Gustav Hellberg's new work Tracing Australia is influenced by his time in the Ravensthorpe and Hopetoun region, hosted by the Ravensthorpe Regional Arts Council (RRAC).

Tracing Australia is a new film work exploring the absence of knowledge and the unspoken histories of the Ravensthorpe region, its nature, and also the people who have been active in this land.

Heidi Lunabba collaborated with The Wangaree Community Centre in Lancelin, a centre managed by DADAA, a leading not-for-profit community arts and cultural development (CACD) organisation, promoting artistic vibrancy and social inclusion for people with disability, people experiencing mental illness and those who experience other forms of social, political or economic disadvantage.

Through a series of workshops, interviews and community events, Heidi’s work and subsequent project #othercomic investigated how social norms and the dichotomies of ‘us’ versus ‘them’ these norms create, affected the lives of Lancelin residents.

Linda Persson’s project and installation Kavili, there is a hot wind blowing, refers to climate change, privilege, old knowledge, language, technology, love and living. Persson’s work uses several mediums including video, sound, photography and textiles, and includes a collaborative component with local artist Donna Reid.

During her time at Kirsten Kjaers Museum in remote north-west Denmark over the summers of 2016 and 2017, Deborah Kelly organized a series of workshops exploring the broad thematic framework of ‘imagining a future’. Acting as both student and teacher the outcomes of Kelly’s workshops series were presented at the North by Southeast exhibition at AGWA.

Taking the Icelandic hot tub ritual as a space created for in depth conversation linking participants back to local knowledge labour, economics, and community, both past and present, and fish (or more specifically, the fishing history) Keg de Souza re-maps the cultural, historical and political spaces of the Skagaströnd community in Iceland on through this installation work for North by Southeast.

Using localised materials and characteristics from his residency at the Mustarinda Association as a metaphor for global challenges, Dan McCabe explores this complex relationship through large sculptural assemblages, wall based compositions and video, produced for North by Southeast. Conflicting aspects of contemporary nature tourism, spirituality, nationalism, and mass consumption are combined to prompt reflection on our current mode of living and its effect on our future.

Danius Kesminas’ residency at FABRIKKEN for Kunst go Design, Copenhagen culminated in a series of new performance and video-based artworks inspired by Søren Kierkegaard's first published work, Either/Or. Kesminas questions the binary connection between aesthetics and ethics, linked to his experience as a residency artist, moving between the artist studio (the safe creative space of aesthetics), and the city (the unpredictable urban society influenced by ethics)

Michelle Eistrup's project, In the Deep Underground and Up Above, considers the sharp cultural contrasts and ethical conflicts inherent between history, land and natural resources, as they relate to the Southwest region of Western Australia. Her work for North by Southeast also considers the contemporary differences in the lived realities of Aboriginal Australians and descendants of European settlers.

Working as a part of a larger project titled Performing Labour, Robyn Backen collaborated with the Rejmyre Art LAB, the Reijmyre Glass Factory and a group of international artists to explore the relationship between artist and industrial craft labour.

Sam Smith’s project, produced on the Swedish island of Gotland in the Baltic Sea, is a single-channel video that examines the distribution of geological material across time, with a focus on minerals circulated in cultural, economic, and environmental contexts.

As an architect Tor Lindstrand's interest and response to the history of the built environment of Balgo looks at how the recent colonial past still reverberates through the community, how Aboriginal and non-Aboriginal people alike still try to adjust to the impact of these structures.