Constellations are drawn from storied connections in cedar and stone.  Drawn from daily life, a sleeper and a seeker, consist of dremeled drawings indented into chunks of charred Cedar. Polished moonstones sit in the grooves of drawn lines, creating constellations in prismic stone. 
material cedar, moonstones, pins, hardware.

Cedar Chorus [in five parts] was created for re:location, a group exhibition at Mahone Hall on Salt Spring Island, featuring artists living and working in the Salish Sea. The artworks are titled after collective processes in family and community, each part playing within the chorus, such as Cedar Chorus: Sun Cover, or Cedar Chorus: Sweat Equity. Drawing inspiration from the island, which host to rare and vulnerable ecosystems, such as Garyoak meadows, Arbutus (known in the US as Madrone), and ecoculturally significant native plants such as camas, chocolate lily, coastal douglas fir, and western red cedar. 
tinted acrylic, arbutus, cedar, hydrostone, shells, rope, caribiners, resin, sand. 

Sink Or Shiver
Sink Or Shiver is a series of five sculptures presented at Zalucky Contemporary as part of a three artist exhibition in 2022. The series Sink Or Shiver is composed of fire charred pine, a wide range of electric pigments mixed by the artist, and resin. The forms cast from the artists body, are comprised of hands cupping bent knees and carved holes in the charred wood surfaces. The hollow shells in multi-coloured resins, become egg-like emergences bubbling out of the charred wood. At each end of the charred pine strands, carved tips mimic skate eggs, also called ‘mermaids purse’.
material pine, pigments, resin casts, hardware

Deep Thirst BioOrchestra as a body of work, imagines a new botanical species, the first returners of a fire-scorched landscape. This niche ecosystem takes on hybrid characteristics of humans and plants, as ears and other appendages amalgamate with mycelium and carnivorous pitcher plant forms. They sprout and drip out of charred branches in fluorescent colours, mimicking the electric hues of thermal gradient maps, highlighting connections between temperature and inhabitability.
material Arbutus,  brass round wire, polyurethane resin, fluorescent pigments, smoky blue moonstones.

Electric Preyer
Electric Preyer casts human forms, ears and fingertips, mimicking fungal and floral life through surreal fluorescent ears, tubes and strands of flourescent biorubber. If terraforming is the process of making earth habitable for humans, these works propose an opposite action: remaking humanness in order to accommodate the hypersensitive world.
Electric Preyer was exhibited in NADA House, Governor’s Island Summer of 2022.
Maple, Juniper, Arbutus, polyurethane resin, fluorescent pigments, smoky blue moonstones, hardware.

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Liljana Mead Martin works at Studio #403 Artist Resource Centre (ARC) East Vancouver, British Columbia, Canada. These are the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations. Learn about Land Back