Bio
Inspired by dance and tiny creatures of the sea, I make works in response to country and fellow living entities, including scientists and artists who freely share their data, art and stories.
Story telling is the ancient art of passing on knowledge that is vital for sustaining communities. Story telling is also the ancient art of distracting from truth for personal gain.
To paraphrase Carmel Bird in her novel Crimson Velvet Heart (2025. p.138),
Let us pause here and consider the biologist Claude Perrault - brother of Charles, whose fame as a teller of tales has far outstripped the fame of his scientist brother Claude".
Scientists must collaborate with artists, or be artists too, for their stories to reach beyond their labs and academic circles.
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This is me, minutes before presenting with marine biologist William Gladsone at the 2015 Vivid event at Sydney's Powerhouse Museum. Hosted by Natasha Mitchell, our aim was to inspire more collaborations between scientists and artists. Bill and I presented scientific data and artistic responses to changes in the ocean that we know are disrupting ancient mating dances of sea creatures, and who knows what else. We acknowledge that everything in nature is connected. We are curious to know how that works. Bill knows about Sex in the sea. I know about krill sex. I drew from life Euphausia superba (Antarctic krill), keystone creature of the Southern Ocean - my totem. |
My heritage is Aboriginal Australian and European. I know this from family stories passed down, and from relatives finding me online. Like many people dispossessed of cultural knowledge of their Indigenous forebears I work to reconnect the diverse ways of knowing that sustained Aboriginal Australia for tens of thousands of years. Since childhood I identified as a living entity inseparable from nature. I learned from my elders that diversity in nature, including human nature, is vital for health of people and communities. As my grandmother said, "Everybody has a place".
Born on Norfolk Island, I lived in Christchurch and then Kallista in Victoria's Dandenong Ranges, in the house built by my English ancestors, artists Lillie Williamson and Tom Roberts. My mother worked in Melbourne as a tailor and then as an artist with Bill Onus in his shop, Aboriginal Enterprises. My father helped establish and maintain information and communication systems in Darwin, Norfolk Island, Christchurch, Melbourne and the North Sea.
I worked in Antarctica as an artist with the Australian Antarctic Division and was Artist in Residence in the Faculty of Science at the University of Technology Sydney. I completed Aboriginal Studies at Eora College and then a PhD at the University of New South Wales. These explorations led me to reconnect with my Aboriginal family and to recognise the primal forms in nature, art and scientific data, as languages of relationship, change and transformation, that are available to everyone. Whilst our languages embody diverse cultural knowledge systems and beliefs, the scientific method has potential for sharing understandings of how to sustain the physical realm that sustains all life.
Now an Adjunct Research Fellow at Charles Darwin University, I work on language projects with Indigenous Software Engineer Cat Kutay.
Written by me, Lisa Roberts/Euphausia superba (Antarctic krill), on
28/08/2026
| Interactive community works | |
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2024-ongoing | Portrait of Community |
Portrait of Community a traveling, mixed-media exhibition showcases the collective efforts of scientists, artists, academics, and community members to highlight the impacts of climate change on our planet and its inhabitants. This evolving exhibition responds to the global failure to act on climate recommendations from Indigenous scientists and the Intergovernmental Panel on Climate Change (IPCC). Supported in kind by art residencies at Sawtooth ARI, and Gallery 371 Sydney.
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2020-2026 | Seeding Treaties |
Seeding Treaties evolved as scientists, artists and other scholars shared and grew knowledge to inspire more people to tell their own stories of relationship to the natural world, and to make their own treaties (agreements) for living and working well together. Due to Covid 19, our initial travel plans changed. Then in 2024, Portrait of Community evolved to continue the journey and its purpose. Supported in kind by Art Residencies at University of Technology Sydney, Faculty of Science, and the Australian Antarctic Division, and the Victorian College of the Arts, Melbourne. Special thanks to Eora TAFE and Boomalli Aboriginal Artists Co-operative for hosting our work before Covid.
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2020-2026 | Lunartime |
Lunartime combines stories freely shared to build a bigger picture than a single creature can tell about relationships that sustain life. Inspired by learning Tyson Yunkaporta's ways of knowing, this work evolved from interactions with many people and places. Supported in kind by an Art Residency at University of Technology Sydney, Faculty of Science.
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2010-2026 | Living Data |
Soon after working in Antarctica, Living Data began from chance meetings with scientists in Sydney, to evolve into an independent long term programme for making known understandings that evolve from interactions between scientists, artists and Indigenous knowledge holders. Supported in kind by an Art Residency at University of Technology Sydney, Faculty of Science, and a residency at the Australian Antarctic Division.
