Kirsten Drewes, Judy-Anne Moule Helen Redmond and Elizabeth Rankin present an immersive dystopian world. Sexual roles are questioned, the world is in a state of flux. All bets are off. Noir is associated with darkness and with a genre of film or literature that stylistically used darkness as a palette for its imagery. It has a dependence on the nocturnal qualities of night and all versions of noir reflect a belief in a bleak world and a lack of trust in civil society. Noir is the abject because it is associated with the end of order, with the disturbances of systems. It does not respect borders, positions or rules. In noir, identities are ambiguous, alliances are uncertain, and the ego is threatened. These are the badlands, between the real and the imagined. In this uncertain world, new representations of noir emerge reflecting the threat to the self that this borderless world poses. Noir, in this sense, explores narratives within a dystopia, an uneasy, unsettled society. In this dystopia, sexual roles are questioned. The Femmes fatales of the past still haunt our perceptions and the cultural genre of noir that portrayed women as femme’s fatales - objects of desire who have secured their own fates. However, the world is in a state of flux. All bets are off. Each of the 4 artists of Badlands interpret contemporary noir in their work. In painting sculpture and installation, the exhibition utilises floor, wall and ceiling spaces to create a strange new post Covid world. Images courtesy the artists and Articulate.