Peta Clancy has predominantly worked with the medium of photography. Recently her practice has expanded into new mediums: performance, bio-art, sculpture, video and installation. Her photographic practice points to the ‘expanded’ field of photography. She has explored the porous membrane of the body interrogating the smooth surface of the photograph piercing, crumpling, creasing and embedding it in wax. For her series She carries it all like a map on her skin (2005-2006) Clancy punctured her photographs using fine silver needles, to create a fine lace-like effect over images of eyelids and lips. More recently the subject matter of her photographs has extended beyond the surface of the skin and the photograph. This shift has been prompted by research into her Aboriginal ancestry, threatened Australian species, museum collections and the Australian landscape. She is currently working on a major new body of large-scale immersive photographic and film works titled The Aurelian Project. This body of work is being developed through research at Museum Victoria and the Australian National Insect Collection, CSIRO, Canberra. In 2011, she collaborated with Helen Pynor on The Body is a Big Place project which explored the ambiguities underlying organ transplantation and was exhibited at Performance Space, Sydney and Leonardo Electronic Almanac. Clancy and Pynor have been awarded the 2012 ANAT Synapse Art/Science Residency Grant to undertake a four month residency at the Heart and Lung Transplant Unit at St Vincent’s Hospital, Sydney in 2012. The Body is a Big Place has been selected as one of the winners in the 2012 Prix Ars Electronica awards. The project has been awarded an Honorary Mention in the Hybrid Arts section. Clancy’s solo exhibitions include Paper Thin (2009) and Elixir (2007), Dominik Mersch Gallery, Sydney; Visible Human Bodies, Australian Centre for Photography, Sydney (2007) and Brighton Museum & Art Gallery, UK (2005). Her group exhibitions include Controversy: The Power of Art, Mornington Peninsula Regional Gallery, Victoria (2012) and Imagining the Everyday, Pingyao International Photography Festival, China (2010). Her artwork has been published in ‘Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art’ by Ingeborg Reichle; and ‘Look: Contemporary Australian Photography Since 1980’ by Anne Marsh. Articles about her work have featured in Australian art journals: Artlink, Eyeline, Photofile, RealTime, and a front cover article in Australian Art Collector (2007). Clancy has been awarded numerous public grants from the Australia Council for the Arts, most recently a New Work Grant from the Visual Arts Board in 2010 and a Project Grant (with Helen Pynor) from the Interarts Office in 2010. Clancy completed a practice based PhD at Monash University, Melbourne where she is a lecturer in the Department of Fine Arts in the Faculty of Art, Design & Architecture. She completed a Master of Arts (Media Arts) at RMIT University, Melbourne; a Bachelor of Fine Arts (Honours), University of Tasmania, Hobart; and a Bachelor of Fine Arts, at RMIT.