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2007-10 | Antarctic Animation |
An on-line doctoral study of how animation can be used to combine scientific data and subjective responses to Antarctica. Completed in 2010. The doctorate was administered through the College of Fine Arts, University of New South Wales, Australia, and supervised by Dr Simon Pockley and Mr John Hughes. | |
2002- 04 | Icemelt |
An animated film and interactive work on CD-ROM (42 days in Antarctica) were my responses to Antarctica and the Southern Ocean, and ongoing conversations with scientists and artists who have worked there. The works are the results of a Fellowship I received with the Australian Antarctic Division, and funded by the Australia Council's New Media Fund. | |
2002- 03 | Imagining a Different View |
An animated Antarctic Journal on CD-ROM. Commissioned by the Australian Antarctic Division. | |
1999- 01 | Roget's Circular |
An animated interactive CD-ROM, Roget's Circular, and associated art work were developed in collaboration with Tasmanian artist Melissa Smith and exhibited at Gallery 101, Melbourne, as part of the Centenary of Federation celebrations in 2001. The CD-ROM was integrated with the Macquarie Thesaurus and published by Macquarie Library in 2000. | |
1999- 00 | A Little Skiting on the Side |
An interactive CD-ROM developed in collaboration with the Flinders Island community, led by Annabel Apps, as an Identity Distinct project, funded by Tasmanian Regional Arts through the Australia Council for the Arts. | |
| Residencies | |
2026 | Charles Darwin University, Adjunct Research Fellow, Faculty of Science and Technology, Information Technology. |
2012-2018 | University of Technology Sydney, Visiting Fellow/Artist in Residence, Faculty of Science. |
2025 | Sawtooth ARI (Artist Run Initiative), Launceston Tasmania. Artist in Residence |
2012-2018 | University of Technology Sydney, Visiting Fellow/Artist in Residence, Faculty of Science. |
2018 | Australian Antarctic Division, Tasmania, Visiting Scientist (a.k.a. Artist), |
2014 | Beijing International School, China. Artist in Residence |
2005 | Tom Roberts Festival, Inverell, NSW, Workshop facilitator |
2002 | Marine Science Voyage 7 - Mawson and Davis stations, Antarctica. Australian Antarctic Division Humanities Programme. |
2000 | Flinders Island, Tasmania, multimedia community artist |
1999 | Tasdance, Tasmania, Multimedia artist for performance |
1999 | Helyer College, Tasmania, multimedia / performance art |
1998 | Launceston College, Tasmania, Animation for teacher professional development |
1997 | Scotch Oakburn College, Tasmania, Artist in Residence |
1995 | Scotch Oakburn College, Tasmania, Artist in Residence |
1994 | Wesley College, Melbourne, Artist in Residence |
1992 | Manangatang P-12, Victoria, Artist in Residence |
1989 | Ardeer High School, Victoria, Artist in Residence |
| Events | Exhibitions | Screenings | |
2020 | Living Data: Using cultural arts practices to support evidence-based policy Animated presentation with Ellery Johnson for the Australian Freshwater Science Conference, Moree NSW |
2020 | Lunar Time: Living Data Library Animated stories for the seminar, Listening in the Anthropocene, Charles Sturt University, NSW |
2020 | Living Data: Voices from the Southern Ocean and Living Data: Seeding Treaty Animated presentations for the Woodford Festival, Queensland |
2019 | Living Data: Seeding Treaty Animated presentation for NAIDOC Week, Boomalli Aboriginal Art-Cooperative, Sydney |
2019 | Living Data: Seeding Treaty Animated presentation at Eora Aboriginal College (TAFE) and University of Technology Sydney, for National Science Week, Sydney |
2019 | Living Data: Seeding Treaty Animated presentation for the conference, Antarctic Connections at the End of the World Ushuaia, Argentina |
2018 | Lens on Health: Reading Mother Country Healing Our Spirit Worldwide Eighth Gathering University of Sydney at International Conference Centre, Darling Harbour |
2018 | Lens on Health: Indigenous and Western Views Event for National Science Week and Sydney Science Festival,University of Technology Sydney |
2018 | Gumbayngirr story: Totemic relationships allow Indigenous peoples to be Landscape Ecologists Animated installation with Chels Marshall, for the 2018 Bowen conference, 'Species Extinctions and Ecosystem Collapses', Shine Dome (Australian Academy of Science), Canberra |
2017 | Transformations (Animated installation), for the Eora Aboriginal Cultural Arts Exhibition, Carriageworks, Sydney. |
