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Final Critique and set up

I had planned to use the space that I will be setting up my work for the Graduation Exhibition and I had organise for Andrew in the Workshop to set up the lights Wednesday afternoon.

I went into the studio early Wednesday and finalised a few of the pieces and set up.

I originally set up the data cables running along the floor to represent the 3 rivers of Wiradjuri but after re assessing the installation I decided to remove the cables as it seemed washy and too much. I did want the audience to move around the installation as well.

The fence was successful but during the critique it was discussed to space the fences and add gabs as this would represent the flow between the pieces and link to the flow of the  river

After looking at different ways to display the dilly bags handing them on the wall worked best and the reflection from the lights created a grid like pattern on the wall.  

I had a lot of trouble with the tree as it was very top heavy and the orange mesh that I had placed inside the rusted wire was very overpowering so I removed this and pulled the branches apart and reset them up. I also added a base on the bottom of the light shade base and painted the metal black. 

The final installation of the completed tree and I added my booboos owl which is made from random electrical cords. This is the 1st piece that I have worked on by creating an amerture wire frame and weaving the cords around the frame.

  I was happy with my critique and I was asked where my future would go and I did talk about a few options and the discussion moved to my continuing my studies and it was suggested that I should look into completing my master through  Dr Bianca Beetson  who is the  Sen.Lecturer/Program Convenor | Contemporary Australian Indigenous Art.(CAIA) 

After considering all of this I decided to have a talk with Bianca and after a lot of discussion Bianca said she would be happy to be my supervisor and mentor. 

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Manefesto

Due to my passion of the environment I had written a manifesto and I decided to include this in my final critique

Manifesto for Mother Earth

Written by Ronda Sharpe, 2018

Is our mob going to tell our children and their children SORRY? Our mob couldn’t save our country. We couldn’t save Mother Earth. Are we going to tell our children that our mob are responsible for the loss of our cultures and traditions due to letting greed, development, mining and conflict come first before Mother Earth?

This manifesto is a callout to our entire mob, the people of the world, the people who want a future, the first nation people, the immigrants, and the children. Mother Earth is our country, the land where our mob lives and builds the future. Our mob are Mother Earth’s custodians. Mother Earth needs to be protected by our mob following ecofriendly practices that ensure the health of the ecosystems across the planet.

When the children ask our mob why has this happened? We will have to tell them how the ecosystem slowly collapsed as Mother Earth’s temperature increased and the world become hotter, which caused extreme weather conditions.The rains stopped which caused droughts and dried up Mother Earth. Fires burnt the country. The coral reefs bleach and die. When the rains return they bring extreme floods and tropical wet seasons became very dry or the cyclones turn severe and destructive.

Our mob are tired of the system’s bureaucracy and broken promises. Politicians continue to blame others for their own wrong doings. The politicians need to focus on the bigger picture and stop concentrating on their own time in government. The system’s current objective is the dollar and the so-called economic benefits that focus on the major polluters such as fossil fuels, mining and development.

Our mob want radical changes to protect the natural environment. Take action now to stop the system’s destructive pattern. Our mob have to use our voices and act now to take control of the decision-making on how the country is treated.

Our mob has to stop exchanging our traditional ownership and our rights. This practice is part of the system taking away our rights and giving access to mining and pastoral leases, and major developers who do not care about Mother Earth and our children’s, children’s futures.

The past is the past, our mob has to learn and move on. Survival means working together with one common focus to protect, respect and preserve our environment. Our mob let us stand proud and work together to survive and save Mother Earth not just for now, but for our children’s future.

THIS LAND IS FOR OUR CHILDREN.

THIS LAND IS NOT FOR SALE.

THIS LAND IS TO BE USED ONLY FOR CONSERVATION, CULTURAL AND NATURAL PRESERVATION PROJECTS AND FOR MOTHER EARTH.

NO MINING ON THIS LAND.

ECOFRIENDLY JOBS AND PROJECTS UNDER OUR OWN ENVIRONMENTAL RULES.

THIS LAND IS FOR THE FUTURE.

THIS LAND IS FOR OUR PEOPLE AND HUMANITY.

I say YES YES YES  

But our mob has to act NOW NOW NOW

Our mob has to CARE CARE CARE

Our mob has to work TOGETHER TOGETHER TOGETHER – Are you with us?

It is time for our mob to do OUR BUSINESS the proper way. We want to see our mob return to country. We want to create ecofriendly jobs for our children. We want to tell our stories, create new stories. We want to bring our cultural traditions back to country. We want to survive and save Mother Earth.  

For our mob to achieve control we have to work together in partnership to build communities.  We aim for joint environmental and cultural ventures that are run with transparency, honesty and working for the common goal of protecting the environment.

Our mob has to gather ownership of land and country. We have to continue to strive towards purchasing and legally owning Mother Earth. We have to place legal clauses on the purchased land that will continue to keep the estate in the hands of the Australian Aboriginal and Thursday Islanders own titled rights to ensure the country is protected and only worked under the community’s environmentally protected laws for now, the future and forever.

INTENTIONS AND ACTIONS

·   Include Indigenous Elders, young and old to be our voices and provide cultural strategies and traditional voices to sit at the tables alongside our people’s OWN legal voices at the National Native Title Tribunal to give jurisdiction to the Federal Court, to manage applications for recognition of Native Title.

·   Future access to lands claimed as Native Title will be exclusively directed to land environmental restoration as the main objective and cultural processes and pastoral and mining of future land will be denied.

·   Changes of our views and look at outcomes aiming at preserving and looking after the ecosystem and Mother Earth for now and the future.

·   We want exclusive Indigenous land use agreements and legal rights on freehold and leasehold to Native Title land to work on.

·   Ecofriendly projects such as restoration to natural land.

·   Education projects to restore cultural practices and languages.

·   Community centres to be re-established.

·   Projects to teach and demonstrate living in harmony with Mother Earth, self-sufficiency.

·   Protected significant sacred land.

·   Green energy and sustainable development projects ONLY.

·   Establish pollution clean-up projects to restore clean water systems and air quality.

·   Animal rescue and reintroduction to their natural environment.

·   Existing mining leases will not be renewed.

·   Environmental restoration projects are to start and acted on during established mining operations and continued after ceased operations with consultation and approval from traditional custodian.

·   Pastoral leases will be required to work with environmentally friendly practices and land restoration projects with consultation and approval from traditional landowners.

I had edited the original manifesto as it was 4 pages with bibliography and realised it would be far too big a read. I enlarged the document to A3 size and enlarged the font and then converted the document into publisher. I  added some lovely images of Mother Earth that were taken from NASA 

I had been given a lot of frames from friends and started digging through the collection to see what I could use to frame the manefesto and came across some very interesting framed poster  one of the Exploration of Australia and the 2nd one was Calling the Troops for Qld for the war.

