Spence Messih’s practice—incorporating sculpture, installation, and text—is attuned to the nuances of language, materiality, pressure, and transformation. Informed by personal and communal experiences, Messih’s work uses abstraction as a means to claim presence and self-recognition. Collaboration is a core methodology in his practice, enabling new material experimentation and inviting diverse perspectives and entry points. Messih’s previous works have engaged with trans archives to find solidarities and new ways of relating within and beyond limiting social and systematic structures.

His work has been exhibited at MAMA; MCA, Sydney; QAGOMA, Brisbane; ACCA, Melbourne; Auto Italia, London, and Artspace, Sydney. Messih completed a PhD titled Double Bind: (Trans)materiality and Tactics of Abstraction at UNSW in 2021.

Messih’s recent commission Minor truths (MAMA, 2022/23)—a major body of work comprising large kiln-formed glass sculptures, audio, and text—was jointly acquired for the collections of MAMA and AGNSW. Minor truths was based on archival research on British trans man Michael Dillon (1915–62), exploring Dillon’s optimistic search for mastery and self-actualisation. This series established collaborations with artist Archie Barry, fabricator Celeste Stein, Kirstie Rea at Canberra Glassworks, and writer Hil Malatino.

In 2018/19 Messih researched and produced Hard forms, soft lives for Primavera: Young Australian Artists (MCA, 2018/19), curated by Megan Robson. The series was based on the archives of Lou Sullivan, an American writer and pioneer of the grassroots trans movement and explored social and architectural structures intended to provide support.

Text—often fictional, anecdotal, and candid—has been a fundamental part of Messih’s practice for the past 15 years, where it is often employed to open up alternative encounters and readings of his work. Building on Messih’s doctoral research, text enables multiple ‘readings’ of the social, political, and ethical modes of embodiment. Messih has published writing in academic journals and literary magazines and produced experimental texts alongside several of his exhibitions.

Messih’s work is held in the collections of Artbank, AGNSW, and MAMA.

A river runs through has been developed to extend established collaborations and foster mentorships and learning opportunities with key collaborators and institutions connected to Messih’s research and practice. This opportunity presents a significant and timely opportunity for the artist to deepen, challenge and amplify his work for audiences.

A river runs through is ideally suited to stimulate local interest in public programs that explore themes related to:
– water politics and conservation
– situating First Nations knowledges
– creative writing workshops and community publishing

Messih has extensive experience as an educator and workshop facilitator; having drafted CLEAR EXPECTATIONS (with Archie Barry) guidelines for institutions, galleries, and curators working with trans, non-binary and gender diverse artists in Australia (supported by Countess and NAVA). This exhibition has clear potential to engage institutional audiences of all ages with learning experiences related to gender and the environment.

Touring resources will be developed to engage audiences with Messih’s practice and related thematics.