Posthuman Genetic Legacies [PHGL] is a project in development that explores alternative forms of producing offspring, as well as the human desire for immortality and the preservation of a genetic information and familial lineage through tissue culture, genetic engineering and synthetic biology.

Transformation Studies is an art-science project by Svenja Kratz, created in collaboration with Associate Professor Brad Sutherland and Dr. Jo-Maree Courtney. Developed in response to a 2021/22 ANAT Synapse Art-Science residency, the series explores themes of transformation, life, and legacy through cellular reprogramming and photomedia.

The Simulated Selves project by Svenja Kratz and Bill Hart delves into the philosophical and creative implications of AI-generated avatars, exploring questions of identity, creativity, and the boundaries between human and machine. The work was commissioned for the World Science Festival, Brisbane in 2024.

Light, Matter Energy: Visualising the Invisible is a new body of interconnected works that collectively explore notions of transformation and the science of light and colour. Particular consideration is given to interacting matter and energy fields, as well as how light, colour and fluorescence can be used to reveal unseen structures, patterns and forces.

The Immortality Beta ∞ project, developed by Svenja Kratz in collaboration with Bill Hart and Professor Dietmar W. Hutmacher for the Spare Parts exhibition at the Science Gallery in London, explores the human desire for immortality through biotechnological and digital interventions. The project features two major works: the Monument to Immortality and Ghost Writer.

Mourning Story employs visual and material culture to explore and challenge conventional narratives around fertility, reproduction, and identity in Western culture. Developed in response to the artist’s experience with potential infertility, the work uses biotechnology as a means of reflection, confronting deeply embedded expectations around womanhood and genetic legacy.

BioSynthetic Systems is a new media art project developed by Svenja Kratz and Bill Hart in a creative partnership between the IHBI Regenerative Medicine Group and QUT Interactive Visual Design Discipline and UTAS School of Creative Art and Media.  The project explored biofabrication and perceptions of technologically facilitated immortality.

Sulcus Loci involved the development of a large scale interactive pavilion prototype integrating images and research insights from The Queensland Brain Institute (QBI). The project is a collaborative undertaking across the Schools of Architecture, Information Technology & Electrical Engineering [ITEE], Music, QBI and the UQ Art Museum at the University of Queensland.

Real and Imaginary Mutants consists of a series of works developed in response to a six month residency at Gorleaus Laboratories at Leiden University in 2013. The residency was organised with support from Robert Zwijnenberg, one of the founding directors of the Art and Genomics Centre and formed part of the large-scale Biosolar Cells research programme.  The residency was funded by QAGOMA’s 2012 Queensland New Media Scholarship.

The Fringes Catalyst Project consisted of a series of microbiology, genetic engineering and plant tissue culture experiments during a six month appointment as creative catalyst at The Edge, a digital culture centre at the State Library of Queensland. Project outcomes included the development of a series of art/science workshops and exhibition of mixed media creative works based on residency outcomes.

The Absence of Alice consists of a series of evolving exhibitions developed over a five year period working with the Tissue Repair and Regeneration (TRR) Program, within the Cells and Tissues Domain, at the Queensland University of Technology’s Institute of Health and Biomedical Innovation (IHBI) from 2008 – 2011 alongside expanded ongoing explorations.

The Human Skin Equivalent/Experience (HSE) Project, developed in a creative partnership with the Tissue Repair and Regeneration (TRR) Program at IHBI from 2010 – 2013, involved the creation of personal jewellery items incorporating 3D Human Skin Equivalent (HSE) models produced from skin grafts of the artist and skin cells from project participants.

The Immortalisation of Kira and Rama is a bioart project that was initially researched and developed during a three month residency in 2000 at SymbioticA – Centre of Excellence in the Biological Arts within the School of Anatomy and Human Biology at the University of Western Australia.

Dennis Kratz involved a long-term collaboration and artistic partnership with artist/writer/filmmaker Sarah-Mace Dennis.  From 2004 – 2007, Dennis Kratz produced a range of new media and photographic works exploring history, memory, time, presence and absence.

Crash Paper Music for Robots was a collaborative performance project between Svenja Kratz, Mariam Arcilla and Christina Smart that involved the production of short songs reminiscent of 80s computer game music coupled with video and stop frame animation sequences.

Luminous Prime was an experimental live audio/visual collaboration between Svenja Kratz and Michelle Oxenham Xen with guest vocalist Taki. Together the trio performed at the SOOB [Straight Out Of Brisbane Festival] and The Rev, Fortitude Valley in 2006.

The Reabsorption Method was an audio/visual collaboration between Svenja Kratz, Michelle Oxenham (Xen) and Sarah-Mace Dennis. The collective performed a 30 min. set at Quantacrib for the 2004 Electrofringe Festival in Newcastle.