Exhibition flyer

exhibition: in the heat of the moment

Artist: Adam Sébire (2015)

An interdisciplinary art/science exploration of the sensory (im)perceptibility of anthropogenic global warming.

The exhibition comprises thermographic stills & video art of bodies in Australian bush landscapes, created using a high-resolution thermal imager loaned from the UTS Climate Change Cluster (C3) as part of a Culture at Work residency. 

Thursday 4 June — Monday 8 June 2015

Exhibition open 12:00-17:00 daily incl. Monday public holiday
Opening drinks Thursday 4th June 18:00-20:00
(short artist’s talk and introduction by Prof. Bruce Milthorpe, Dean of Science at University of Technology Sydney at 19:00)

venue:  Accelerator Gallery
Culture at Work
6 Scott Street, Pyrmont
Sydney, Australia
(light rail: John Street Square)

On 29 August 2016 scientists met & concluded (subject to official ratification) that we've left the Holocene: the 12,000 years of relative climatic stability that enabled human civilisation. This is an artwork made in with a thermographic imager heralding what promises to be a pretty scary ride for the next few thousand years at least: The Anthropocene.


With thanks to:

UTS Faculty of Science
Dr. Andrea Leigh
Prof. Bruce Milthorpe
Dr. Lisa Roberts
Marea Martlew




Culture at Work
Sherryl Ryan

• Anney Bounpraseuth
• Nina Gallo • Josie Howlett
• Michelle Demos • Sue Theron

About the works:

Thermography aims to record and visualise the invisible: infrared heat data.

As an artist I'm interested in this everyday (im)perceptibility of global warming to those of us living typically hermetic existences. Since a good deal of ‘civilisation’ is focussed on insulating ourselves from the vicissitudes of weather, it becomes much easier to ignore looming climatic problems when there's little or no sensory experience of them to confront. 

The United Nations’ Intergovernmental Panel on Climate Change (IPCC) has gathered evidence that our planet’s surface temperature has already risen by an average of 0.89ºC over the period 1901–2012 — and sea levels by 19cm from 1901-2010* — yet these figures rarely make themselves apparent in our daily lives.

For global warming is what philosopher Timothy Morton terms a hyperobject — "an entity that is so vast and so long lasting that we humans only see pieces of it at a time".  Furthermore, its effects develop in spatial and temporal dislocation from their causes, making them difficult to represent in a society which emphasises “seeing is believing”.  
Until it's too late, that is.

in the heat of the moment thermographically images nudes in Australian bush environments to explore — on an aesthetic level — anthropogenic (human-made) global warming. It uses a high-resolution thermal imaging camera generously loaned from Dr. Andrea Leigh in the UTS Climate Change Cluster (C3), where it's used to analyse leaf temperatures in Australia's arid zones. Higher resolution imagers than this are restricted technology due to their military applications. The imager records hundreds of thousands of points of heat data in infrared wavelengths before visualising them in colour spectra apprehensible to the human eye.

The electromagnetic spectrum, including infrared (diagram from CSIRO Australia). Click to enlarge.

Over many weeks I learnt to use the device, experimenting with its data aesthetically through cinematic techniques such as depth of field, mise-en-scène, camera movement, and slow motion. By adjusting the device's parameters in ways probably unintended by its engineers, the resultant thermograms take on quasi-Fauvist qualities.

In these videos and stills nature is brought to the fore whilst the defocussed nude figures punctuate the night scenes' backgrounds with their radiant heat, illuminating and silhouetting the foliage. In the video works they leave behind heat prints on their surrounding environment. In this way thermal imagery perhaps offers us a non-human perspective on the Anthropocene.

— Adam Sébire, June 2015.

Working Group I Contribution to the IPCC Fifth Assessment Report, Intergovernmental Panel on Climate Change. "Climate Change 2013: The Physical Science Basis." Stockholm, Sweden, 2013. 6, Section B4.

Some video excerpts from the exhibition.

You can read an interview with Adam about his artwork around global warming and the Anthropocene on Climate in Conversation (July 2016) or download the PDF, right:


Update (March 2016): Some random tests recorded with the imager!

dance performance: melt (in the heat of the moment)

Filmmaker/Artist: Adam Sébire
Choreographer: Robyn Seiboth
Dancers: Sally Biermann, Lisa Roberts, Robyn Seiboth

Using the same techniques as described above, live projections of thermographic dance were created for the BEAMS Festival, Chippendale Creative Precinct, on the evening of Saturday 19 September 2015.  

The dancers were rear-projected realtime from within a disused shop onto its glass coated with Greek yoghurt — to form a screen for the thousands of Festival-goers outside.  The live dance was interspersed with thermographic images of rural and urban environments (see video below) while the performers took breaks. The choreography explored how the heat energy of our bodies shapes the world around us: from the way touch changes personal relationships  — to a global level, where our actions (and inactions) warm the planet.
(Behind the scenes documentation courtesy Lisa Roberts on YouTube.)

Stills below (click for enlargement):

Vimeo password: thermals

Work-in-progress (2016, ongoing)

Above: Narcissus by the Reflecting Pool (Infrared Image 00662-5) (2015)
About the work: This thermographic (infrared) image was recorded one clear midwinter's night in Blackheath. It uses a thermal imaging camera loaned from UTS climate scientists. I was looking for new visual representations of global warming beyond the usual glaciers, smokestacks, floods and droughts; something that evoked its anthropogenic, human origins. In my experiments I discovered thermography could show our species warming the environment both literally and metaphorically. Ominously in this scene the pond had retained enough heat from the day to reflect the atmosphere glowing an eery warm orange. Despite the cold, I posed as Narcissus, one of many Greek mythological figures whose stories warn humans against hubris.