I could see the significance of connecting the history of colonisation and the Queensland perspective of calling the troop but I did not want to remove the posters from the frames as the glass had preserved them very nicely.

So I decided to stick the manifestos on top of glass frames sing rustic masking tape. 

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A FORCE WORKSHOP

Flowstate presents Hiromi Tango and Craig Walsh

https://www.facebook.com/pg/flowstatesb/posts/

I visited this workshop when Hiromi at the white box at Griffith University it was fantastic to experience the collaborative work process and Hiromi is such an amazing lovely lady.

I have also been privillage to see a few of Criag Walshes amazing digital light shows at Tweed Heads, Currumbin, Brisbane River and Cairns.

In my future plans I would like to apply for community grants and conduct a volunteer workshop my idea would be to create a huge structure at of woven squares made from recycled mediums 

An evolving installation by Hiromi Tango and Craig Walsh. A Force represents a new temporal public artwork by this award-winning collaborative team.

A site-specific installation responsive to a range of environmental forces including audience participation and contribution. A Force will grow throughout the duration of the exhibition through public participation and develop in response to the unique environment it lives within.

A Force considers our relationship with technology, and how our daily dependence on digital devices may be affecting us. Wires and cables are lifelines in many ways, but as we manipulate them with our hands, taking time together to create, we begin to transform our relationship with technology

http://flowstate.southbankcorporation.com.au/a-force/

Workshops facilitated by Queensland College of Art students

A FORCE considers our relationship with technology, and how our daily dependence on digital devices may be affecting us. As part of this project, members of the public will have the opportunity to participate in the creation of a collaborative, cumulative sculptural installation, through a series of workshops.

Participants will be invited to reimagine their connections to the digital world and each other, transforming materials such as cables and wires into works of art. These small sculptural forms, focussing on themes of regeneration and human connections, will be integrated as part of the large sculptural installation. In this way, workshop participants will have an opportunity to join their creations to the work of others, enacting the idea of human connectivity.

Participants will get the exciting opportunity to add their creations to a public installation in the heart of South Bank. As a result, participants will not be able to take their creations home.

https://concreteplayground.com/brisbane/event/hiromi-tango-and-craig-walsh-a-force/

All the items were organised and coloured co-ordinated

Scale of the structure 

Hiromi dancing

everyone having a little fun and dance

https://www.facebook.com/flowstatesb/videos/336627320418549/?t=0

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Collaboration for grad show

I have been involved throughout the semester to collaborate the catalogue and the graduation exhibition 

I have attended 98% of the meetings and provided ongoing input into the agenda items, the facebook networking group and the google drive drop box.

I set up  a bank account (in my name) and provided a key Card to allow students to purchase all requirements for grad show and provided updated finance statements and records up to date. Our budget at this stage is working on all students putting in $50.00 but we will have to add more for the printing of the catalogues.

I sourced a good contact through networking who had a Responsible Service of Alcohol certificate and provided a good rate for our opening night.

I have provided water dispensers with water and platters for the food.

I have my name rostered down to work during the exhibition and will be conducting a weaving workshop on the artist talk days that have been arranged.

RONDA’S RECYCLED WEAVING WORKSHOPS

Facilitator Environmental Artist: Ronda Sharpe

http://www.rondasart.com

Ronda’s recycled weaving workshop raises environmental sustainable awareness and investigatesthe ancient traditions of weaving with a modern day twist of using recycled mediums.

The weaving workshop is an interactive hand’s on program that provides the opportunity to create eco-friendly woven art projects. We invite you to engage in the creative conversations and indulge in the weaving circle experience.

Ronda is a Wiradjuri environmental artist inspired by her love and concerns for the environment. Ronda’s use of recycled mediums is examining the connections of the past, the present and the future and highlights the contemporary boundaries of consumerism and the throwaway society we currently live in.

All materials will be supplied and workshop caters for adults and children but parental or guardian supervision is required for all children.

WORKSHOP TIME:

What to bring |  Children bring your parent guardian to join in the fun.

When |

Where | Rivers Studio at Griffiths College of Arts Southbank - Ground floor.

Time |

Cost | Donations for time, materials and equipment gratefully accepted.

Contact me on [email protected] for further information

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Artist Review Ben Von Wong

Medium the use of two tons of E-waste to create futuristic portraits

Photographer Benjamin Von Wong recently teamed up with computer maker Dell to try and make recycling "cool." Together, they took 4,100 lbs (~1,860 Kg) of electronic waste and used it to build three futuristic scenes that show how e-waste can be used to power the future of tech instead of languishing in some landfill—in other words: how e-waste can serve as a bridge between the past to the future.

For the past several years, Von Wong has taken his talent for capturing and creating incredible scenes in-camera, and used it to help push for various causes in the world of conservation. That's how he wound up photographing this model in shark infested waters, or capturing these images of 'mermaids' swimming in 10,000 plastic water bottles.

His latest project finds him continuing his quest for conservation and social responsibility, this time alongside computer company Dell.

As Ben explains in his blog post about the project, he got in touch with Dell after finding out that the company has the world’s largest global recycling program. But for all of their cool recycling tech—like, for example, 'Closed Loop Recycling' that reuses metals and plastic from old computers to build new ones—the company struggles to get people to recycle.

"After all, how do you convince people that recycling e-waste can be cool?" ask Von Wong. These photos—and the associated E-Waste Challenge giveaway—is supposed to be the answer to that question... or at least the beginnings of a conversation.

https://www.dpreview.com/articles/4734777694/ben-von-wong-used-4-100-pounds-of-e-waste-to-create-these-futuristic-photos

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Collaborative project Swell Sculpture Festive 2018

I have also been very fortunate to work in collaboration with the 2017 Swell Sculpture Festival major award winner Joy Heylen and a dynamic team of artists including : Luke Mallie, an illustrator and painter of both Aboriginal and Torres Strait Islander descent; (myself) environmental artist Ronda Sharpe who is also of Aboriginal descent; Jacqueline Damon, a textile artist and commercial designer; and fellow immigrant Agata Mouasher, a Polish-born and South African bred emerging outsider artist. This unique

The team of artists have developed an epic three-circle sculpture with a cultural message that will stand 6 meters tall and cover close to 20 meters of ground at the oceanside festival.