2017 | Ocean Light Projections: Transformations, Ambient Boomerang (Animated installation), for the Boomerang Alliance Inaugural Conference, Darling Harbour, Sydney. |
2017 | Watch out: Data and Spirit Warning (Animated installation), with artists from Eora Aboriginal College, for the the Australian Society of Limnology (ASL) Conference, University of Technology Sydney |
2017 | Oceanic Bliss: From isolated heroes to interdisciplinary relationships (Screening/Presentation), Depths and Surfaces Antarctic conference, Institute for Marine & Antarctic Studies, Hobart |
2017 | Science not silence: Lab Coat Art (March for Science), Sydney |
2016 | Oceanic Bliss: Living seagrass (Installation/Workshops), Manly Art Gallery & Museum, Sydney |
2016 | Who needs Pokemon? Street ArtScience (Animated Street Theatre) Newtown, Sydney |
2016 | Oceanic Bliss (Animated Installation) Sur Polar exhibition, Complutense University, Madrid |
2015 | Oceanic Living Data (Animated Installation/Objects permanent display) Sydney Institute of Marine Science (SIMS), Sydney |
2015 | Antarctic Animation & Oceanic Living Data (Screening/Presentation) Keeping Company Saltwater Forum |
2015 | Oceanic Living Data (Animation installation) Inaugural Burrinja Climate Change Biennale, Upwey, Victoria, Australia |
2015 | Walk Through Living Data (Animation/Presentation) Inaugural Sydney Science Festival, University of Technology Sydney |
2015 | Living Data (Presentation) TIERS (Trends In Environmental Research Series), University of Technology Sydney |
2015 | Algae/Mimi/Anthropocene (Objects) An Anthropocene Cabinet of Curiosities, Australian Galleries, 2015 Climarte Festival programme |
2014 | Living Data: Align (Animation/Objects) Hothouse Waterways exhibition, Central Park, Sydney |
2014 | Oceanic Living Data (Animation/Drawings/Objects) University of Technology Sydney, for Living Data: Evolving Conversations exhibition/Forum, Ultimo Science Festival, Sydney |
2013 | Oceanic Living Data (Screenings/Workshops) Beijing City International School, China |
2013 | Aquatic Botany (Objects) Australasian Society for Phytology and Aquatic Botany conference, Sydney Institute of Marine Science (SIMS) |
2013 | Krill Sex (Video Installation) Conservation of Antarctic Marine Living Resources (CCAMLR) 8-day meeting, Hobart |
2013 | Light Responses (Video Installation) Living Data exhibition, Sydney Science Festival, The Muse, Ultimo, Sydney |
2012 | Oceanic Living Data (Video Installation) Eora Aboriginal College, Sydney |
2012 | Oceanic Living Data (Video Installation/Performance) Sydney Festival, Customs House, Circular Quay |
2012 | Oceanic Living Data (Video Installation) Sur Polar International Conference and Festival of Antarctic Culture, Centro Cultural Ricardo Rogas Centre, Buenos Aires |
2012 | Imaging NatureII (Conference), Wilderness alive: Reconnecting through a collaborative research practice. Presentation, Tarraleah Lodge, Tasmania |
2012 | Oceanic Living Data (Installation) 35th Antarctic Treaty Consultative Meeting, Hobart |
2012 | Oceanic Living Data (Performance) Rozelle School of Visual Arts, Sydney |
2012 | Dreams and Imagination: Healing pathways (Conference) Oceanic Living Data installation, Sydney |
2011 | Antarctica: Music, sounds, Cultural Connections, (Conference) theatrical presentation, Australian National University, Canberra |
2010 | Sydney International Animation Festival, (Symposium and screening) animation, University of Technology, Sydney |
2010 | Antarctic Visions |
2009 | Polar Palooza |
2009 | GLOBEC |
| Qualifications | |
2017 | Certificate III, Aboriginal Cultural Arts |
2007-2010 | Doctor of Philosophy |
2004-2007 | Graduate Diploma Aboriginal Studies |
1995-2000 | Master of Art |
1988 | Graduate Diploma Film and Television |
1976 | Diploma of Education |
1969-1971 | Diploma of Art |
| Studies | |
2018 - | Aboriginal language |
2011-2017 | Dance |
1980-2007 | Dance |
1979 | Graduate Diploma Movement and Dance (Candidate) |
1968-1970 | Bachelor of Arts (Candidate) |
1968 | Night School Studies |
1962-66 | Theatre School Studies |
| Teaching | |
2014-17 | Casual academic, Faculty of Arts and Social Sciences, and Faculty of Creative Intelligence, University of Technology Sydney |
2011 | Casual academic, Faculty of Design, Architecture and Built Environment, University of Technology Sydney |
2005 | Full-time teacher, Visual Arts and English, Conservatorium High School, Sydney |
1998 | Part-time teacher, Multimedia, Launceston College, Tasmania |
