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Tomorrow
2025, Photograph. Eco-solvent archival print on cotton rag paper Mounted on aluminium and framed in FFS timber.
100 x 75 cm, Limited ed of 5 + 2 AP's - 5/5 available. Enquire about other sizes
From the series: 'Meandering: in search of Tomorrow'
Finalist: 2026 Ravenswood Women's Art Prize, Sydney
Finalist: 2026 Lethbridge Landscape Prize, Brisbane
If tomorrow is the near future, in this version of tomorrow, there is hope.
Glossy black cockatoos are widely seen by First Nations’ people as protectors and spiritual guardians, their calls an ancient voice of the forest, keeping watch. In my version of the future, these, currently endangered birds fly in abundance across untouched landscapes.
Much like a painting may be created from sketches in the field, ‘Tomorrow’ is a composite of two photographs taken in the same location, in this case, an hour apart. The red tails of the birds are a subtle juxtaposition against the timeless monotonal landscape.
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The Future
2025, Photograph. Archival pigment print on cotton rag paper. Framed in FFS timber.
80 x 60 cm, Limited edition of 5 + 2 AP's - (3-5/5 available) Enquire
From the series: 'Meandering: in search of Tomorrow'
Finalist: 2025 Environmental Art & Design Award,
Finalist: 2025 Hornsby Art Prize,
Referencing both the children and the environment as ‘the future’, this scene of an idyllic childhood adventure contains an underlying tension.
As the children explore their world and climb amongst the mangroves, the tide continues to rise, literally and figuratively, now and into their future.
As the recent centenarian, David Attenborough has rightly said 'If children don't grow up knowing about nature and appreciating it, they won't understand it, and if they don't understand it, they won't protect it, and if they don't protect it, who will?
From the series 'Preserving'
The ongoing series entitled Preserving conveys my frustrations and fears for the preservation of the earth’s environment.
Through exploring motivations and methods of preservation, I am examining our will, ability, and power, to preserve in the Anthropocene. Will it be enough?
My exploration of this series continues
Preserving: item 744
2023, Photograph printed on Hahnemühle Photo Rag paper with archival pigment inks. Framed in FFS timber with Art Glass.
60 x 45 cm, 1 of 10. Enquire
Preserving: item 744. Like the environment it depicts, the photograph in the jar is isolated, fragile, damaged, and collapsing. It is already a historical artefact – a moment in time, preserved. The jar is full of water: so vital to life, so capable of destruction.
The vintage domestic jar, a universal tool used for preserving food, serves as a reminder of our ability, across time and cultural differences, to do what needs to be done.
Artist’s note: A handmade photographic emulsion of the artist's own work is suspended in water in a vintage jar.
Finalist: 2026 Wyndham Art Prize
Finalist: 2024 Environmental Art & Design Award
Finalist: 2023 William and Winifred Bowness Prize
Winner: Grand Prize, ACCP Summer Salon, 2023
Also featured in The Guardian Australia.
Preserving: The Future
2023, Photograph printed on Hahnemühle Bamboo paper with archival pigment inks. Framed in FFS timber with Art Glass.
60 x 45 cm, 1 of 10. | 100 x 76 cm, 1 of 5. Enquire
Preserving: The Future, presents a photograph contained within a zip-lock bag. This ubiquitous and problematic convenience is excellent at preserving the child’s lunch, yet detrimental to the environment of the child’s future.
The children in the photograph are sandwiched between the environment behind them and the rising waters at their feet. The zip-lock bag is half-filled with flood waters and debris, blurring the lines between the rising tide in the photograph and the rising flood waters in the bag.
Preserving: The Future illustrates the omnipresent tension in the modern mundane. The everyday micro-decision, juxtaposed against the macro-reality of the current epoch.
Artist’s note: A re-purposed, gifted zip-lock bag contains a photograph of children by the artist and flood waters collected in the Hawkesbury River in 2024 and 2025.
Finalist: 2025 Gosford Art Prize,
Galleries
Genevieve Ginty’s photographic-based artworks are a direct response to the Australian landscape. Her evocative images seek to place the viewer directly within the frame, fostering a visceral, sensory connection. Inquiry begins with immersion, usually on or near bodies of water – most frequently Dyarubbin, The Hawkesbury River in Sydney, where she lives and works. Attentive to the subtle interactions between light, air, earth and water, she records captivating landscapes, as well as photographic field notes - details and reminders for another season or tide. Back in the studio the work continues in an intuitive way, drawing on her experience, thoughts and emotional responses to inform the next phase of the process. Using digital and analogue techniques, as well as mixed media, Genevieve creates artworks that conjure feelings of nostalgia, awe, melancholy and hope.
Her recent series “Meandering: in search of Tomorrow” (2026) was a survey of eight years of photographing the lower Hawkesbury and Cowan Creek region. The 16 photographs were processed and presented in various forms, including composite images which seamlessly blended photographs taken in the same location within a short time-frame. One such piece, Tomorrow, a one-metre-wide monotoned vista of a river bend with a small flock of red-tailed black cockatoos was recently selected for the Ravenswood Australian Women’s Art Prize, while The Future’, a photograph of children in the mangroves was featured in the 2025 Northern Beaches Environmental Art & Design Award and Hornsby Art Prize.
Genevieve’s future-focussed imagery frequently examines themes of fragility, environmental care, and the Anthropocene. Her award-winning conceptual image item: 744 (2023) from the ongoing ‘Preserving’ series interrogates our inextricable relationship with our environment, while other series explore allegories of love and loss through still life compositions (‘The Yellow Jug and other Stories’, 2023-25), as well as abstract impressionism in the landscape (Shimmer, 2022).