EMBRYO is three-circled sculpture, created with corten steel panels and woven data cables, and brings together a fusion of all the cultures in this artistic collaboration. One circle is uniquely indigenous. Another circle represents an immigrant’s perspective of Australia. The third circle, the largest, represents a fusion of all cultures. Together, the circles represent a gateway or portal to understanding the past, present and future connections that exist in our lives, and their fusion to create something uniquely new. Life repeats itself in patterns, not just because the system of the universe is itself a pattern,but because patterns of behavior repeat generation after generation, unless old destructive patterns are broken and new constructive patterns are created. Woven features in the sculpture symbolise the forming of individual identity, through intercultural and intergenerational difficulties, and also through the potential of connectedness, whether by force or by consent. EMBRYO symbolises the interconnections between community, cultures, nations, and time, and hopes to create a foundation for discussion by everyone who interacts with it. “ The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, infinity, eternity, timelessness, and the Self.”

To be involved in a large scaled sculpture from planning, construction and installation on the beautiful Currumbin beach has been a very interesting learning experience for me. 

I now have a greater understanding and appreciate for all the work, communication and planning that is involved in tackling such a huge project as well as what is involved in organising a Sculpture Festival.

For my part of the collaboration joined forces with Agata Mouasher to weave 12 panels using strong gauged fencing wire and data cables which was kindly donated by Griffith University. Griffith news

https://app.secure.griffith.edu.au/news/2018/09/18/turning-trash-into-treasure-a-swell-idea/

The Narrative for the woven features on the sculpture and the inclusion of the additional woven pieces from the artists including myself, Agata and Jacqueline were:  The Woven features in the sculpture symbolise the forming of individual identity, through intercultural and intergenerational difficulties, and also through the potential of connectedness” as well as “symbolising the interconnections between community, cultures, nations, and time”, 

But sadly, on the day of installation the original plans of connecting the circles with Jacqueline’s woven work and installing the woven panels either in path formation leading through the circles of the embryo or as a large weaving circle mat at one end with the Embryo did not happen. The alternative outcome was either the works would not be installed but if I wanted to install the 12 panels they could only go along a fence line meters away but in alignment the large sculpture. I chose to install the panels and they now become fence panels instead of a path or mat and were still included in the Swell Festival 2019.

Obviously being installation day this was disappointing and considering the months of the collaboration, planning, designing, communication, hard work and hours that had been put into this project by all the artists.

I’m continuing to focus only on the positive asphects of the overall experience and for me as an emerging artist majoring in sculpture -  to be involved in such a large scaled project has been a massive learning experience on an artistic and creative level and I will continue to move forward. 

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Mid term Review

Mid-trimester Review. Students are required to present their progress within a peer group environment for formative feedback and academic critique. Students are required to set up their work in spaces within or in the vicinity of River Studio to a standard commensurate with 6 weeks of dedicated studio experimentation, research and development.

Students must undertake a Risk Assessment of their chosen site and installation when appropriate. The student will be given oral and written feedback from their lecturer and peers. This feedback will offer critical guidelines and give advice for future directions.

In my current work the object is for me to set up a full installation the represents the connection to my Wiradjuri country, the land of the three rivers, as well as my passion of the land and the environment by creating a representation of the rivers and trees. 

I’m feeling happy with my progress so far as I continue to incorporate a combination of modern weaving practices and basic weaving loom techniques to create various new sculptural forms including the Eel, trap and Australian Aboriginal flag.  I have also incorporated past works including woven baskets and fish traps into the final graduation exhibition. 

To create the representation of the land and water I have created a river using data cables that flows and placed the various sculpture forms around and above the river. I have directed lighting to create soft shadows and provide a peaceful ambiance as the audience walk around the pieces explore and experience the Wiradjuri country.

The feedback was interesting Justine was a little spooked about the tree and few students mention a hanging tree, which I was a little surprised about but found very interesting.

It was suggested to hang the flag up but I’m in two minds about this due to the weight as well as the fact that when I completed the weaving of the flag and then removed it from the loom, I plonked it down and felt very moved and pleased that it stood so around and conformable as it was.

Overall pleased with my progress so far.

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Graduation photo shoot

This was a fantastic experience to have a professional photographer Caroline Arlett [email protected] and Andrew her assistant transform my works with the use of skill, lighting and flashes and excellent quality digital cameras. 

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Experimentation, research, planning and preparation Dilly Bags

A large percentage of my work will be unavailable for the Grad show as it is being exhibited at the Churchies National Emerging art prize until after the Grad show- which is excellent but has changed the way I will be presenting and creating for the final Sculpture 4 critique as well as for the Graduation Exhibition.

I still had a small piece of the orange plastic mesh and wanted to create a few more dilly bags.  I have found they are very popular and have generated a lot of interest. I also wanted to utilise the work shop spray booth as melting the plastic is not a very healthy option. This had been address last semester when I originally created the 1st series of dilly bags and the eel trap and the best outcome was to use a mask and work in the ventilated area of the spray booth.

measuring and sizing the bags using the last of the orange fluroessent plastic wire

Spray booth that is well ventialated

Heat gun used to melt and mould the plastic.

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The churchie national emerging art prize- Finalist Ronda Sharpe

http://www.churchieemergingart.com

I am very excited to be selected as a finalist for the Churchie National Emerging Artist Exhibition at the QUT Art Museum in Brisbane. I keep checking to see if my name was still on the list and this opportunity has given me such an encouragement boost. 

http://www.churchieemergingart.com/news/49775/2018-finalists-announced

This is the work I presented for the Churchies Exhibition, the pieces are from my and  Everything is Connected 2017 and Everything is still connected 2018 series of works. I have also included the artist statements for the two body of works.

I was unsuccessful in winning the prize but overall it was such wonderful experience to work along side curators and gallery staff during the installation. 

My mother and sister travelled up from Parkes to stand proud beside me. Just before the prize was announced my mother said to me “no matter what your a winner to us” such empowering and loving words. 

I feel proud and happy my progress and works its been an amazing year.

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Experimentation, research, planning and preparation Eel Trap

In my previous work I have made an Eel trap out of the Orange plastic fencing wire and I wanted to follow this through by using the data cables.  I started with a large mesh light weight fencing wire and created a coiling effect as the ramdonly  weaved green and yellow data cables.

The effect is fairly simplistic.

During the 1st critique I hung the eel trap up and organised the lights to shine through the eel trap. Overall I was happy with  this effect as the light enhanced the simplicity of the weave and changed the look of the eel trap and created lovely shadows.

 I feel that I should continue with the weaving as the original fencing wire is still visible. 

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TONY ALBERT: PAY ATTENTION  TALK with WESLEY ENOUCH and EXHIBITION VISIBLE GOMA  02 JUN 2018 – 7 OCT 2018

TALK TONY ALBERT AND WESLEY ENOUCH 6.00PM WED 25 JUL 2018 

I attended the Pay attention talk with Tony Albert and Wesley Enoch and also visited Tony current exhibition at GOMA, I was hoping to hear more from Tony and his work but these talks are a series of talks hosted by Tony and his special guest this one was  was in relation to Wesley Enoch.   I found the talk to be very entertaining extremely  interesting hearing Wesleys adventures in particular the opening ceremony shows and  performance he produced for the Gold Coast Commonwealth Games for 2018 overall a very  inspiring talk.

