Education Practice based PhD, Monash University; Master of Arts (Media Arts), RMIT University; Bachelor of Fine Arts Honours, University of Tasmania; Bachelor of Fine Arts, RMIT
Solo exhibitions
2022 Confluence, Dominik Mersch Gallery, Sydney
2021 Undercurrent, Noosa Regional Gallery
2020 Undercurrent 2019, Bendigo Art Gallery, Victoria
2020 Undercurrent 2020, Dominik Mersch Gallery
2019 Undercurrent 2019, Koorie Heritage Trust Gallery, Federation Square, Melbourne
2017 Aurelian, Locale 2017, Yarra City Council's Exhibition Program, Richmond Library, Melbourne. Commissioned by Yarra City Council
2017 Blood Life Uncut, The Old Operating Theatre Kings College London, Science Gallery London. Collaboration with Helen Pynor
2015 Puncture, Linden Projects: Paper, Linden New Art, Melbourne
2013 The Body is a Big Place, Galerija Kapelica, Llubljana, Slovenia. Collaboration with Helen Pynor
2011 The Body is a Big Place, Performance Space, Sydney. Collaboration with Helen Pynor. Commissioned by Performance Space
2009 Paper Thin, Dominik Mersch Gallery
2007 Elixir, Dominik Mersch Gallery
2007 Visible Human Bodies, Australian Centre for Photography, Sydney
2005 Visible Human Bodies, Brighton Museum & Art Gallery, UK
2005 The Latent Image: New Life Drawings, RMIT University Project Space, Melbourne
Group exhibitions
2024 Future River when the past flows, Counihan Gallery
2023 The Soils Project, Tarrawarra Museum of Art
2023 Slippery Images, Melbourne Now, National Gallery of Victoria
2022 Beating About the Bush, Art Gallery of Ballarat
2022 Dominik Mersch Gallery at Sydney Contemporary, Carriageworks
2022 Amplify, Sydney Contemporary, Carriageworks
2022 Return to Nature, Monash Gallery of Art
2022 Old Ways New Ways, Monash Gallery of Art
2022 Holding Space, Agency, Collingwood Yards, Melbourne
2021 Dominik Mersch Gallery at Sydney Contemporary, Carriageworks
2021 Surreal Landscapes, Mornington Peninsula Regional Gallery, Victoria
2021 The Past is the Present is the Future, Granville Centre Art Gallery, NSW
2020 Portrait of Monash: the ties that bind, Monash Gallery of Art
2020 Secret Garden, Dominik Mersch Gallery
2020 ‘Fluidity’, Incinerator Gallery, Melbourne
2020 The Burning World, Bendigo Art Gallery, Victoria
2020 Lay of the land, Informality Gallery, UK
2020 From all Points of the Southern Sky: Photography from Australia and Oceania, Southeast Museum of Photography, Daytona State College, USA
2019 Capital, National Centre For Photography - Ballarat International Foto Biennale
2019 The National 2019 - New Australian Art, Art Gallery NSW
2018 In Bloom, Spring, The Windsor Hotel, Melbourne
2018 Beijing Media Art Biennale, Hanshan Art Museum, China
2018 Beijing Media Art Biennale, CAFA Museum, Beijing Central Academy of Fine Arts, China
2017 Under the Sun: Reimagining Max Dupain’s Sunbaker, State Library of NSW and Monash Gallery of Art. Commissioned and curated by Australian Centre for Photography
2017 BLOOD: Life Uncut, Science Gallery London at Copeland Gallery London
2017 The Rise of Bio-Society, Riddoch Art Gallery Mount Gambier, South Australia
2017 William and Winifred Bowness Photography Prize, Monash Gallery of Art
2016 Octoroon, Ateneo Art Gallery Ateneo de Manila University, Philippines
2015 Octoroon, La Trobe University Museum of Art, Melbourne and Visual Art Centre, Bendigo, Victoria
2015 Cutting edge: 21st-century photography, Monash Gallery of Art
2014 Horizons, Bundoora Homestead Art Centre, Melbourne
2014 Berlin-Sydney, Galerie Patrick Ebensperger, Berlin
2014 The Mirror (Berlin Reflection), Dominik Mersch Gallery
2013 Oscillator, Science Gallery Dublin
2013 Northern Lights, Bundoora Homestead Arts Centre
2013 TEA/Super-Connect, National Taiwan Museum of Fine Arts
2013 Art and Science as the Conjectured Possible, National Centre for Contemporary Arts Kaliningrad Branch, Russia
2013 Synapse: A Selection, ISEA2013 – 19th International Symposium of Electronic Art, Powerhouse Museum, Sydney
2012 CyberArts, 2012 Prix Ars Electronica OK Center for Contemporary Art, Linz, Austria
2012 Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Victoria. Curator Vivien Gaston
2007 U Turn, Glendale College Art Gallery, LA. Curators by Kate Shaw and Larissa Hjorth
2007 Josephine Ulrick & Win Schubert Photography Award, Gold Coast City Art Gallery
2006 Interior Design, Alliance Française Gallery, Melbourne. Curator Marie-Jeanne Hoffner
2006 Body manufacture_genetic genie, OFFMozart Festival, Salzburg, Austria. Commissioned OFFMozart Festival
2005 Expiration’ Project Space, RMIT Gallery, Melbourne
2001 Blind Spot, Canberra Contemporary Art Space, Canberra. Curator Lisa Byrne
2000 Remember Who You Are, Gertrude Contemporary. Co-curator with Allison Weaver
