In this exhibition Merran Sierakowski continues to explore the notion of venomous sea creatures as a metaphor for the increasing ugliness displayed by our nation in the treatment of marginalised members of society. Not waving, but drowning in self-interest and the poison of intolerance. The creatures represent old prejudices and fears, much as images of monsters were depicted on medieval maps of imagined lands.
‘We Australians strangely maintain our belief in our manufactured national character of acceptance and a ‘fair go for all’ through increasingly nationalistic displays of flag waving and national pride. However this attitude is only an outward display. We are allowing ourselves to become mean spirited and intolerant. We are not waving and welcoming. We are not helping each other. We are drowning in self interest’.
Merran Sierakowski 2015
Woven Lines is the second solo exhibition by this exciting young Northern Territory artist. At the age of 21 Kieren Karritpul is a highly talented emerging painter and designer from Merrepen Arts at Nauiyu Community on the Daly River.
In Woven Lines Karritpul continues to explore the minutiae of his line and pattern- making with new complex compositional arrangements and bold synchronisations of colour.
Karritpul paints subjects associated with the traditional culture and knowledge of his clan. In this exhibition he extends his exploration of the woven line in painting and fabric design. Karritpul grew up watching his mother and grandmother collecting, dyeing and weaving pandanus and sand palm (merrepen) fibre. As they worked he would listen to the stories they told about the traditional culture and heritage of his people.
As a young contemporary artist Karritpul has transformed his knowledge of weaving and dying into intricate and colourful paintings. His images incorporate the pattern of pandanus bundles, woven baskets, coolamon and fish traps, while the colours of his paintings emulate rich and beautiful natural fibre dyes. The works not only pay homage to Karritpul’s culture and heritage, but extend boundaries of contemporary visual expression.
In 2014 Karritpul won the Youth Award for his screenprint on linen titled Yerrgi, at the National Aboriginal and Torres Strait Islander Art Award at the Museum and Art Gallery of the Northern Territory. In 2015 Karritpul was a finalist for the Northern Territory Young Achiever Awards, Charles Darwin University Arts Award.
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Nomad Art and Mangkaja Arts Resource Agency are proud to present a new body of prints created in partnership with Basil Hall Editions in 2014. These new etchings and screen prints represent traditional connections Mangkaja artists have to the Kimberley region.
Typically diverse in style, the etchings are reminiscent of the seminal drypoint prints created by Mangkaja artists at Northern Editions with Basil and Leon Stainer during the Kaltja/Business Conference in 1996. Artworks depict important sites and natural resources including waterholes and many varieties of plant food.
Mangkaja artists began printmaking in 1994 with Martin King from the Australian Print Workshop (APW) in Melbourne. The artists produced a wide variety of images in the first workshop at Mangkaja Arts and have sustained a strong printmaking practice since, resulting in works being acquired by various public and private collections, including the British Museum and the National Gallery of Victoria.
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Earthworks is a continuation of Winsome Jobling’s 2014 exhibition titled Earth. It is a reflection upon the natural changes and movement of the Earth in tandem with human exploitation of natural resources. In Earthworks Jobling moves deeper into the geological transformation of the earth and how this influences our sense of identity, shaping our interactions with the environment. The works consist of handmade paper made from plant materials with earth pigments.
All around us invisible matter forms the visible. Whirling and colliding atoms, electrons, quarks and magnetic fields are the building blocks of everything.
All known things are made up of quarks and electrons tied together by strong magnetic fields.
Nothing is still.
The Earth’s tectonic plates move under our feet about as fast as our hair grows.
Earthworks continue throughout geologic time, constantly moving and changing.
Things collide, always cause and effect, the ceaseless gradual erosion or cataclysmic transformation.
The influence of the natural world on our sense of identity and place has changed and a more active engagement and greater understanding would challenge the complacency of familiarity where we now see the natural world as exploitable object.
By respecting the natural world our interactions might be tempered by a deeper empathy.
The earth pigments I use are sourced from all over the Northern Territory; red sand from Titjikala, grey mud from Cahills Crossing, purple/brown from an abandoned mine near Tennant Creek. All are the worn down remnants of ancient geology. The charcoal is from bushfires, the ‘bones’ of bushland.
Abaca is a fibre from the non-fruiting banana Musa textilis and is imported from the Philippines part processed, ready to be beaten and formed into paper.
The plant fibre papers using Phalsa (Grewiaasiatica), Stringybark (Eucalyptus tetradonta) and Kapok (Cochlospermumfraseri) are locally sourced and processed.
Winsome Jobling 2015
Nomad Art presents an exquisite collection of new etchings, linocuts and works on paper from Jilamara Arts and Crafts. Inspired by the rich cultural heritage and the island environment, the artworks represent the stories and customs of the Tiwi people. The prints were produced in collaboration with Martin King from the Australian Print Workshop […]
Nomad Art features the recent arrival of etchings by some of the key artists from the renowned Jirrawun Arts. Based in Wyndham, Western Australia from 1998 to 2010 Jirrawun Arts was a galvanising period in the history of East Kimberley art, helping to establish the careers of many of Australia’s leading contemporary Aboriginal artists. […]
Recent prints from Yirrkala Print Workshop feature etchings, lithographs, linocuts and screenprints by leading Yolngu artists which are a reflection of their culture, ingenuity, skill and artistic vision. Buku Larrnggay Mulka has a long and proud history as one of Australia’s premier Indigenous art centres and printmaking studios. The artists have established a national reputation […]
Down at Vesteys Beach, embedded in the sand and silt, is a collection of sedimentary rocks known as conglomerates. These conglomerates are the result of massive earth forming events across millenia. Consequently they have been deformed, metamorphosed and intruded by post-tectonic granitic and mafic rocks. Fragments of shells bear witness to habitation from a Precambrian […]
Galico is the word for fabric in the Gupapuyngu language, one of the many languages and dialects used throughout Arnhem Land. Galico is derived from the word ‘calico’, which was bought to Arnhem Land by the Macassans from Indonesia – who visited and traded with the Yolngu for hundreds of years before white contact. […]
Inspired by the mangroves and tropical ecologies of Darwin, Talitha Kennedy has taken the aesthetic of fecundity to heart. Talitha’s drawings are elaborate ink on paper doodles, working between conscious thought and raw instinct to evoke intimate landscapes suggestive of plant, body and earth as transforming mass. Her artistic practice examines the human relationship […]
Bush Life is an exciting new exhibition by the Tjanpi Desert Weavers that explores elements of life in the remote communities of the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Lands of Central Australia. These quirky grass sculptural works are a physical representation of the everyday items that hold significance to the artists including motorcars, helicopters, guitars, […]
In 2014 the print studio at Buku-Larrnggay Mulka began with an influx of new emerging artists and young trainee printmakers. The print space has always maintained a policy to employ and train local Yolngu in the art of printmaking to ensure that Yolngu printmakers edition the prints created by Yolngu artists. This year Munuy’ngu […]
Tropical Northern Queensland is an environment rich in cultural and natural diversity where tropical rain forests, wetlands and estuarine mangroves meet the Torres Strait. Likewise Aboriginal and Torres Strait Islander art is rich and symbolic. Diversity and artistic innovation abounds through contemporary artworks, including etchings, linocuts, ceramics, textiles and ghost net weavings. Artists […]