BAVC Interview 🎤
An interview about my practice and what I'll be working on at the BAVC residency:

Channels Festival 📸
A snap of my work screening on the big screen in Federation Square, Melbourne as part of Channels Festival, September 1-10 2017.


BAVC Resident 2017-18🎉🔓
Pleased to be an artist-in-residence at the Bay Area Video Coalition for 2017-18. More info:

Channels Festival 2017
"Silicon Landscapes" will be part of Channels Festival in Melbourne in the Conditional Surplus program, and will screen on the Federation Square big screen from September 1-10, 2017.

Across 13 Australian and international video works, Conditional Surplus considers what kinds of futures the current human condition will shape. Bringing into focus questions about our relationship with memory, space and each other, the three-part program evaluates the strengths and limitations of an increasing digital landscape forged by an obligatory self-focused nature.

More info:

My work also features in the festival's trailer here:

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My Work at the Contemporary Jewish Museum
An in-progress install shot of my work at the museum. The show continues until July 2017. More info:
🔜Upcoming shows🆕
I have two shows coming up: first is Alma Mater at the Hubbell St Galleries, San Francisco, an exhibition that focuses on a small selection of alumni who graduated within the last 10 years and who have been proactive in shaping the growing presence of a robust and revitalized art scene in the Bay Area. Runs from November 8-19 with an opening reception on Saturday November 12, 3:30pm.

Then I have work at the Contemporary Jewish Museum San Francisco in the Yud Video Project. The exhibition runs from November 25, 2016 to July 9, 2017, with an opening reception on Wednesday November 30.
Expanding on the upcoming contemporary art exhibition From Generation to Generation: Inherited Memory and Contemporary Art’s focus on recollections and reconstructions of the past, The Yud Video Project’s theme is “Memory.” Through the format of video and ever-accessible technology, moments are now recorded with the utmost ease and then translated into saved memories. However, edited video has tremendous power in recreating, rethinking, and reconstructing these very same moments. For this exhibition, submissions were encouraged to explore the unique ways memory is portrayed through video as an art form.


🌟New work up at CTRL+SHFT Collective🌟
I have a new video up at CTRL+SHFT Collective as part of my continuing project Silicon Landscapes. Up through September 28th.

CTRL+SHFT collective:


Jenny Odell's talk at EYEO 💻🌿
Check out Jenny Odell's great talk at Eyeo 2016 on technology and being in the world. (A little feature of my work at about minute 27).
World Wide West Summit 2016: FORECAST: #🔮
In July, I attended the WWWest Summit with some wonderful artists and thinkers. Emily Holmes wrote about this unique happening on KQED (with a little mention of my work towards the end). Check it out. ⬅️

⚡️Living Room Light Exchange talk⚡️
Here is a picture of me 🤓 giving a talk about the history and politics of landscapes in Silicon Valley at the wonderful Living Room Light Exchange.
You can also read more about the Exchange on Rhizome.

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🆕 work up at CTRL+SHFT Collective

Check out my new video in:

Soft Serve 🍦
at CTRL+SHFT Collective
Jan 29 → Feb 19
Opening: 1/29 from 6-10PM.
Gallery hours: 12-6PM Friday through Saturday and by appointment.

CTRL+SHFT Collective
1430 34th St, Oakland, CA

"Attempt #6" | An excerpt from my MFA thesis
This is a chapter from my MFA thesis. It outlines a specific area of my practice. My full thesis can be found here.


Last week, a group of California College of the Arts MFA students travelled to the University of Nevada, Las Vegas for a whirlwind residency and show.

We thoroughly immersed ourselves in Las Vegas and produced an exhibition of entirely new, experimental works at UNLV’s Grant Hall Gallery.

In the spirit of the graduate class that produced the seminal “Learning from Las Vegas” (MIT Press, 1977), we had both a productive and super-fun time.


Photos by Ethan Wang.

"Measuring Visual Disturbances" at SOMArts

My video collaboration "Measuring Visual Disturbances" with Elizabeth Moran will be screened at SOMArts on Friday October 10, 2014 as part of the "Visions at Twilight" exhibition. For this piece, Elizabeth and I conducted a paranormal investigation of the old Bay Bridge.

On Tuesday, November 12, 2013, on the 77th anniversary of its opening, crews began dismantling the eastern span of the Bay Bridge between San Francisco and Oakland, California.

In this video piece, we invite viewers to sit and pay homage to a Bay Area cultural icon. As you reflect on your own memories of the bridge, watch the laser grid on the left and take note of any small changes, like a flicker, which paranormal investigators believe is evidence of a lingering presence.

Measuring Visual Disturbances (Bay Bridge) from Erica Molesworth on Vimeo.

Reframing Photography
I have some work up at "Reframing Photography," an online exhibition of work by MFA students engaged with photographic issues or media. The site shows compelling new work and fosters an international community of graduate students.


This is part of an ongoing online project documenting my
art failures as GIFs




Survival Adaptations: A Root Division exhibition in Conjunction with Adobe Books Backroom Gallery 4 July - 2 August 2014
survival adaptationsSm.jpg
Adobe Books Backroom Gallery will focus on artistic preservation and maintaining an artistic presence in San Francisco. The works in this exhibition take an innovatory and tenacious approach to adapting to the restrictions and challenges of remaining in the city. 
At Aggregate Space Gallery in Oakland, the exhibition will look to housing relocation, gentrification, past and future self-made gallery spaces, and the beauty and infrastructure that t
ies San Francisco and Oakland together.