Wesley Enoch hails from Stradbroke Island (Minjeribah) in Queensland and is a proud Noonuccal Nuugi man. He is a writer and director for the stage and joined the Sydney Festival as Artistic Director in 2015. He was creative consultant, segment director and indigenous advisor for the opening and closing ceremonies of Gold Coast Commonwealth Games in 2018; the Artistic Director of Queensland Theatre Company from 2010 – 2015; Associate Artistic Director at Belvoir St Theatre from 2007- 2010; Australia Council Artistic Director for the Australian Delegation to the 2008 Festival of Pacific Arts; director of Opening Ceremony, MY SKIN, MY LIFE for the Commonwealth Games in Melbourne; Artistic Director of Ilbijerri ATSI Theatre Co-op 2003-2006; Resident Director at the Sydney Theatre Company from 2000-2001 and Artistic Director of Kooemba Jdarra Indigenous Performing Arts from 1994-1997.

https://www.qagoma.qld.gov.au/whats-on/calendar

TONY ALBERT - Visible exhibition 

https://www.qagoma.qld.gov.au/whats-on/exhibitions/tony-albert-visible

‘Visible’ surveys the work of Tony Albert, one of the most exciting young Indigenous Australian artists working today. All aspects of his practice — from object-based assemblages, to painting, photography, video and installation — provide a powerful response to the misrepresentation of Australia’s First Peoples in popular and collectible imagery.

The title of the exhibition ‘Visible’, speaks to one of Albert’s often used quotes ‘Invisible is my favourite colour’, a response which frames the exhibition. The exhibition interrogates representations of Aboriginal people through a mix of humour and poignancy, while tackling issues of race and representation head-on, and includes the artist’s epic appropriations and re-appropriations of kitsch ‘Aboriginalia’.

The series draws on Albert’s 50-metre-long text installation Pay Attention 2009-10, included in ‘Tony Albert: Visible’. Albert enlisted 26 Aboriginal artists, from rappers to graphic artists to painters and sculptors, to contribute one letter to the installation. The collaborative statement demands audiences to pay attention to these Indigenous artists, their work, their stories and their histories.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/tony-albert-visible

'Tony Albert: We Can Be Heroes' is the tenth Australian artist project to be developed in collaboration with the Children's Art Centre.

Starring the children of Warakurna, 'We Can Be Heroes' explores how we can all be empowered, by overcoming our fears.

Tony Albert collaborated with children and artists from Warakurna to create a number of the artworks for display in the exhibition space, including the photographic series Warakurna - Superheroes 2017 and illuminated paintings featuring the Mamu, the fearful trickster spirits found in Warakurna.

Young visitors can create their own digital superhero identity, assemble a monster using collage sheets designed by the artist, and bring creatures of the artist's imagination to life.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/tony-albert-we-can-be-heroes

Tony Albert, Girramay/Yidinji/Kuku, Yalanji peoples, Australia, b.1981 / Brother (Our Future) 2013 / Pigment print, ed. AP 1 / 150 x 100cm / Purchased 2013 / Collection: The University of Queensland / © The artist / Image courtesy: Sullivan+Strumpf, Sydney.

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A few of my Resource book collections I have read lately.

The Oxford Companion to Aboriginal Art and Culture (Oxford Companions) 1st Edition

This unique publication provides a wide-ranging reference to indigenous Australian art, covering documented archaeological traditions, art styles of the early contact period and the nineteenth century, and the development of the contemporary Aboriginal and Torres Strait Islander art practices.

https://www.amazon.com/dp/product/0195506499?tag=sacreddestin-20

Two Steps Forward, Three Steps Back : A Wiradjuri Land Rights Journey By Gaynor MacDonald

letters to the Wiradjuri Regional Aboriginal Land Council on its 20th anniversary, 1983-2003

Tradition Today : Indigenous Art in Australia from the Collection of the Art Gallery of New South Wales2014 Revised Edition

written by Hetti Perkins, Cara Pinchbeck

Art Gallery of NSW | ISBN 9781741740875

Paperback

With a foreword by Michael Brand and an introduction by Hetti Perkins, the expanded and revised edition of this popular book includes nine new artists - Tony Albert, Jakayu Biljabu, Mirdidingkingathi Juwarnda Sally Gabori, Julie Gough, Ivy Pareroultja, Esme Timbery, Wingu Tingima, Harry Tjutjuna and Barrupu Yunupingu - and new works by Richard Bell, Destiny Deacon, Makinti Napanangka and Uta Uta Tjangala.

Using the rich collection of the Art Gallery of New South Wales, this book provides an important introduction to Indigenous art in Australia through the work of 86 artists across the continent, from remote areas to urban centres.

Contributors: George Alexander, Natasha Brook, Deborah Edwards, Hannah Fink, Vivien Johnson, Jonathan Jones, John Kean, Eric Kjellgren, Steven Miller, Howard Morphy, Hetti Perkins, Cara Pinchbeck, Luke Taylor, Wayne Tunnicliffe, Ken Watson

Artists:

Ian Abdulla, Tony Albert, Paddy Bedford, Richard Bell, Billy Benn, Jakayu Biljabu, Binyinyuwuy, Dawidi Birritjama, Mervyn Bishop, John Bulunbulun, Kevin Bunduck, Nym Bunduck, Robert Campbell Jnr, Clifford Possum Tjapaltjarri, Robert Ambrose Cole, Brenda L. Croft, Destiny Deacon, Dr David Malangi, Dr Pantjiti Mary McLean, Emily Kam Ngwarray, Kevin Gilbert, Julie Gough, Willie Gudabi, Philip Gudthaykudthay, Mithinari Gurruwiwi, Johnny Warangkula Tjupurrula, Roy Kennedy, Yvonne Koolmatrie, Anchor Kulunba, Long Tom Tjapanangka, Samuel Manggudja, Banduk Marika, Mawalan Marika, Wandjuk Marika, John Mawurndjul, Galuma Maymuru, Narritjin Maymuru, Ricky Maynard, Queenie McKenzie, Mirdidingkingathi Juwarrnda Sally Gabori, Tracey Moffatt, Sally Morgan, Wonggu Mununggurr, Mäw Mununggurr, Albert Namatjira, Eubena Nampitjin, Inyuwa Nampitjinpa, Makinti Napanangka, Mitjili Napurrula, Ningura Napurrula, Dula Ngurruwutthun, Jimmy Njiminjuma, Nyirlpirr Spider Snell, Lin Onus, Ivy Pareroultja, Otto Pareroultja, Rusty Peters, Gloria Tamerre Petyarre, Prince of Wales, Kutuwulumi Purawarrumpatu, Michael Riley, Elaine Russell, Shorty Lungkata Tjungurrayi, Ken Thaiday, Thanakupi, Rover Thomas, Esme Timbery, Wingu Tingima, Ronnie Tjampitjinpa, Uta Uta Tjangala, Mick Namarari Tjapaltjarri, Tim Leura Tjapaltjarri, Tjumpo Tjapanangka, Timmy Payungka Tjapangati, Harry Tjutjuna, Turkey Tolson Tjupurrula, Judy Watson, HJ Wedge, Pedro Wonaeamirri, Jabarrgwa Wurrabadalumba, Owen Yalandja, Lena Yarinkura, Barrupu Yunupingu, Munggurrawuy Yunupingu, r e a

