“My work encompasses photography, sculpture, and moving image, combining the exploration of materials and environmental interventions. The focal point of my practice is Supernatural, a series of in which I examine the earth's scars. The project is the culmination of extensive research, planning, costume design, and travel––I research locations where industry has altered the terrain and document my experience of these sites using a high-resolution camera. These spaces are excavated, depleted, polluted by industry, and often hidden from public view. In these spaces, I envision distant future archaeological finds and speculative narratives that will be created about our civilisation. I create imagined future histories and artefacts by rethinking the relationship between the figure and the landscape. The feminine form is present in the scene, bearing witness to the dystopian landscapes. The compositions echo Surrealism, while the context draws inspiration from the notion of the sublime in Romanticist paintings of the early 19th century. The figure also draws parallels between how our culture exploits nature and the objecthood of the feminine. The body is wrapped in a membrane that protects it from the uncomfortable conditions humans have created. The draped figure also recalls the Venuses, effigies, and fertility figures found in archaeological sites and ancient historical artworks.  All of my images are documentation of performance actions, created on site. It is an important part of my process to enter into these obscure places and capture an archetypal scene in a site-specific way. The photos and videos also explore the relationship between capitalism's impact on the earth and the body. My practice also includes  Rare Earth, which further explores the extracted landscape.  This series of ultraviolet prints captures the unique textures and colours of the land and water I encounter minus the figure. The images are printed on extracted minerals, including sheet metal and stone, recalling the reliefs, carvings and cult images of past civilisations. My studio practice is a search for meaning in a time when image eclipses reality, creating an increasingly inhospitable and toxic habitat, reflecting upon the Anthropocene era and how it is changing our psychological and physiological conditions. Despite the negative consequences of industrialisation and consumption, I am fascinated by the aesthetic of the Anthropocene and aim to create images and objects that invite contemplation of the contradictory conditions that structure our reality.”

Liz Miller Kovacs is a Los Angeles-born photographer and interdisciplinary artist based in Berlin, Germany. She has exhibited her work throughout North America, Australia, Asia  and Europe. She recently received a cultural exchange grant from the Berlin Senate for Culture and Community and was selected to exhibit at the Kranj Fotofest. Her videos have been included in Untitled Art Fair Special Projects, Millennium Film Journal, Alicante Video Art Festival, Maiden L.A., and S.F. Photo Fairs. Miller Kovacs holds a PhD in Visual Arts from the Sydney College of the Arts, where she was awarded the IPRS and IPA International Fellowships for the duration of her research, and an MFA in New Genres from the San Francisco Art Institute. Her work has been reviewed and published in numerous publications including Contemporary Art Review. LA, Musée Magazine, Aesthetica Magazine and Stanford University.