| Leonardo/ISASTwith Arizona State University

Fayen d'Evie

Focus area: , , Sound, Acoustics, Net Art, Analog, , Art History, Urban Planning, Built Environment, AI (Machine Learning, Neural Networks, Deep Fakes), Augmented Reality, Sculpture, Spacial, Astronomy, Space, Biology, Body, Self, Computer Science, Engineering, Cultural Practices, Social Practice, STEAM, Pedagogy, Education, Design, Environmental Art, Eco Art, Land Art, Fabrication, Maker Art, Illustration, Painting, 2D Forms, Holography, Generative Practices, Generative Art, Chemistry

Fayen dEvie is an artist, writer, and publisher, born in Malaysia, raised in Aotearoa New Zealand, and now living in the bushlands of unceded Jaara country, Australia. Fayen advocates blindness as a critical position that offers methods for navigating intersensory conversations, the tangible and intangible, hallucination, uncertainty, the precarious, the invisible, and the concealed. She is the founder of 3-ply, which approaches artist-led publishing as an experimental, critical, and poetic site for the creation, mutation, dispersal, and archiving of texts. With artist and Yindjibarndi woman Katie West, Fayen co-founded the Museum Incognita, a decolonised museum structure grounded in custodial ethics, that activates collective readings of neglected and obscured histories, through sensorial scores, performative encounters, and intertwining threads of story. Selected exhibitions include: Bella Room commission, Museum of Contemporary Art, Sydney, 2021; Adelaide//International , SAMSTAG Museum of Art, Adelaide, 2021; The National, Art Gallery of NSW, Sydney, 2019; Eavesdropping, Ian Potter Museum of Art, Melbourne, 2018; ee//hm, KADIST, San Francisco, 2016; Beyond Exhausted, Physics Room, Christchurch, 2016; […] {…} […], Gertrude Glasshouse, Melbourne 2016; Human Commonalities, V.A.C. and the State Museum of Vadim Sidur, Moscow, 2016; Endless Circulation, TarraWarra Biennial, Healesville, 2016; Habits and customs of _______ are so different from ours..., Kadist, Paris, 2016; Foot-notes, 3rd Ural Industrial Biennial, Yekaterinburg 2015; Just as Money is the Paper, the Gallery is the Room, Osage Art Foundation, Shanghai, 2015; and Sunny and Hilly, Minerva, Sydney, 2014. In 2019, Fayen was a finalist in the Incinerator Award for Social Change, and a finalist in the Experimental Print Prize of Castlemaine Art Museum. Fayen was a Creative Victoria Creator 2018. She was awarded the Melbourne Sculpture Prize Rural and Regional Development Award 2017, and an Ian Potter Cultural Trust Award 2017. She was a finalist in the John Fries Award 2017, a resident artist at Gertrude Contemporary 2014-2016, and a finalist in the Macquarie Emerging Artist Award in 2014. From 2017-2019, Fayen collaborated with Georgina Kleege (UC Berkeley) and the Artist Initiative of the San Francisco Museum of Modern Art (SFMOMA) to explore sensory encounters with artworks from the collection and temporary exhibitions. Fayen has provided creative provocations and pedagogical guidance to numerous arts institutions committed to more inclusive structures and more ambitious curation of disability-led practice. She is a core member of the Society of Visually Impaired Sound Artists (SoVISA), and in 2019, Fayen joined the Board of Directors of the Australian Centre for Contemporary Art (ACCA). Prior to artmaking, Fayen worked in international peacebuilding education and sustainability, for the United Nations mandated University for Peace, and for the Earth Council. She continues to advise initiatives at the nexus of peacebuilding and arts, especially disability arts and social justice projects. Fayen is a lecturer in the Masters of Communication Design programme of RMIT University, teaching experimental typography, curating and exhibiting communications design, and studios grounded in archival research, creative access and transformative pedagogies.