During her residency at Q Bank Gallery in Queenstown, Lutruwita/Tasmania, MacLeod developed a new body of site-responsive work examining the environmental legacy of copper mining. Responding to the Queen River—often described as a “dead river”—she produced copper oxide inks from collected water samples and created drawings alongside a felt-based sculptural installation made from wool soaked in the river. While initially centred on the visible scars of extraction, the project gradually shifted towards an exploration of what persists after disturbance: resilience, adaptation, and the quiet agencies of more-than-human life. Through walking, collecting, and sustained observation, MacLeod became increasingly attentive to the tensions between desolation and renewal that characterise Queenstown’s landscape. The resulting works trace a material dialogue between body, river, industry, and place, reflecting an ongoing inquiry into ecological grief, ecological intimacy, and the layered histories held within regional environments.