https://www.artgallery.nsw.gov.au/shop/item/9781741740875/

Weaving: A Handbook of the Fiber Arts

by Shirley E Held

This book was an old but a goody, with some wonderful ideas on fibre art and weaving that assisted me in my projects.

The artistic and practical aspects of creating fabric are considered in discussions on weaving on the loom and by hand, spinning and coloring yarn, and designing material

"synopsis" may belong to another edition of this title.

https://www.abebooks.com/9780030226915/Weaving-Handbook-Fiber-Arts-Held-0030226910/plp

Australia’s emblems and Icons- flags

By Jack and Jenifer Barwick 

This book gave me information on the Official Australian Aboriginal flag

Vitamin 3D New Perspective Sculpture and installations- Phaidon

http://www.artnet.com/magazineus/books/croak/vitamin-3D12-10-09.asp

Sculpture Today-Judith Colllins

http://www.booktopia.com.au/sculpture-today-judith-collins/prod9780714857633.html?utm_source=bing&utm_medium=cpc&utm_campaign=Shopping%20Campaign(2)&utm_term=1101100031315&utm_content=All%20Products

Materiality- Whitechapel: Documents of Contemporary Art – Petra Lange-

Berndt (short essay crop version publication)

http://www.booktopia.com.au/materiality-petra-lange-berndt/prod9780262528092.html

How to write about Contemporary Art – Gilder Williams (chapter 3 fear of good writing)

http://www.booktopia.com.au/how-to-write-about-contemporary-art-gilda-williams/prod9780500291573.html

Artificial Hells - Participatory Art and the Politics of Spectatorship- Claire Bishop

http://www.booktopia.com.au/artificial-hells-claire-bishop/prod9781844676903.html

Installation Art – Claire Bishop

https://books.google.com.au/books/about/Installation_Art.html?id=o7FPAAAAMAAJ&redir_esc=y

The Art of Participation – Rudolf Frieling

http://www.goodreads.com/book/show/6262687-the-art-of-participation

Public Art (Now)- Clair Doherty

https://www.dymocks.com.au/book/public-art-now-by-claire-doherty-9781908970176/#.WQad9bGr3-Y

Public Art Theory Practice and Populism – Cher Krause Knight

https://books.google.com.au/books/about/Public_Art.html?id=qkxClDeTCbQC&redir_esc=y

Critical Issues in Public Art - Harriet F. Senie and Sally Webster, Editors

http://www.harrietfsenie.com/critical-issues-in-public-art/

Contemporary Sculpture. Projects in Münster, 1997 (Germany) - Klaus Bussan; Kasper Koing; Florian Matzner.

http://www.worldcat.org/title/contemporary-sculpture-projects-in-munster-1997/oclc/37392437

This book historically looks at early battles between the Colonial Rule of Australia,the aboriginal tribes and white settlers/convicts. The first chapter Army of Occupation obviously looks at the question of the 1st fleet landing and settlement antagonising the local aborigines. Twin Battles of Sydney Battle of Vinegar Hill Battle of Bathurst Battle of Pinjarra Battle of Eureka stockade Battle of Battle Mountain

https://booksonwaraustralia.com/aboriginal-conflicts/1624-history-six-australian-early-battlefields-aboriginal-convict-conflict-9780207155956.html

An alternative view of Australian history. Through accounts of four clashes, this book demonstrates the realities of life on the Australian frontier and through a retelling of the stories of Vinegar Hill and Eureka reminds the reader of the central place of resistance in Australia's past. 

Blood on the Wattle draws together most of the information about the massacres of Aboriginal people which has been recorded in books and journals. Blood on the Wattle draws together, in a single volume, most of the information about the massacres of Aboriginal people which has been recorded in books and journals. It also creates a broad-based level of awareness of the scale of the massacres of Aboriginal people so that this dimension of Australian history can become part of the Australian consciousness. About the Author Bruce Elder is an award-winning journalist and writer who has been involved in the writing of more than 50 books, including the Macquarie Dictionary and The A - Z of Who is Who in Australia's History. He is a journalist with the Sydney Morning Herald specialising in travel and popular culture.

https://www.booktopia.com.au/blood-on-the-wattle-bruce-elder/prod9781741100082.html

"Judy Watson is one of Australia's leading contemporary artists. Her art explores territory that includes the dispossessed Indigenous Australians with whom she shares a family history and heritage. Judy Watson's art is intense and sublime in its physicality." "Blood language is a beautifully illustrated pictorial exploration of some of Judy Watson's seminal canvases, works on paper, sculptural projects and artist's books. Judy Watson imparts the artist's ideas and writer Louise Martin-Chew gives another insight into the artist's practice."--Jacket. 

http://www.worldcat.org/title/judy-watson-blood-language/oclc/436950274

Large, bold and colourful, Indigenous Australian art has impressed itself on the contemporary imagination. But it is controversial, dividing the stakeholders from those who smell a scam. Whether the artists are victims or victors, there is no denying their impact in the media and on the art world and collectors worldwide. How did it become the most successful Indigenous art in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art world from which they had been barred? Superbly illustrated, and rich in detail and critical analysis, this book provides the first full historical account of Indigenous Australian art and shows that there is much more to the art than large colourful canvasses. About the Author Ian McLean is Senior Research Professor of Contemporary Art at the University of Wollongong and an Adjunct Professor at the University of Western Australia. His previous books include Double Desire: Transculturation and Indigenous Art (2014), How Aborigines Invented the Idea of Contemporary Art (2011) and White Aborigines: Identity Politics in Australian Art (2009).

https://www.booktopia.com.au/rattling-spears-ian-mclean/prod9781780235905.html

Floating Life: Contemporary Aboriginal Fibre Art

Contributing authors include Diane Moon, Diana Wood Conroy, Anna Haebich, John Kean, Julie Ewington, Bruce McLean, Lynne Seear 160 pages paperback colour illustrations

'Floating Life' highlights the importance of fibre within Aboriginal culture, and the Gallery's unique collection of more than 300 fibre objects. Included are commissioned pieces by key artists as well as acquisitions from established and emerging talents. There are woven fibre pieces, three-dimensional works with connections to the objects, and paintings illustrating processes and stitches used.

