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Is science stuck in a communication rut?

Beaker Street Science + Art Collaborations

Beaker Street wants to bring science to adult audiences who don’t typically have access, don’t feel included, or don’t identify as science enthusiasts. But how do you get someone to engage with science when they don’t think it’s for them?

We’ve been working to answer this question for the past six years through our diverse programming that explores the intersection of science and art, and now we’re reimagining how science is presented to the public through out New Works program.

We aim to create a new model for a “scientific presentation” that looks less like a TED Talk and more like a multi-sensory exploration of ideas, presented in a way that is gripping, accessible, inclusive, and memorable.

To do this, we’ve paired artists with scientists, and are supporting them to collaborate on new works. The outcomes of these collaborations will be endlessly diverse, taking form as the relationship between the collaborators develops.

Curated by Lucy Bleach and Theia Connell.

Project Collaboration Groups

Dr Karelle Siellez X Reptrillion Culture Club

Dr Karelle Siellez


Dr Karelle Siellez (aka Sky) is an astrophysicist, (street) artist and activist working at the University of Tasmania as a lecturer in Physics.
Their research focuses on the use of distortion of space time, called gravitational waves, and their electromagnetic counterpart to understand the coalescence of binary compact objects producing a black hole. Sky believes that a new area is coming where science could be made by people, for people (not profit), and they are developing artistic projects to interconnect people and this new path for science.

Reptrillion Culture Club

Artists and experimental sound trio

Reptrillion Culture Club ( Jon Smeathers, Alf Jackson, Julius Swing) is a hyperpop noisecore group emerging from Nuenonne (Bruny Island) and Nipaluna (Hobart).
Their music extracts softness, noise and love from "pop" music creating what has been described as "cracked dubplates of unheard hyper-pop performed by a stadium house band”. It is a tactile, exclusive, ambisonic dance music form that is rendered in live remixes, mashups, wavy drums and spiraling five-dimensional guitar efxs.
As a collective, RCC members have been awarded performance opportunities in Norway, Portugal, Germany and the US and are highly regarded in underground communities across the globe. The band features Julius Schwing (Guitar), Alf Jackson (Drums), Jon Smeathers (Cdjs)

Dr Shasta Henry X Priscilla Beck

Dr Shasta Henry


Shasta is a passionate entomologist and educator, having transitioned to science and science communication from eco-tourism in 2009. During her time at UTAS, Shasta has completed a Bachelor of Science and Honours in zoology/entomology, worked as a tutor for Riawunnah and junior lecturer in the Geography department, volunteered as a Young Tassie Scientist and completed an internship at the Smithsonian Natural History Museum in Washington DC, “that’s how I got a species of beetle named after me.”
She also maintains a public presence as the Bug Girl via ABC Radio, The Gourmet Farmer and Libraries Tasmania to name a few. While interpreting insects for the Tasmanian public, Shasta often talks about insects as food, introduced pests, native pollinators, ecological adaptation and how to identify insects for kids. From her days working as a white water rafting guide and rock climbing instructor Shasta still loves to travel and explore nature, “but collecting insects is much easier on the knees”.

Priscilla Beck


Priscilla Beck is a writer, artist and facilitator based in lutruwita / trowunna / Tasmania. Her art and writing practice is a culmination of critical and creative works, each deeply connected to process and place, that often retains a self awareness critical of its medium.

Priscilla’s creative practice is complemented by a portfolio of arts writing and facilitating meaningful projects in the community. Priscilla has exhibited widely, and undertaken residencies across Australia. Priscilla's art practice is open-ended and speculative, working within set frameworks to create subtle, material-based installations. Each work is deeply connected to process and place, and often uses art practice and systems as the ‘site’ within which to respond. Recent projects have culminated in growing salt crystals on the walls of a gallery in Naarm/Melbourne, casting concrete vessels to carry spring water from lutruwita/trowunna/Tasmania to Mparntwe/Alice Springs, writing a one act play for two LCD screens to perform and creating a pinhole camera out of a large warehouse in Launceston for MONA FOMA.

Sarah Lloyd X Dean Greeno

Sarah Lloyd OAM


Sarah Lloyd is a Tasmanian naturalist with a life-long passion for birds, and a more recent interest in just about every aspect of the natural world, especially slime moulds (myxomycetes). In about 2010 Sarah started to notice slime moulds in the forest at Birralee. By July 2023 she had collected over 2300 specimens representing over 120 species including four hitherto undescribed, one new genus and more species currently being studied.

Sarah has written prolifically about natural history and has taken numerous photographs to illustrate her articles and publications. She has been a major contributor to The Natural News, the newsletter of the Central North Field Naturalists, and has been editor since 2005. She has published nine books including, in December 2022, the fourth edition of Where the slime mould creeps; in 2015 she published The feathered tribes of Van Dieman's Land and in 2013 wrote the second edition of Bugs, birds, bettongs & bush, conserving habitats for Tasmania's native animals published by Department of Primary Industries, Water, Primary Industries, Hobart.

In 2018 Sarah was awarded the Australian Natural History (ANH) Medallion by the Field Naturalists Club of Victoria. The ANH Medallion is awarded each year to the person judged to have made the most meritorious contribution to the understanding of Australian Natural History. In 2020 she received an Order of Australia Medal (OAM) for ‘services to conservation and the environment’ (and slime moulds).

Dean Greeno


Dean’s arts practice centers primarily on sculpture, drawing heavily upon his pakana (Tasmanian Aboriginal) cultural connections to Country and the traditional practices that spiritually connect him to his artwork. These connections began early when his great grandfather took him into the bush and swamps off the East coast of Flinders Island to show Dean traditional hunting and crafting techniques. An important aspect of the future pathway within Dean’s work is the effects of climate change on traditional Tasmanian Aboriginal resources and recognizing how these effects are being felt not only by the pakana and palawa people themselves but Sky, Land and Sea Country.
Dean has assisted in the creation of a handful of films and documentaries, and has exhibited alongside his father Rex Greeno for the 2022 Sydney Biennale. He enjoys guiding, fire pit yarns and ‘sharing knowledge’ walks through the cataract gorge in Launceston or on the beaches of Flinders Island - each presentation focused in part on highlighting the immediacy of healing and caring for Sea Country.

This project is supported by: