‘The Longest Echo’ 2024 is an iterative work which first took shape as an artist residency at the Commonwealth of New Bayswater Post Office as a publicly accessible exchange that traded tattoos (designed and made by Awaida) for voice-note offerings (collected and edited by Monty).

As their residency unfolded, likewise did the journey of the artwork: designs inspired by the artist’s own ceramic practice were translated into visual scratchings on the participant, who in turn left a sensory marking of their own as a voice recording, born anew as anonymous USB letters in the hands of the recipient.

In its exhibition format, ‘The Longest Echo’ returns to its material origins of ceramics and audio recordings and posits the gallery space as an imaginary world; a place where each of the voice offerings can find a home and sustain their fantastical potential.

Mayma Awaida is a first-generation Lebanese curator and producer interested in community-engaged creative practice. Drawing from her migrant background, her work investigates spatial politics and how experiences of displacement and transience expand the capacity to meaningfully engage with ‘local’ environments. With a focus on site-responsive and participatory work, her practice is driven by finding creative solutions towards collaboration that can empower non-specialist audiences to look critically at their understandings of place. Mayma creates and contemplates on Whadjuk Noongar Bibbulmun boodjar.

Emilie Monty is an emerging artist based on Whadjuk Noongar boodjar, Walyalup. Often working site-responsively spanning installation, sound design, printmaking and ceramics with an interest in translating sensory experience into creative settings. Their approach to art-making involves playful experimentation, research through collaboration and the goal to engage participants in new ways.

‍