Banumbirr (the Morning Star), water, and the notion of movement through time and place are major themes. Water defines pathways and points of connection in Aboriginal life and marks important creation sites associated with specific woven objects. Spirit figures, ceremonial poles, dance objects, body adornment and useful nets and traps — ranging from small and delicate to large-scale — reflect variations on tradition, whereas exciting contemporary explorations are embodied in the found materials used by Lorraine Connelly-Northey. An in-depth view of the work of artists such as Jonathan Jones, Gulumbu Yunupingu, Shirley MacNamara, Yvonne Koolmatrie, Lena Yarinkura and Alan Griffiths recognises their role in forging important new directions.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/past-exhibitions/floating-life

https://www.sellingyarns.com/2013/

Selling Yarns 3: Weaving the nation's story was a four-day event that presented a conference, a market day, workshops, an exhibition and associated activities program, and launched the inaugural Indigenous Art Film program. As the premier national forum for Indigenous textile and fibre in the country it was supported by the Centenary of Canberra, drawing people to the nation's capital from across the country.

Thirty Indigenous communities and art centres and 134 artists from every state and territory in Australia converged in Canberra to participate in Selling Yarns 3: Weaving the nation's story. Indigenous artists and elders, and art administrators, came together and participated as speakers, workshop facilitators and market stall holders to share their stories, exchange their knowledge and skills, and to trade. They opened their hearts to each other and to other conference delegates and visitors. As Tim Growcott so eloquently stated post conference:

"An authentic spirit of reconciliation coursed strongly throughout the four days, with so many stories and examples of practical collaborations and life- changing projects. The conference was a recognition of the important and sensitive work being accomplished by like-minded creators, forging links with the living past and forming models for healing into the future."

The project was a huge success, inspiring artists and creating strategic alliances between Indigenous communities across Australia. There has been significant cross cultural engagement and inspiration with international Indigenous artists and culture which paves the way for lasting relationships with opportunities to develop further collaborations and joint projects. Establishing dialogue and sharing cross-cultural exchanges with international artists, curators and researchers has placed Australian Indigenous textile practice within the broader international arena.

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Experimentation, research, planning and preparation - Tree

Jill Sampson kindly gave me two rolls of very rusty fence wire that came from her farm which she grew up. I’m very excited to be given this material as I do not have access to any farms since I moved to the Gold Coast. This opportunity provides me with a medium I have been wanting to work with for quite some time now.

I tried to unwind the old fence wire and hammer it into a different shape but found the wire was very brittle and rusty and as it had been sitting in this shape for a very long time.   This is one of the challenges when working with recycled materials and I have found that the material guides me and I have learnt to work with the medium instead of trying to fight with it. 

I also had a roll of bright Orange plastic mesh fencing that was also given to me. This mesh is used today in Council work areas and in the construction industry.  The bright Orange colour stands out and indicates warning and the main function of the mesh is to create barrier fences to stop the public falling and tripping when work is being done. 

The use of the barrier fencing ties in with my previously work of creating the Dilly bags in the harder orange plastic. In this work and the Dilly bags I’m investigating  at how The use of fencing materials indicates the barriers that were used to keep Australian Aboriginal people locked up in the missionaries and reserves,and prohibited them from connecting to their land, cultures and families.

I like the way the fencing wire stood upright and reminded me of a tree trunk, I started thinking about ways to turn this into a tree - which connects to my Wiradjuri country and my passion for the environment. 

I walked out to the letter box actually thinking about how I could create a tree sculpture using the wire and a large seed pod prong from a palm tree had fallen along the path the the letter box. I like the shape and it looked like a tree top, happy with the discovery and excited to experiment.

When I pushed the prong inside the wire it did not sit very securely I quickly realised the stem of the prong had a large cure and I would need more prongs.  

I went for a walk and found two additional prongs similar in size and shape but still they where very unstable but I really like to overall effect.  

As I wanted to incorporate the orange plastic mesh into this sculpture I tried rolling the mesh and manipulating so I could push it into the wire structure.

After manipulating and cutting hole into the mesh to accommodate the shape of the prong I found that the prongs sat upright into the mesh and the structure resembled a tree.

Given the limitations of working with natural products and the natural progression of deterioration I decided to use a mis of Bond Crete, furniture sealant and Ochre to paint onto the prongs and protect them.

This was a very fiddly time consuming process and the white Ochre was very descrete in colour but overall the branches on the prongs were stronger and stable. 

I started wrapping blue data cables around the base of the strong branches to  add a bit more colour and to tie the three prongs together. As I work I found the branch tips were still breaking. So I decided to wrap the smaller branches with copper wire which I had purchased from a Tip Shop in Cairns, this wire originally come from the motors of old washing machines and small engines. 

I also found the branches were top heavy when the trunk was standing upright and if I  bumped the sculpture it would tumble over. I started hunting through my collection of round items and tried an old film case and a round half dome shape brass piece and which was very solid as well as old brass symbol. All of these pieces were OK but really not what I wanted to ensure the sculpture was stable.

Looking around my studio and thinking of what to use for a stand I eyed off my upright light stand which I got for free at one of my tip shopping adventures. The light shown upwards and was very suitable and it was very wobbly where the pieces joined to gather. Looking at the base and the upright pole I decided to give this a try and with a little readjusting and manipulation it worked beautifully to add structure and stability. 

I had purchased a pile of very tangled electrical cords with the large black power boxes at a garage sale. I was also shocked that I had to negotiate a fairly high original price after I explained that it was for my art practice and given the fact the wife would have given me the plugs. Also knowing they would have been discarded distend to be land fill in a few hours once the garage sale was finished. Anyway this pile of very tangled wires and plugs which was  has been rescued.

I realise my shopping habits are very unusual and I was still unsure myself why I had purchased someone else rubbish  but knew that it would be all very clear in the future as I experimented and build my recycled sculptures. 

After several hours of untangling and sorting Today is the day for the tangled mass to come into existance and be transformed.

I spend a lot of time wrapping  the cords around the branches to strengthen them and allowing the large black plugs to hang down. Originally I was only going to use a few but as I worked I keep adding more and more. 

This is how the final tree looked during the 1st critique and it was very interesting the response I got especially from Justine who got shivers and a few people associated the tree as a hanging tree- very interesting not really what I was expecting but overall very powerful. Creating this sculpture was a little out of my comfort zone but it piece just keep growing and evolving as I work. 

