Neon Parc

Through an interplay of recognisable form and abstraction, the exhibition evokes states of nostalgia and reflection. Higgins draws connections between the experience of landscape and its echo in memory, sensuality and romantic love, evoking feeling through layering, montage and cinematic colour.

Inspired by cinematic montage, each work combines photographic imagery and film. Higgins works with found 16mm and 8mm motion picture film alongside her own film and photographs of the Victorian alpine region and of sunsets and dawn light along the coastline and mountains of Athens. Stills from near-forgotten films are layered with in-camera double exposures and repeated acrylic screen-prints. Their original narratives dissolve as fragments are abstracted and recomposed. What remains are afterimages of light, gesture and texture.

The magenta, yellow and purple hues of the works derive from the faded archival film and, in some instances, from acrylic ink worked directly into the paper. In ‘Early Evening’ (2025), sunset photographs by the artist are overlaid through double-exposure with found film stills of the Australian landscape. Colour is reduced toward magenta as cyan and yellow have receded from the aged film stock, situating the image within a sustained register of twilight. White screen-printed passages articulate flashes of reflected light across rippling water, introducing rhythm across the surface and suggesting cinematic duration within stillness.

In ‘Kiss (Return)’ (2026), named after a poem by Constantine P. Cavafy, two figures hover at the threshold of contact. Film grain, light flare, and blur remain visible, emphasising the camera’s encounter with shifting light and the fleeting quality of transitional time. The image holds intimacy in suspension, rendering desire as atmosphere rather than event.

Working at a large, cinematic scale on paper, Higgins brings together film, photography and silk-screen printing as a shared expressive language. Repetition, movement and figuration operate within restrained colour fields that privilege feeling over description. Light functions as both subject and structure, moving across bodies and landscape so that memory and desire continue unresolved. The works remain open, preserving the fragile intensity of fleeting encounters and allowing longing to linger within the image.