1997 | Casual teacher, Art, Scotch Oakburn College, Tasmania |
1996 | Sessional lecturer, History of Dance Education, University of Tasmania, Launceston. |
1993-94 | Sessional lecturer, Post Graduate studies in Computer Animation, School of Film and TV, Victorian College of the Arts, Melbourne |
1993-94 | Sessional lecturer in Drawing, La Trobe University, Melbourne |
1992 | Sessional tutor, Animation, Swinburne Film & TV School, Victoria |
1992 | Temporary part-time teacher, Design, Cheltenham High School, Victoria |
1987 | Part-time teacher, Arts/craft, Caulfield Montessori School, Victoria |
1985 | Drawing through Movement teacher, Studio 4 (Hanny Exiner), Brunswick Street, Brunswick, Melbourne |
1977-79 | Part-time teacher, Art and Media Studies (Animation), Wesley College, Prahran. |
| Related work | Employment | |
2006-08 | Marker, NSW English skills tests (ELLA & BST), Australian Centre for Education Research (ACER), Sydney |
2004 | Teacher (Art, Computer Graphics, English), Conservatorium High School, Sydney |
2003 | Emergency Teacher (Art, Computer Graphics, English), Tempe High School, Sydney |
2002 | Convenor, A Life and Death Show, Cleveland Gallery, Cleveland, Tasmania |
2001 | Interactive Author, Tasmanian Wood Design Collection CD-ROM, Pub. TECC |
1995-97 | Advisor, Arts Tasmania Events Panel (dance/visual arts/multimedia) |
1994 | Curator, Bitmap 101 for the Art and Technology Programme of the Next Wave Festival. |
1994 | Curator, Bitmap 101 - National Exhibition of Electronic Art, Next Wave Festival, Gallery 101, Melbourne. |
1993 | Judge, ATOM Film Awards (Animation), Melbourne. |
1992 | Co-Curator; ArTech, Next Wave Festival, for Great Hall, National Gallery of Victoria. |
1991 | New Media Resources Developer, The Animation Network, Melbourne. |
1989 | Assessor, Australian Film Commission, New Image Research Program. |
1989 | Background Artist, The Greatest Tune on Earth, Children's Television Foundation. |
1989 | Animator, People First of Australia Unit. |
1989 | Animator of front credits, The Damnation of Harvey McHugh, ABC TV. |
1989 | Writer, Electronic Arts, Australian Multimedia Magazine (Sydney). |
1989 | Judge, ATOM Film awards (Innaugural Interactive Media awards), Melbourne. |
1989 | Tasmanian Electronic Commerce Centre. |
| Prizes | Sponsorships | Grants | |
2024 | Glebe Art Prize for Painting, Sydney. |
2013-2018 | In kind support for Living Data, from Lynchpin: The ocean project, ArtCop21: Cultural program for Paris climate, Climarte: Art for a safe climate, Wacom, Benq Australia. |
2013 | Creative Fellowship, Climate Change Cluster, University of Technology Sydney |
2007 | Australian Post Graduate Award, University of New South Wales |
2004 | Macromedia sponsorship for development of Antarctic Portrayals (working title) |
2002 | Australian Antarctic Arts Fellowship, Aurora Australis V7. |
2002 | Macromedia sponsorship for Antarctic residency, Aurora Australis V7. |
2002 | Australia Council New Media Grant for development of new work |
1999-01 | Macromedia, Department of State Development, Tasmania, and MINOLTA for the development of Roget's Circular |
1998 | Computerland and Macromedia sponsorships for interactive CD-ROM, Islands |
1997 | Computerland, Autodesk and Macromedia sponsorships for interactive CD-ROM, Terra Incognita. |
1995 | Melbourne Fringe Festival Special Commendation Award, for film, Beware of Pedestrians. |
1994 | Australian Film Commission grant for film, Beware of Pedestrians. |
1994 | Redflex touch screens sponsorship for touch screen installation, The Perfect Dream and the interactive CD-ROM, Roget's Circular. |
1991 | Australian Film Commission Grant for film, Sophie. |
1991 | Telematics Trust Grant development funding for educational software in computer animation. |
1981 | Australian Film Commission post-production grant for film, Still Lives. |
1974 | Australian Film Institute grant for film, Still Lives. |
1971 | National Gallery of Victoria Drawing Prize. |
| Collections | |
Sydney Institute of Marine Science, Sydney | |
Victorian College of the Arts, Melbourne, Victoria | |
Melbourne State College, Melbourne, Victoria | |
The State Bank, Melbourne, Victoria | |
Queensland University of Technology, Queensland | |
State Library of Tasmania, Hobart, Tasmania | |
The Australian Antarctic Division, Kingston, Tasmania | |
The Joseph Brown Collection, Melbourne, Victoria | |
Private collections in Australia, New Zealand, Indonesia, Spain, the US and the UK | |
Artist's collection, Sydney | |