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Exhibition I visited Defining Empires 3rd National Indigenous Art Tiennail. @  University Queensland (UQ) Brisbane.

28 July – 10 November 2018

https://artmuseum.uq.edu.au/content/defying-empire-3rd-national-indigenous-art-triennial

https://nga.gov.au/defyingempire/

https://youtu.be/ZmLtcZLuH_M

https://www.youtube.com/watch?v=ZmLtcZLuH_M&feature=youtu.be

TONY ALBERT | BROOK ANDREW | SEBASTIAN ARROW | DANIEL BOYD | MAREE CLARKE | MEGAN COPE | BRENDA L. CROFT | KARLA DICKENS | BLAK DOUGLAS | FIONA FOLEY | JULIE GOUGH | LOLA GREENO | DALE HARDING | SANDRA HILL | JONATHAN JONES | RAY KEN | YVONNE KOOLMATRIE | NONGGIRRNGA MARAWILI | ARCHIE MOORE | LAURIE NONA | RUSTY PETERS | REKO RENNIE | BRIAN ROBINSON | YHONNIE SCARCE | KEN THAIDAY SR | JUDY WATSON | VICKI WEST | JASON WING | PEDRO WONAEAMIRRI | RAYMOND ZADA

“We defy: By existing; By determining our identity; By asserting our histories; our culture; our language; By telling our stories, our way; By being one of the oldest continuous living cultures in the world." – Tina Baum, NGA Curator of Aboriginal and Torres Strait Islander Art

Bringing together works by 30 contemporary Aboriginal and Torres Strait Islander artists from across the country, Defying Empire: 3rd National Indigenous Art Triennial commemorates the 50th anniversary of the 1967 Referendum that recognised Aboriginal people as Australians for the first time. It highlights the strength and resilience of Australia’s Indigenous people since first contact, through to the historical fight for recognition and ongoing activism in the present day

https://artmuseum.uq.edu.au/current-exhibitions

University Queensland UQ is a very historical and beautiful university which I have visited previously but was looking forward to seeing this exhibition. I decided to take a leisurely river cat trip to the University museum. I also wanted to attend the weaving class with Shirley 

The entrance to the the UQ gallery which is very modern compared in contrast to the back drop of the historical buildings when you turn around.

Yvonne KOOLMATRIE (Ngarrindjeri people) 

Yvonne KOOLMATRIE (Ngarrindjeri people) River Dreaming 2012 Purchased 2016

 Yvonne Koolmartire is an artist I have been following for a very long time her work is so fine but with intrigate details, her eel traps are what have inspired me to create my own eel traps using recycled mediums.

Tony ALBERT (Girramay/Yidinji/Kuku-Yalanji peoples) 

Tony ALBERT (Girramay/Yidinji/Kuku-Yalanji peoples) The Hand You're Dealt 2016 On loan from the artist and Sullivan + Strumpf, Proposed Acq Aug 2017

Tony talks about The hand you’re Dealt by say  “This is not a work that glorifies war. It is to honour our service men and women, who for so long were subjected to profound racial discrimination despite their bravery. Today, I stand here honoured to play a role in overturning this history of misrecognition”

https://nga.gov.au/defyingempire/artists.cfm?artistirn=34443

Tony has been extremely busy the last few months and it is not uncommon to see him about the Griffith University as he is working on his next project and doing his work in the CAIA Aboriginal and Torres Strait Islanders meeting area. Tony is such a lovely humble man and his work is extremely powerful, I have been privilege to attend several of his talks at UAP and GOMA during the past 2 months. 

Spinifex artwork explores Indigenous culture and environment

Shirley Macnamara (1949 – )

Shirley Macnamara (1949 – ) Born 1949 near Camooweal, Queensland. Indjalandji-Dhidhanu people, Queensland / Alyawarr people, Northern Territory. Lives and works near Mount Isa, Queensland. Well of remembering 2016 spinifex, bullock bone cross, emu feathers and fixative 28.0 x 26.0 x 20.0 cm Collection of the University of Queensland, purchased 2017. Reproduced courtesy of the artist and Alcaston Gallery, Melbourne.

Wirtpi 2015: spinifex with emu feathers by Shirley Macnamara. Reproduced courtesy of the artist and Alcaston Gallery, Melbourne.

Shirley Macnamara 'Mugama for Country' 2018 spinifex, feathers, bone, ochre and spinifex resin Installation view, The University of Queensland Art Museum Reproduced courtesy of the artist and Alcaston Gallery, Melbourne Photo: Ronda Sharpe — at UQ Art Museum.

Judy WATSON (Waanyi people) 

‘A landscape of spinifex rings’ is how this acclaimed senior Indigenous artist from north-west Queensland describes the suspended woven work that forms the centrepiece of her exhibition. Working with Triodia (spinifex), a native grass common to this arid landscape, Shirley Macnamara’s contemporary fibre art stands for generations of traditional knowledge, the resilience of her people, and the need to care for Country. In works comprising spinifex, emu feathers, bone and ochre, the artist draws attention to the environment and the histories concerning her people, including Aboriginal military service. Macnamara’s woven vessel, Nyurruga Muulawaddi, which won the Wandjuk Marika Memorial 3D Award at the 34th Telstra National Aboriginal and Torres Strait Islander Art Awards in 2017, is a highlight of the exhibition. https://artmuseum.uq.edu.au/content/shirley-macnamara-layered-threads

Judy WATSON (Waanyi people) the names of places 2016 On loan from the artist and Milani Gallery, Proposed Acq Aug 2017

This is an extremely powerful piece that is continually growing as more and more documented evidence is being produced to record where massacres occurred during colonisation. 

Judy described The names of places and her work practice as :Since the late 1970s certain aspects of my work have focused on massacres of Aboriginal people. the names of places is an ongoing investigation into this subject. The video work spools place names of massacre sites across maps of Australia and previous images of my artworks like credits in a movie. Greg Hooper composited the images and created the haunting sound work, and Jarrard Lee edited the video. A website for the names of places will collect and update place names of massacre sites for public access and memory retrieval of this forgotten phase of our shared history.

https://nga.gov.au/defyingempire/artists.cfm?artistirn=18723

Jonathan JONES (Wiradjuri/Kamilaroi peoples) 

Jonathan JONES (Wiradjuri/Kamilaroi peoples) nguram-bang-dyuray 2016 On loan from the artist, Proposed Acq Aug 2017

Jonathon is a Wiradjuri artist who also works with reused/repurposed mediums which is very similar to my practice. this work is very close to my own place of birth and country area.

