In pristine urban and architectural environments different species of mammals amble quietly along— either unaware, unconcerned with, or benignantly accepting of each other's presence; apex predators share warehouses with ruminants; beasts of the savannah pass those of the barnyard anonymously, as if on a crowded city street; a lioness and a goat stand side by side in a living room. All around them is civilisation's imprint: industrial, commercial, civic and domestic scaled buildings of various eras; infrastructure and gardens; roads and pathways; colonnades, atriums and verandahs. The places they inhabit were designed and constructed for the benefit of humans, except here, currently, they are bereft of people. There is nothing to suggest a major catastrophe—no ruins, signs of war or natural disaster. Cranes in the background in some shots denote ongoing development. These animals carry a sense of decorum about them. Unhurried and serene, they are assured that however they came to inhabit these places, it is where they belong.
This short video work, (2023) by digital artist and sculptor Brit Bunkley, incorporates digitally rendered animals inhabiting both real and constructed environments—the latest in an oeuvre of new media works that extends
