THE PARTNERSHIPPING PROJECT 2016–2020 PLACE MATTERS Evolved

THE PARTNERSHIPPING PROJECT 2016–2020 PLACE MATTERS evolved. Bringing together 20 artists from from 20 artists Bringing together evolved. The Partnershipping Project The Partnershipping PLACE MATTERS PLACE how on make How much impact does place matter? still live choose to we Does where in the with place changed our relationships have And how our lives? live and create we world? globalised on-line change Australia does living in regional on this subject of place, And while we’re Country concerns about any—can points—if at what work? And artists the way by non-Indigenous be shared artists Australian Nations First by experienced Australians? which the 26 month around core formed the and more All of these questions of unfolding touring- galleries, regional four from and staff origins, the directors cultural diverse include to swelled original framework the and educators, writers members, team cycle. touring on its forward moved as it communities and collaborators artistic the travelling from emerged and ideas that images together brings This publication ongoing to project 2018 and December 2020 November between project exhibition of place in a globalised world. discussions about our changing sense humble of our relatively premise period, the central of that the course over Ironically, COVID-19 effects of the urgency as the global critical into jettisoned was project refocus included the necessity to issues that overnight, Almost pandemic unrolled. about understandings global and local between relationship of the considerations survival. to as crucial emerged and agency belonging, inter-connectedness the creatively into insight offers images and of words home, this anthology Closer to The richly nuanced regions. Australian in four abundance of visual culture diverse stories and images through materialise communities and of their artists capacities and histories waters, land, of nurturing and sustaining the importance where alike. Australians and non-indigenous Nations by First shared are communities www.thepartnershippingproject.net.au

ii ACKNOWLEDGEMENTS

Professional and personal thanks to: Rosemary Miller, the co-curator of the project, without whose determination, grit and belief in the value of art and artists this project would never have gotten off the ground. To the Gallery Directors Dawn Oelrich (Burnie Regional Art Gallery, Tasmania); Dr. Jonathan McBurnie; Kellie Williams (Umbrella Studio Contemporary Arts, Townsville, Queensland); Brett Adlington (Lismore Regional Gallery, New South Wales) and Melentie Pandilowski (Riddoch Art Gallery, Mount Gambier, South Australia), for their belief in the ideas behind the project and their commitment to taking on the challenges that came along with it. To all the staff at these regional galleries, including Randolph Wylie and Mary Reilly (Burnie), Angela Little (Townsville) Fiona Fraser (Lismore), and Serena Wong (Mount Gambier). To the team at Contemporary Art Tasmania, and especially to Colin Langridge, whose patient and clear-headed support and initiative always made everything seem possible. To Troy Melville of Media Move for his haunting little cameos of each of the artists’ relationship to their work. To Claire Pendrigh for the Education and Extension programs that were so important to reaching out to broader audiences. To Daniel Thomas and Greg Lehman, for the gutsy, informed and provocative nature of their writing contribution to the broadsheet and subsequently, to this publication. To Adam Geczy for his critical responses to the project. To Jon Bowling for the exhibition furniture and shipping container fit-outs. To Vanghoua Anthony Vue, for his enduring patience, his flawless reliability and his consistently beautiful designs for the website, posters, broadsheets and this book. To the artists, without whose commitment the entire project means nothing. To eagle-eye Stephanie Britton for her copyedit of the manuscript. And to my remarkable, resilient and inspiring daughter Visaya, who remains core to my world, no matter whether global or local. CONTENTS

