Based on the optical and physical navigational challenges involved in ascending the steep Lost World Track high on the flank on kunanyi.
This unformed track is indistinct from the fallen jumble of car-sized dolerite boulders that it steeply ascends. Occasional boulders have been hand-painted with circular red and yellow track-markers to help guide the way. However, these markers are beginning to fade and are increasingly hard to spot as they blend in visually with the circular lichen that also colonise the boulders.
As one ascends this steep track, scrambling with hands and feet over rough dolerite, avoiding the deep-dark-clefts between the rocks, one gets a sense of the mark of humans fading into the depth of an ancient, slow geology. These dolerite boulders having been formed during the Jurassic Period 170 million years ago.
Adrian Bradbury holds a Diploma of Visual Arts (RMIT, 2003), a Bachelor of Health Science (Victoria University, 2008), and Honours in Painting (University of Tasmania in 2018). He is currently undertaking a Masters of Research into the question of; how can the state of being lost be used within a painting practice to articulate the complex and entangled relationships between human navigation, wilderness and nature?
Bradbury has twice been a finalist in the Waterhouse Natural Science art prize, 2018 and 2016.
His work has featured in Lume, White Horses, The Mercuary, The Examiner, The Advocate, and on set of The Gloaming.
Solo exhibition venues include Moonah Arts Centre, Schoolhouse Gallery, Rosny TAS, Maker’s Space Gallery, Burnie, TAS, Salamanca Arts Centre, Hobart TAS, Stillwater Gallery, Launceston TAS, Sawtooth, Launceston TAS and Dark Horse Experiment, Melbourne, VIC.