Featuring Work by Elizabeth Cayne, Jon Gourley, Erica Molesworth, Yuri Pop, Stairwells, Tina Dillman of WE Artspace, Jesse Walton, and Michal Wisniowski.

Opening Reception: July 4th, 5-8pm, 
2nd Saturday Artist Talk: July 12th,11 am
First Friday Event: August 1st, 6-10.  
Featherboard Writing Series: August 2nd, 6pm
This Will Never Work Screening @ Southern Exposure, CA

Come see some films this Friday!

Screening: Friday, December 6, 2013, 7:00 PM
Exhibition on View: November 22 – December 14, 2013
Gallery Hours: Tuesday – Saturday, 12:00 – 6:00 PM

Screening Artists: Calen Barca-Hall, Janice Ahn, Bae Hyun Ji, Zack Eastburg & Yoon Sun Lee, Tommy Becker, Bryan Boyce, Ivan Cash, Joseph Dwyer, Gözde Efe, Omer Gal, Heejin Jang, Justin Kohlberg, Sheila Lam, Meredith Leich,  Erica Molesworth,  Takeshi Moro, Lizzy Myers, Alex Nichols, Edward Setina.

Kalassal Video Screening @ Kala Gallery, CA


Come by and see my video alongside some amazing artists.

Sunday, Oct 6: Video Screenings - Noon to 4:30 PM

Artists: Doug Garth Williams, Sonja Hinrichsen, Bessma Khalaf, Kate Klingbeil, Ellen Lake, Sanaz Mazinani,  Erica Molesworth,  Ranu Mukherjee, Jennie Ottinger, and Osvaldo Ramirez.

Just Passing Through Essay



firstdraft gallery

february 1 - 18 2012


The works in this exhibition represent a search for value in the context of the Australian landscape.

The video work Sift as well as the two still photographs, Sifted #1 & 2, depict a process in which the clear-cut separation between by-product and desired product is muddied. When panning for gold, for example, sifting assists in washing away the dirt and dross, catching the valuable gold in the mesh.  In a process of purification, however, the sieve acts to filter the impurities, allowing only the desired product to pass through.  In these works, the desired product of this act of sifting is left deliberately ambiguous.  In one image, the artist rather hopelessly passes small quantities of sand through a sieve in the midst of a seemingly endless quarry.  In another, the artist sifts through quantities of Australia's iconic red earth which floats away without leaving anything discernible behind.  Behind this is the knowledge that decisions concerning value are usually made before a process begins, and, if notions of value change during that process, there is no way to recapture what has been filtered out and lost.

Loss as the corollary of a search for value is also represented by the video work Smoke Signal and the still Signalled. Almost as iconic as red earth in Australian landscape is the fear of getting lost.  A smoke signal, when assisting in locating something lost, similarly draws its value from smoke's ability to dissipate in the air.  Despite the value gained, this dissipation leads to a half-serious desire to draw back in and re-capture what has been lost.

Mining for gold has always been a major search within Australian landscape.  The photographs Passing over #3 (gold mine) and Passing over #4 (tailings dam) depict Cadia gold mine from the air.  In Cadia, the gold-copper mineralization is hosted by sheeted quartz veins, which is extracted using an 870-metre-deep open pit mine combined with bulk flotation & gravity processing over 535 hectares.  Such use of the landscape prompts obvious questions regarding value and loss.  In both small-scale gold-panning and open-pit mining, quartz is seen as a sign of gold deposits but is then crushed or filtered out and discarded.  The video work, Quartz, seeks to reverse the usual perception of value through focussing on this valueless waste-product of gold-mining.  Here, quartz becomes the primary product and is seen falling away as if passing through a sifting process.

For many, the defining factor in the relationship with landscape is that of tourism. For the tourist, the search for value is strictly delimited and, with new technology, increasingly opposed to getting lost.  The notion that our actions and processes determine our relationship with landscape becomes replaced by heavily codified tourist rituals, the most notable of which is taking photographs.  Aerial photography, and its successor satellite photography, is the best way to locate something and to avoid getting lost.  It gives the viewer a comprehensive sense of landscape, but one that is necessarily characterised by distance, disconnection and just passing through.  After photography, the view from a plane window is perhaps the most characteristic element of contemporary tourism and relationships with landscape.  The aerial series Passing over #1-4 represent this distance and serve as a counterpoint to the actions and processes occurring on the ground.  The search for value may be necessarily ambiguous but it is these actions and processes that help us locate ourselves in landscape.

The sound piece is by Gino Bollaert and includes processed recordings of tambourine, ball bearings and double bass: "not equipped to find ground water, those of us with shallow roots shift thirstily across landscape."

Erica Molesworth is a Sydney-based artist working primarily with photography and video. She has a first-class honours degree from the Sydney College of the Arts. She has held solo and group exhibitions and most recently was a finalist in the John Fries Memorial Prize.

Gino Bollaert is a musician currently working on sound design software in Melbourne. He completed a degree in Electrical Engineering at the University of New South Wales in Sydney, focussing on the field of audio processing and has since been involved in local and overseas electro-acoustic and folk performances.


This project is supported by the NSW Artists' Grant, a NAVA initiative, made possible through the support of Arts NSW and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.