Uncle Stan Grant Senior often reminds me that language is in Country, and so to learn my language is to learn my Country. Following his guidance I find myself scratching away at the surface of things to reveal what’s underneath, awakening old knowledge and seeing what’s always been there. Understanding our Country in this way is to understand that Aboriginality is eternal, that the landscape retains knowledge. Wiradjuri people and Wiradjuri history didn’t go away with white invasion and colonisation. Despite the odds, the Country still holds cultural knowledge and will continue to teach us. Wiradjuri knowledge is in Country—in the clouds and rivers, in the birds and animals, in the roads and the buildings. It’s visible to those who know how to look in the very fabric of our Country.https://nga.gov.au/defyingempire/artists.cfm?artistirn=34446

UQ WEAVING WORKSHOP WITH 

Shirley Macnamara and Sonja Carmichael, Quandamooka Artist

When I visited this exhibition I was also hoping that I could attend the weaving workshop the tickets had already been sold out. Knowing the gallery was opened later the day of my visit and hoping I would be lucky enough to take part in a weaving workshop I asked at the counter on arrival. When it was time for the workshop I waited in the wings and as there had been a few cancellation I was able to join the weaving circle. 

I had attended a weaving circle with Sonja at MIA about 12 months ago and learnt how to do the coil weaving and this time I asked Sonja if she could show me how to weave the rope. Sonja was very patient and after a few very wrong attempts I finally got it. I did not get to spend time with Shirley but I have also admired here spinifex fibre art and would also like to learn the techniques in the future. 

This workshop was lots of fun and a wonderful learning experience for me, I meet a few very lovely ladies and I also picked up a few new fibre art ideas and quick and easy ways to set up a workshop for my future endeavours.

Let's Talk 98.9fm radio interview with Tina Baum and Judy Watson

https://bblearn.griffith.edu.au/bbcswebdav/pid-4021364-dt-content-rid-35416898_1/courses/2916QCA_3185_SB/Let’s%20Talk%20%281%29.mp3

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Tony Albert talk Urban Art Projects (UAP)

WE ARE EXPLORERS

WE ARE CREATIVES

WE ARE MAKERS

UAP collaborates with artists, architects, designers & developers to bring uncommon creativity to the public realm & expert resources to creativity.

We curate, design & construct.

https://uapcompany.com

I have not included many images in respect to Tony Albert as this work is still under wraps. It was such a privilege to be invitied and be allow to preview some of Tony newer works. 

Tony has been part of the community at Griffith College of Arts (QCA) as he is also working on several pieces in the Contemporary Australian Indigenous Art (CAIA)  area while he has been holding talks, workshop and solo and collaborative exhibitions at GOMA AND UQ.

Tony studied at Griffith and even though he is a highly regarded artist now he is very humble, looks and acts just like any other student. So inspiring.

https://www.qagoma.qld.gov.au/whats-on/exhibitions/past-exhibitions/tony-albert-visible

https://artmuseum.uq.edu.au/current-exhibitions

This is my 2nd visit to UAP and as Tony was talking the bosses were also walking around with us so we received a very exciting walk and talk of all the latest works currently being built.

I would love to add a lot more photos as this is such an amazing place and every artist should grab at the chance to visit and be inspired

In respect of all the artist I will keep my images under wraps until the works  have publicly been unveiled but here is a few links of past works that have been produced and manufactured at UAP that I seen from my last visit and to give you and indication of the scale of works UAP create.

Alexander Knox The Sound That Light Makes

You may have notice this if you have driven around the Brisbane CBD it is a very impressive facade of the newest w-hotel under construction in Brisbane

forms the exterior screen to the newly developed 300 George Street precinct in Brisbane, Australia. Wrapping around the podium at the base of the three tower site, the work creates an iconic visual signature and landmark for the soon-to-be-completed high-end commercial area.

Spanning 2660 square metres and comprised of over 2500 3D pressed and planar aluminium panels, the work uses geometric and organic shapes to explore the effect of light shimmering on the surface of water. Its three-dimensional metallic surface is designed to catch and mimic the kinetic nature of light on water, bringing the influence of natural forces into the highly urbanised setting of Brisbane’s CBD. The art façade’s title The Sound That Light Makes refers to the shimmer of light on water as a whisper from the sites pre-urban epoch.

Through the use of algorithmic design tools, Knox and his Melbourne studio developed the pressed and 3D laser cut design and artwork concept. Working collaboratively with the artist and developers Multiplex, UAP developed Knox’s design and constructed and installed the artwork in separate phases. In addition to the façade, UAP was also commissioned by Multiplex to develop the three entry columns originally designed by DBI Design, which were designed and fabricated in UAP’s Brisbane studio and workshop.

https://www.uapcompany.com/studio/w-hotel-brisbane-facade

JUDY WATSON

tow row

‘I imagine the work as delicate, beautiful and poignant, lit at night to create elegant shadows and draw people towards it. The ethereal ‘tow row’ will emerge from the ground creating an emotional landscape and educative entry into GOMA. The netted form will be a lasting reminder of the indelible Aboriginal presence that is a part of this shared space.’ – Judy Watson

Judy Watson created tow row for the entry to Brisbane’s Gallery of Modern Art (GOMA) as part of the gallery’s 10-year anniversary celebrations. Inspired by ancestral woven fishing nets made by south-east Queensland’s Aboriginal communities, the bronze artwork references the site of Kurilpa — place of the water rat — where the gallery now stands. It was an important food gathering and hunting site, used by people from Minjerribah (Stradbroke), Moreton Island, and the Logan River, during their annual meetings. There was an Aboriginal walking path, which continues to wind along the river on what is now Montague Road.

Watson’s extensive catalogue of work explores her Aboriginal heritage, and often utilises a form of cultural retrieval within a contemporary context.  Watson worked with the Queensland Museum, State Library of Queensland and the local Indigenous community to research the work. She collaborated with local Aboriginal artist, Leecee Carmichael, to explore materials, string making and knotting techniques; to reference the nets and develop samples for casting. Leecee wove a large net which covered the underlying sculptural form, from which moulds were taken in preparation for casting. The fragility of the object cloaks its hidden strength and is a metaphor for the resilience of Aboriginal people who have held onto the importance of land, culture and family through adversity and deprivation.

The woven net of tow row allows light and air to pass through, creating beautiful shadows across the surface of the ground. Together with Watson, UAP helped to develop, fabricate and install the bronze sculpture, which now stands as an important addition to the collection of public works within Brisbane’s dynamic Cultural Precinct. 

Watch the video documentary here.

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Symbolic meaning of the flag

The flag consists of a coloured rectangle divided in half horizontally, the upper half black and lower red. A yellow circle sits at the centre of the rectangle. The designer Harold Thomas says the colours of the flag represent the Aboriginal people of Australia, the red ochre colour of earth and a spiritual relation to the land and the sun, the giver of life and protector.