Rainbow’s End

Shortlist+ Remove 'Idol' made by Kate Rhode from resin and air-dry clay.
(1 of 1) 'Idol' made by Kate Rhode from resin and air-dry clay.

Rainbow’s End

Hotel Hotel Projects, Exhibition

‘Rainbow’s End’: a collection of artefacts from a possible future curated by Heath Killen for our Cabinets on the ground floor

The year is 2060. A series of catastrophes have decimated the earth’s population. Global communications have been destroyed. We are alone. Here in Australia, those of us who have survived have formed tribes, living in small pockets of the country that are still habitable. We are scattered across the land: the mountains, rivers, deserts, and forests. We create communities in response to our new homes. We use the materials available to us – either found in nature or scavenged from the ruins of nearby cities and towns. Rather than rebuild the civilisation that we lost, we try to forge a new future that will set us on a different path than the one that brought us here.

With works by Dale Hardiman, Dave Teer, Heath Killen, Helle Jorgensen, James Walsh, Kate Rohde, Kevina Jo Smith, Michael Gray, Peachey & Mosig, Tracey Deep and Valerie Restarick.

(1 of 15) 'PPW (Post Petroleum Works)' made by Dale Hardiman and James Walsh from found plastic objects, Central Australian red ochre and binder.

(2 of 15) 'Radiant Being from the Edge of Tempe Tip' made by Dave Teer from apoxie sculpt, stainless steel, recycled plastics and masking tape.

(3 of 15) ‘Death Mask for The Equation' made by Fred Fowler from bronze.

(4 of 15) 'Ceremonial Bowl' made by Liane Rossler from clay and beeswax.

(5 of 15) 'Akuna Kuranya' made by Tracey Deep from wire and hand spun raw silk fibre.

'Idol' made by Kate Rhode from resin and air-dry clay.

(6 of 15) 'Idol' made by Kate Rhode from resin and air-dry clay.

(7 of 15) 'Spin' made by Valerie Restarick from clay.

(8 of 15) ‘Jellyfish’ made by Grace Wood and Sean Tran from wool and wood. 

(9 of 15) 'Ceremonial Alter' made by Kevina-Jo Smith from found plastic objects and shells.

(10 of 15) 'Crown' made by Valerie Restarick from clay, feathers and bones.

(11 of 15) 'Scouting Remnants' made by Peachey and Mosig from silk, cotton, thread, graphite, wood, brass, nickel, glass and potassium permanganate.

(12 of 15) 'Voting Pendant' made by Peachey and Mosig from rock, glass, thread, leather, copper, nickel, silver, and silk.

(13 of 15) 'Safety Goggles with Etui' (for the 'Lofty Thoughts Processor') made by Helle Jorgensen from banana, hemp, lichen, beeswax and found objects B.C. (before cataclysm).

(14 of 15) 'Memories' made by Michael Gray from clay.

(15 of 15) 'Fallen' made by Valerie Restarick and Michael Gray from clay and gold.


We are interested in people. Being interested in people means we are also interested in the objects people make and use. Throughout the ground floor of Hotel Hotel we had several glass cabinets that we used as small exhibition spaces. They were curated by invited curators, artists and designers. The cabinets were a study of human and natural life – artefacts that document our existence and tell a story about who ‘we’ are and what is important to us.