For photographer Tamara Dean, nature functions as a watermark in her work, immersing the viewer in both the personal and universal. Now she takes her melancholic and mysterious pictures to the Adelaide Biennial. “I started delving into allegory and more universal, personal stories. I learnt a different type of patience. I went from spending all my time shooting to all my time planning. I’d wait months or years for images to take shape.”

Outside Oslo, a forest has been planted that in a hundred years will provide the paper for an anthology of renowned writers’ work, which will remain unread until then.