Revival Roadshow (2025)

VR 3-DoF, 8K, 17:00, 4-channel interactive audio.

Revival Roadshow presents a darkly absurd vision of the future, sparked by a 17th-century painting of Dutch explorer Abel Tasman. The work critiques fake news, consumerism, colonial glorification, and climate collapse. Framed as a distorted art appraisal show, it follows a young woman who brings in a painting inherited from her grandmother. What begins as a sentimental gesture turns surreal when the painting is revealed to depict a resurrected Abel Tasman, now tasked with discovering new land for Dutch climate refugees after a devastating flood.

Set within a fictional museum, the narrative is repeatedly disrupted by pop-up ads promising comfort and escape, highlighting the strange collision of digital convenience and ecological disaster. These media intrusions are not interruptions but key storytelling devices that merge satire with critique. Built as a layered digital collage of historical objects like Delftware, colonial maps, and botanical illustrations, the piece examines how visual culture preserves power and myth. As narratives overlap and perspectives clash, viewers are forced to decide what to notice and what to ignore. In a world oversaturated with imagery, Revival Roadshow asks: What do we carry forward, and what must we leave behind?

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It's All Right (2025)

4K, back projection on round screen, 15:00, 8-channel audio

It’s All Right is an immersive 8-channel audiovisual installation that unpacks the contradictions of climate change through sound, technology, and collective memory. Reimagining The Beatles’ Here Comes the Sun, it distorts the song’s familiar warmth, transforming reassurance into unease. A layered soundscape—woven from IPCC reports, AI-generated future weather, field recordings, and climate protests—builds from meditative calm to chaotic crescendo. As the phrase ‘It’s all right’ loops, its meaning shifts: is it comfort, denial, or quiet surrender? What begins as familiar and contained soon reveals itself as something unsettling, forcing audiences to confront the fragile illusion of safety in an era of crisis.

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News From Home - Kaohsiung (2024) 

8 photomontage sculptures, 3-channel video installation , 2-channel soundscape, projection and neon lighting

“News From Home - Kaohsiung” was a solo exhibition across three gallery spaces at the Pier-2 Art Centre in Kaohsiung, Taiwan. The multimedia exhibition delved into the everyday life of the City, weaving documentary realism with playful surrealism. In the works presented, Kaohsiung’s past reaches through to the present, everyday life is celebrated and future dreams emerge. In early-2024 we immersed ourselves in Kaohsiung, covering over 300 kilometres by foot as we connected with the local community. During this exploratory process we captured over 9000 photographs, alongside hours of audio-visual material. This fieldwork served as the foundation for a series of large-scale photomontage installations and accompanying audio-visual works.

Each installation combines hundreds of digitally composed photographs of daily life in Kaohsiung to create a series of interconnected narratives. These works utilise a colour palette inspired by the vivid temples and the neon glow of street signs. Alongside this, the exhibition’s audio-visual works present an endless stream of ephemeral moments captured in Kaohsiung. These moments are interwoven with the spoken stories of students from a local elementary school. Ultimately, ‘News From Home - Kaohsiung’ presents a collective vision of the City, highlighting the significance of everyday moments in shaping its distinct identity. The exhibition offers a rich, layered portrayal of Kaohsiung, intertwining the personal insights of the artists with the potential for diverse audience perspectives.

Interview with the artists

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Unfolding (2024) 

VR/360-degree video, 8K, 15:00, 5.1 soundscape

Unfolding is an experimental short film set in the year 2070, presenting an absurd future wellness session titled Guided by Nature. Initially mimicking the calming aesthetics and language of 21st-century wellness culture, the session gradually unravels as the off-screen narrator—revealed to be the voice of air—grows frustrated with its role as a passive guide. This narrative shift challenges anthropocentric views by reversing the human–nature hierarchy, positioning nature as an active, vocal force. As the session becomes increasingly unsettling, the film invites viewers to reconsider their assumptions about nature, wellness, and agency in an era of ecological crisis.

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Virtual Listening (2023) 

Rickshaw, geolocated soundscapes, headphones, speaker, blindfold.

Virtual Listening (2023) is a site-specific, participatory sound work that invites audiences to reimagine their relationship to place through listening. Created for the FMR23 festival in Linz, Austria, the project replaces visual cues with sound: participants are blindfolded, seated in a custom-built rickshaw, and guided on a 10-minute journey through the city. As they move, a geolocated soundscape unfolds through headphones and speakers, blending field recordings, narration, and virtual impressions of Linz. By disorienting the senses and privileging auditory experience, Virtual Listening challenges dominant visual modes of navigation and perception, asking whether "hearing" might also be a form of "believing."

Listen to Audio

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Naked Windows (2021) 

VR/360-degree video, 8K, 15:00, 5.1 soundscape

Naked Windows is an immersive 360-degree video work created in the context of a virtual residency organised by The European Union National Institutes for Culture during the COVID-19 pandemic. The title refers to the social phenomena of houses without curtains, a common trait of homes in Dutch cities. Exploring this idea, in the video the audience occupies the role of a voyeur, invited by the artists to peer ‘backstage’ into their personal interior spaces. In this role, the audience must negotiate their own curiosity and voyeurism while exploring the boundaries between public and private, truth and fiction. Naked Windows is a humorous reflection on the artist’s reality today and is captured in their own intimate living spaces. The scenes are presented as modern still lifes—arrangements of daily life objects combined with objects from the artist’s imagination.

View Work in 360°

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Nullshima Studio is proud to have been supported by institutions and festivals that champion critical, experimental, and socially engaged art.