Swiss multi-media artist Co Gruendler’s Flowers Inside consists of a still image of a girl lying face down on the grass, with woodland twittering sounds in the background. However, when the corpse-like image is revived – or rewound – the surroundings take on a new context.

Monique Malone’s Intrinsic contains several instances of women wrapped: tied in red cords, wearing a fan-like origami choker, or flouncing like a jellyfish across the floor of a swimming pool.

In Shannon Carpenter’s Vertical Love Chronologies, a very thin, linear camera tracks its way down a female form, creating slot-like projections of skin. However, as a voyeuristic tool, this lens is an unwieldy apparatus: it moves like a noisy dumb waiter, which has to reload each time. Meanwhile, the images of the female body grow ever more skewed. Does the eye distort the body – or is it the other way around?

In Sofi Basseghi’s Siren, a woman hypnotically unwraps herself before the camera, ritually veiling and exposing herself as the music climaxes. Born in Tehran, Basseghi is interested in representations of sensuality and exotica in relation to Middle Eastern culture.

In Alan Garcia’s abstract paintings, the surfaces often look like scrunched wrappings: he creates star-like rifts in paint, or loops which look like freeze-dried coils of pigment.

Denise de Keyzer’s six-foot pastel nudes show bodies life-size, fully exposed, yet tentatively stepping forward.

Master Cardinal. “Unpredictable and original, Master Cardinal are a three piece with a raw yet expansive sound. Guitar driven rock that takes you higher than a Hendrix haze, pounding drums that hit hard, weaving between deep bass lines - grooving on like a rolling stone. ” Beat Magazine 2006.

Bridget Walker’s inventive One Verse, No Chorus shows images of Australia being endlessly re-worked, as scraps of paper are ripped and shredded to reveal new aspects of the country. The images crack, leak and bleed into one another as “Australia” is progressively re-drafted.

Kristin Skees likes to take surfaces apart, whether picking at rinds and labels, unspooling garments line by line, or embroidering coloured threads into her skin, as in her video Home, War (stitches).

Waiting for Snow, by US sculptor and video artist Talice Lee, has a female body wrapped in a coat of paper cuttings: a fragile, anemone-like covering which responds to every change in environmental conditions.

Ulrika Holmlund’s video It seemed like a funny idea… features a body
covered in plastic and a narrative of the trapped woman. As her story
unfolds, we discover her beliefs and worries, bits and pieces of her
history, and the reason why she is wrapped.

For Artless Formless, by London film-maker Alex Staiger, a woman carefully unwraps a pen and shows us the three things she’s learned on her 31^st birthday, under the heading “Formless.” What’s behind this “naïve” gesture? A scrambled soundtrack plays.

John Howland works with live action and animation to create hazy, cloud-like projections of people floating over a landscape.

Lucy Hannah & Ulrika Holmlund’s Under the Radar is a social experiment, based on the premise that the intangible is as powerful as material reality. Visitors will be asked to write, draw or invent a place filled with creatures, animals and other living things - creating a set of myths and legends in the process. The artists will test the effects of this perfect, “unreal” location - is the imagined more memorable than the real?

Rachael Miller is a Melbourne-based stencil artist who uses vintage illustrations and magazines to explores a variety of pop cultural themes. Her work can be seen amongst the first legal walls in Melbourne’s laneways.

Michael Meneghetti’s contribution to Unwrapped is an invitation to his alter ego, Metazorion, to attend the evening. Michael has given Metazorion three challenges to complete, rites of passage which will test his prowess and strength.

Simon Pampena: “This is me. I am interested in stuff.”