Animal Farm’, Agnieszka Holland knows animals, and the use and abuse of power by those in charge. Just as ‘Spoor’ (a personal #MIFF2018 favourite) gave me “hunters [who] are not [the] only the people who actually kill animals [as a] .... metaphor for the brutal power that doesn’t have any kind of empathy or interest in the lives and feelings of the weakest”, so too does ‘Mr Jones’. And like ‘Spoor’, “courage” is the most “important message”, delivered through reflected images, fractured by beveled glass, altered time, sped up by music-in-pursuit and furious peddling, and the jaw-break snap of eating tree bark. “‘Comrades!’ he cried. ‘You do not imagine, I hope, that we pigs are doing this in a spirit of selfishness and privilege? Many of us actually dislike milk and apples. I dislike them myself. Our sole object in taking these things is to preserve our health. Milk and apples (this has been proved by Science, comrades) contain substances absolutely necessary to the well-being of a pig. We pigs are brainworkers. The whole management and organisation of this farm depend on us. Day and night we are watching over your welfare. It is for your sake that we drink the milk and eat those apples.’” — #GeorgeOrwell, ‘Animal Farm’ #MIFF2019, films 17–18 ‘Mr Jones’ Agnieszka Holland ‘The Souvenir’ Joanna Hogg #Holodomor #GarethJones #manmadefamine #AgnieszkaHolland
This is Snooks. We met him at the RSPCA East Burwood shelter as we waited for little Artie’s vet check. Snooks (ID No. 707320) is an independent eight years old, and he is looking for someone to share a couch with of an evening. He also likes the occasional ear rub. Have you room on your couch for him? #cats #RSPCA #RSPCAvic #adoptdontshop #catsofinstagram #blackcatsofinstagram
“Rachel Poliquin, in her 2012 book, The Breathless Zoo, writes that “taxidermy is deeply marked by human longing,” revealing our hopes and dreams about our place in the natural world. Natural history dioramas present a carefully constructed, perfectly encapsulated and controlled experience of nature, revealing as much about humanity as about the nature depicted. For my recent series, Broken Models, I negotiated access to photograph dioramas in various stages of being decommissioned. Using these fictional spaces to create imaginary scenes of my own, I introduced a worker wearing a white Hazmat suit, making notes of his observations. While the worker’s tasks are unidentified, the series suggests a scientific method of understanding and quantifying our experience of nature. The white Hazmat suit was an aesthetic choice for these dimly lit interiors; however, it was intentionally chosen to evoke images of advanced technology labs where the environment needs to be protected from the worker. The series title, Broken Models, refers to the deteriorating dioramas I photographed and to our failed construct of the environment as one of inexhaustible resources and the resiliency to accommodate, unchanged to our abuses.”— Jennifer Steensma Hoag Our heads are wading through ideas and possible action. Treasuring that tiny, bright spark of hope that we’ve not felt warmed by for a long time. Image credit: Jennifer Steensma Hoag, Broken Models series (detail) #nature #museum #collection #environment #BrokenModels
#MIFF2019, films 14–16, with huldufólk, (unknown money-bag) saints, trouble, and a hard-working guard dog with gold teeth. Wednesday, waiting for silence, rain, nightfall, opportunity, reason, and understanding. Find me by the lava rocks, still, until tomorrow’s crop (of films/places/maps). ‘The Unknown Saint’ Alaa Eddine Aljem ‘The Seer and the Unseen’ Sara Dosa ‘Young Ahmed’ Jean-Pierre Dardenne, Luc Dardenne (Look up! The Capitol (formerly the Capitol Theatre), designed by Walter Burley Griffin and Marion Mahony Griffin.) #film #fable #nature #thisiswinter #environment
“Both narratives and maps are frameworks used for organising knowledge in order to help us better understand the world and our place in it.” (May Yuan, ‘Mapping Text’ in The Spatial Humanities: GIS and the Future of Humanities Scholarship (Bloomington and Indianapolis: Indiana University Press, 2010)) Image credit: Ragnhildur “Ragga” Jónsdóttir in Sara Dosa's ‘The Seer and the Unseen’ #nature #Iceland #huldufólk #MIFF2019 #environment
“Bimblebox 153 Birds is an installation of artist prints, poetry, prose and musicians’ birdcalls by over 450 people worldwide who have been inspired by the birdlife of the Bimblebox Nature Refuge. It’s our story of our birds, how we experience them and sadly, how we could lose them. The Bimblebox Nature Refuge is in the Galilee Basin and is threatened by coal mining. [Help] save and protect the Bimblebox Nature Refuge! Now the Carmichael mine has all its approvals, all the other coal mines slated for the Galilee Basin will be pushing to finalise their approvals and begin mining. The Bimblebox Nature Refuge is heading into the fight of its life as Clive Palmer’s Waratah Coal push toward their goal of mining Bimblebox.” — Jill Sampson, coordinator and curator of Bimblebox 153 Birds Bimblebox 153 Birds next exhibition: 3 – 14 September, 2019 Webb Gallery, Queensland College of Art, Griffith University, 226 Grey Street, Southbank, Brisbane We created two collages for this in 2014 and are happy our birds are still flying strong. @bimblebox153 Image credit: ‘Jonge vogel’ (detail), Frederika Henriëtte Broeksmit, 1919 – 1929, drawing, 340 mm × 215 mm #birds #nature #StopAdani #Bimblebox #climatecrisis #Bimblebox153
 
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