This artwork, titled Naarm, takes its name from the Woiwurrung language of the Kulin Nation, where it means “place,” paying homage to the deep connection between the land and its First Peoples. The piece is a layered exploration of time and space, combining a DSM (Digital Surface Model) generated from LiDAR data, hydrology networks, contours, and pre-settlement maps to bridge the gap between Melbourne’s current urban fabric and its landscape before colonization.

Through these layered representations, the artwork reveals the profound transformation of Naarm’s terrain. The hydrology layers bring attention to the waterways that once defined the region’s ecology, many of which have been reshaped or lost due to urbanization. The contours and LiDAR data capture the topographical essence of the land, while the pre-settlement maps serve as a poignant reminder of the rich ecological and cultural heritage that predates the city’s development.

To enhance the piece’s emotional and visual impact, resin is applied over the surface, creating a reflective and vibrant finish. The resin not only amplifies the artwork’s luminosity but also evokes the imagery of water—an essential element in the story of Naarm—while offering viewers a mirrored perspective that encourages self-reflection on their relationship with the land.

This work is more than a visual representation; it is an invitation to dialogue. It encourages viewers to consider the layers of history embedded in the land, to recognize the enduring presence of the First Peoples, and to reflect on the ecological and cultural shifts that have shaped Naarm. By juxtaposing the pre-settlement landscape with the modern urban grid, the artwork seeks to inspire conversations about land care, sustainability, and reconciliation, connecting the past, present, and future of Naarm as a “place” of ongoing significance.