For the 2018 Adelaide Biennale, Pip & Pop – who typically creates immersive large-scale installations - inhabits a cave-like void positioned within a narrow gap between two exhibition spaces. Caves have interested the artist for some time. They offer associations to creation mythologies describing the beginning of the world and emergence of new life, as well as concepts of primordial paradise and as sacred sites for ritual. She honors the wonder and mystery that have surrounded these naturally occurring subterranean spaces. She fills the void with sugar, glitter, foam-clay, sequins and rainbow string, building a system of interconnected passageways and miniature mountain ranges. Accounts from across the world of mountains moving, spirits residing in nature and inanimate objects coming to life also inform the contents. Glistening in the darkness are the shifting eyes of unknown creatures and colour-changing crystal lamps embedded among artificial flowers, rocks and mushrooms. Mirrors multiply the lights and appear like portals into other worlds.  

The artist’s own slippage between the world of matter and the world of dreams is essential to our experience of the work. Viewing the abundant and detailed environment, our perceptions are altered and we seem to have an expanded sense of our own scale and belief in the transformative powers of matter. The fluorescent, almost hallucinogenic, hues widen our eyes and heighten our senses. At first these iridescent surfaces appear superficial and childlike, no more than a glossy veneer of consumer culture. As the mind lingers, their seemingly cheap and ephemeral appearance brings forward ideas relating to the fleetingness of material pleasure. The artist welcomes these associations.

(from catalogue text by Elle Freak)