Scope Creep
Scope Creep seeks to address the absurdity of digital capitalism and its effects on ecology and psychology through a multidisciplinary piece comprising performance, video and installation. In managerial rhetoric, the term ‘scope creep’ refers to the sweeping and uncontrolled expansion of a project’s objectives. Scope Creep connects this primarily corporate term to the neoliberal imperative to control and manage all aspects of life. Scope Creep brings attention to the neoliberalisation and digitisation of society through framing and performing elements of corporate culture, specifically in set, props, stereotype and language. I dissect corporate social norms and the prevalence of productivity-focused, surveilling technology by probing the jarring, impersonal nature of corporatism and the contemporary technological ‘innovations’ regarded as essential to not only corporate culture but contemporary life in general.
Camilla Eustance (she/they) is a Naarm-based multidisciplinary artist working across paint, video, installation and performance. Camilla’s work primarily investigates the absurdity of corporate culture and its connection to the climate crisis alongside ecological and emotional breakdown through the intersection of technology and sustainability (or lack thereof). Camilla has exhibited in multiple spaces including NOIR Darkroom (2020), Counihan Gallery Brunswick (2021), Low Key Bar (2022), Schoolhouse Studios (2022), Platform Arts Geelong (2023), 380.c0 (2023), Side Gate (2023), Honey Bones Gallery (2024), 138 Gallery (2025) and Mixed Zoning (2025). Camilla also sings and plays viola alongside Alex Williams AKA Pug in the anti-colonial-folk-punk music project, Spillway.
camillaeustance.com / @camillaeustance__
