Anticolonial Fireman Stripper Communes with (Wronged) Asterion in the Last Days of Fountains, 2019, acrylic (mis-tints) on poly-cotton (discarded quilt cover), 1400 × 2100 mm

Manspread, 2020, acrylic (mis-tints) on (discarded) board, 300 × 400 mm

Pasiphaë Poster, 2020, acrylic (mis-tints) on (discarded) Masonite, 1220 × 2440 mm

Sexualised Workers Mural (‘Real’ vs. Actual Work: Scott Cam vs. David Graeber), 2020, acrylic (mis-tints) on (discarded) board, 400 × 300 mm

Super Spreader, 2020, acrylic (mis-tints) on (discarded) board, 290 × 400 mm

There is No Art Market in Australia Because Money is so Easily Laundered Through Real Estate (Painting a Fake Art Film Set From Beverly Hills Cop), 2019, acrylic (mis-tints) on canvas pad, 420 × 250 mm

Zoë Marni Robertson synthesises writing and painting, disparate research and personal connections into a lived experience of the political. Materials are gathered out of waste (small attempts at sustainability). Where waste is unavoidable and other ethical concerns (such as the exploitation of labour) are inherent in the process (the machines/tools and materials), these preoccupations are addressed.