My work is almost always personal, drawing heavily from my Southern African roots and my experiences as a diaspora woman living in the context of settler nation Australia.
Michael Lee | How Are Things (installation view with artist), 2018 My artworks are personal reflections on city living, with a focus on how space structures human thought, feelings and actions. Researching architectural heritage addresses my own poor memory of …
The main theme running throughout my work is related to my grandmother, an Indigenous woman of the Barkindji Tribe from Broken Hill, NSW.
Anthea Y | Article XII Autonomy Collier Nogues: Article XII: Autonomy This poem and artwork is part of the Hong Kong Now chapbook curated by Tammy Lai-Ming Ho.
Lockdown Lookbook began out of necessity, to create something during a period of stifled expression. Quickly, it transformed into an insatiable, look-hungry monster. On some days, outfits were put together to match moods.
Eugenia Lim | installation view of ON DEMAND | 2019 | Gertrude Glasshouse. Photo: Christo Crocker Nothing is neutral I came to art-making via writing (poetry, actually). Each idea, project and work always begins as words; words that I find …
I’ve been illustrating a monster a day since the start of the school holidays here in Western Australia, the official COVID-19 lockdown date for Broome.
Julie Gough | Manifestation (Bruny Island) 2010 | Giclee print on Hahnemuhle photo rag paper, ed: 10 | Image 400 x 600 mm (paper 600 x 800 mm) Since 1994, Julie Gough has exhibited in more than 130 exhibitions that include: …
‘Under the table I learnt how to feed you’ documents the women in my family as they arrogate space through dance and the smoking of arghile in the courtyard of a Lebanese bakery in Southwest Sydney.
The work is not really about distress, it’s the look you get when you put your head in the photocopier.
For Alan 2018, acrylic on canvas, 180 x 240 cm. Image courtesy the artist and Milani Gallery, Brisbane.
‘Form Work’ explores architectural forms, lines and shapes that are depicted in architectural drafting.
‘Bow Down to the Sovereign Goddess’ (series 1-5), 2012; exhibited at Art Gallery of South Australia, ‘From the Street’ and part of the Flinders University Art Museum Collection. Portraits: Alexis West, Simone Tur, Nazaree Dickerson, Tracey Rigney and Faye Rosas …
Yhonnie Scarce | N0000, N2359, N2351, N2402 | Blown glass, archive photographs, dimensions variable; 2013 (detail)
Over the course of her outback chapters, spanning close to a decennial, I have taken over 56,000 photographs covering some 500,000 square kilometres since immersing into the greater desert regions of Central Australia.
Behold was made unexpectedly, and without design. I was travelling in a city that I sometimes return to, and I got to know a group of gay men. There, where they live, these men (and many others like them) are mostly left to be. But only on the condition that they lead one part of their lives in secret.
My mixed media tableau incorporates the transformative process of bricolage and photomontage to draw the viewer in to consider more insidious subtexts such as disturbed ecologies and dispossession from colonial incursions. A combination of field trips and archival research into my family past have fostered a deeper understanding of the inherited and ongoing legacies of colonial settler culture.