Grants/Awards
Fellowship Australia Council for the Arts, 2023-2025
Fostering Koorie Art and Culture grant from the Koorie Heritage Trust, 2018
Australia Council for the Arts, Arts Project Grant, 2017
City of Melbourne Arts Grant, 2016
People’s Choice Award, 2013 Darebin Art Prize, Bundoora Homestead Art Centre
Honorary Mention, Hybrid Art category Prix Ars Electronica Linz, Austria, 2012
Finalist Fauvette Loureiro Memorial Artists Travel Scholarship Sydney College of the Arts, 2012
Australia Council for the Arts, InterArts Project Grant, 2013 and 2010
ANAT (Australian Network for Art and Technology) Synapse Art/Science Residency Grant, 2012
Besen Family Foundation, 2010
Australia Council for the Arts, New Work Grant (Established), 2010 and 2007
Arts Victoria, International Presentation and Promotion Grant, 2005
Residencies
Fostering Koorie Art and Culture Artist Residency, Koorie Heritage Trust, 2018
Heart and Lung Transplant Unit, St Vincent’s Hospital Sydney, 2011
Performance Space, Sydney, 2011
SymbioticA – Centre of Excellence in Biological Arts, School of Anatomy and Human Biology, The University of Western Australia, Perth, 2010
Australia Council for the Arts, Visual Arts Board, London Studio and stipend, 2004
Press / Reviews / Interviews/ Journal Essays / Academic / Publications
2019 Anita Pisch, ‘Peta Clancy brings a hidden Victorian massacre to the surface with Undercurrent’, The Conversation, 26 March
2019 Timmah Ball, ‘Peta Clancy on massacre sites, memorialisation and memory’, Art Guide, 8 March
2019 Gina Fairley, ‘Lest we forget Indigenous Australians at war’, ArtsHub, 23 April
2019 Elyse Goldfinch, ‘The National 2019: New Australian Art’, Ocula Report, 13 April
2019 Joanna Mendelssohn, ‘The National is a new time capsule of new Australian Art in uncertain times’, The Conversation, 2 April
2017 Simon Ings, ‘Bloody exhibition is only for the brave and the bold’, New Scientist, 20 Oct
2017 Eliza Burke, ‘New Frameworks for Art and Health’, Art Guide Australia, 11 Aug
2017 Anna Jamieson, ‘The Body is a Big Place: Peta Clancy and Helen Pynor at Science Gallery London’, Art Radar, 28 July
2017 Portfolio, Photofile Issue 98, 2017
2016 Emily Sharpe, ‘Fluorescent rabbits, slime moulds and bacteria: Artists get biological’, The Art Newspaper, 6 Oct, p. 7-8
2016 Rachael Allen, The Body Beyond the Anatomy Lab. Book chapter in The Edinburgh Companion to the Critical Medical Humanities, Editors Anne Whitehead and Angela Woods, Edinburgh University Press: Edinburgh
2016 Natasha Lushetich, Interdisciplinary Performance: Reformatting Reality, Red Globe Press
2016 Editors Alex Mermikides & Gianna Bouchard, Performance and the Medical Body, Bloomsbury Publishing Academic
2015 C. A. Xuan Mai Ardia, ‘The 10 Best Australian Photographers You Should Know’, Culture Trip, April
2013 Dick Ahlstrom, ‘New Science Gallery exhibition opens’, The Irish Times, 7 Feb
2012 Andrew Stephens, ‘Uneasy on the Eye’, The Age, 16 June, p. 25
2012 Ella Mudie, ‘Art-Science: The Cerebral and The Sensory’, RealTime, 107, Feb-Mar, p. 47
2013 Dmitry Bulatov, Evolution Haute Couture: Art and Science in the Post-Biological Age. Part 2: Theory, National Centre for Contemporary Arts, Kaliningrad Branch: Kaliningrad, p. 470
2013 Urszula Dawkins, ‘The Science and Art of Tangible Things’, RealTime, 11/06/2013
2013 Claire O’Connell, ‘Exploring Oscillation Proves a Moving Experience’, New Scientist online, 12 February, 2013,
2013 Dick Ahlstrom, ‘Exhibition will explain oscillation in a heartbeat’, The Irish Times, 8/11/13. P.9
2011 Doris McIlwain, ‘Transplanting Life: The Distributed Media of Embodied Selves’, Artlink, Vol 31, no.4, p. 54-57
2011 ‘Foam WHAT'S NEXT?’, Featured Folio, http://www.foam.org/whatsnext
2010 Anne Marsh, Look!; Contemporary Australian Photography Since 1980, MacMillan Publishers, Australia
2009 Ingeborg Reichle, Art in the Age of Technoscience Genetic Engineering, Robotics, and Artificial Life in Contemporary Art, Springer, Vienna/New York
2008 Ashley Crawford, ‘Lashes and Lips’, Photofile, Issue 83, 2008
2007 Ingrid Perez, ‘Peta Clancy’s Dermatological Destiny’ (cover & feature article), Australian Art Collector, 42
2006 Melissa Miles, ‘Peta Clancy: Skin and the Supple Boundaries of Self’, Eyeline Contemporary Visual Arts Magazine, No.61, Summer
2002 Keith Gallash, ‘Inside Info from the Gene’, RealTime, March
Collections and Acquisitions
National Gallery of Victoria; Artbank; Parliament House Australia; Centre for Creative Photography, The University of Arizona, US; Bendigo Art Gallery; Art Gallery of Ballarat; Moreland City Council; Deakin University Collection; Monash Gallery of Art; Darebin City Council; and National Museum of Australia.