INTRODUCTION 106 | Greg LEONG INSTALLATIONS ESSAYS 116 | Anne LORD 03 126 | Gail MABO 208 260 Pat Hoffie Burnie Regional Trans-local; Globalism and Changing 134 | Aris PRABAWA Art Gallery Patterns of Belonging 142 | Brian ROBINSON Pat Hoffie Pat Hoffie OVERVIEW 150 | Obery SAMBO 156 | Damien SHEN 222 268 04 Umbrella Studio Contemporary Arts The Other Side Pat Hoffie 164 | Hiromi TANGO Pat Hoffie Greg Lehman 172 | Vanghoua Anthony VUE TOURING MODEL 182 | Sera WATERS 234 274 Lismore Regional Gallery Spirit of Place: My Tasmanian Riviera GALLERY DIRECTORS’ Pat Hoffie Daniel Thomas 05 STORIES Pat Hoffie 190 | Brett ADLINGTON CRITICAL RESPONSES 192 | Jonathan McBURNIE 246 ARTISTS Riddock Art Gallery | Partnershipping in 195 | Dawn OELRICH the Time of Covid 284 Serena Wong Thoughts About The 06 199 | Melentie PANDILOVSKI Partnershipping Project Pat Hoffie 203 | Kellie WILLIAMS 254 Adam Geczy ARTISTS’ STORIES & Burnie Regional Art Gallery 288 ARTWORKS Nulla Sine Memore Voluptas 14 | Ritchie ARES DOÑA (No Pleasure without Regret) Greg Lehman with Pat Hoffie 22 | Selena DE CARVALHO 30 | Karla DICKENS POST-SCRIPT 38 | Rob DOUMA 48 | Penny EVANS 292 58 | Lisa GARLAND Pat Hoffie 68 | Dave mangenner GOUGH 76 | Jamin 86 | Joan KELLY 96 | Greg LEHMAN futures. options andpossibilities formore sustainable fantasy—as littledreamboats capable ofcradling references, theseboats offered thepotential for via boats. Butbeyond theovertly political colonialism andthisera’s fear ofarrival ofrefugees invasion/settlement; the tools andcraft of immigrant nature of Australia’s non-indigenous motley vessels alsoharked to otherhistories: the But ThePartnershipping Project Baltic until 1862. founded to dominate maritimetrade inthe European merchant guildsandmarket towns’ a ‘commercial anddefensive confederation of at globalalliancesin1356:theHanseatic League, maritime nature ofthe world’s firstvery attempt wealth ofinterpretive possibility, andechoed the ‘harvested’ from across Tasmania, offered a the fleet of eight smallboats. These vessels, across allfour iterations ofthe exhibition was shipping container. Theothermaterial constant trade financiallyandpractically viable—the within thevery structure that makes globalised changing travelling exhibition was ‘contained’ each ofthefour regional destinations. Andthe exhibition—is altered andadjusted according to manufacturing processes, where theproduct—the Project touring process itself. Instead, ThePartnershipping to critically engage withthe naturevery ofthe the fixed andfinal nature ofthat format fails Partnership Organisations andthecurators. But work demandsfor Directors, Gallery theTouring advantages, especiallyinterms ofstreamlining the throughout thetouring process. That modelhasits and assembledby acurator remains unchanged touring model.Inthis,theexhibition selected initiative that might challenge the standard me to come upwithaninnovative touring Salamanca ArtsCentre, Rosemary Millerinvited At thebeginningofproject, asDirector of INTRODUCTION modelironically replicated globalised ’s smallfleet of

artists involved. personal experiences andcommunities ofthe were echoed,re-translated andnuancedby the we live in.Andat eachdestination, thesethemes of ourrelationship to eachotherand to the world understanding, recognition and reinterpretation associated cultural practices to provide tools of history; andthepivotal role ofart-making and immigrant cultures make to Australia’s world we share; recognition ofthe contribution cultural approaches to new understandings ofthe to First Nations knowledge; the value for trans- environment andthenecessityofpaying heed engaged cultural responses to theplight ofthe first exhibition inBurnie:theneed forcritically Key issues emerged clearlyfrom theproject’s Pat Hoffie

Introduction | Pat Hoffie 3

4 Pat Hoffie Pat | Overview OVERVIEW northern coastline ofEurope decidedto form associated withagroup ofcountries sharingthe the fifteenth century, whenshipping companies comes fromorigin oftheterm ‘partnershipping’ have provided foundations for the work: the very associated with boats andshippingexchanges as constants throughout itsjourney. Themes shared alittlefleet ofeight hand-madeboats Each iteration of of theproject. and ideasconversations that lay at theheart gathered together inthiscompendium ofimages of thesechanges andtheresponses to them are the artists andtheaudienceschanged, andall Project and placesmight be.AsThePartnershipping about how very specialeachofthesecommunities The Partnershipping Project might share values andexperiences. us whoare luckyenoughto live inregional areas of, andto consider theextent to whichthoseof places we live in,andthecommunities we are part was to thinkalittlemore carefully aboutthese were established; the‘specified goal’ we allshared As theproject grew, more andmore partnerships reader ofthiscatalogue. the artists worked withand,importantly, you, the local audiences,thecommunities and families schools andorganisations associated withthe (the Australia CouncilandVisionsAustralia), the curators, thedesigners, themarketers, thefunders (Contemporary ArtTasmania) representatives, the gallery directors andtheirstaff, the touring agency Project Who were thepartners inthis something new, ofvalue, together”. more thanamereexchange—it isthecreationof is collaboration inherentinapartnership “The progressed andchanged theartwork and ? They includetheartists, the regional The Partnershipping Project alsoasked usto think Partnershipping and work where they come from. audiences alittlebitaboutwhat it feels like to live to thenext destination to tellotherartists and ‘message inabottle’—they were launchedon carried cargo from somewhere elsecarried a In asense,eachoftheseeight littleboats that their own community, to thework they produced. Each artist brought aspectsoftheir own story, and across four regional destinations in four states. boats were carriers for theartwork ofartists from cultural producers. Theflotillaoflittlesalvaged builders are cultural producers, just asartists are deal to Tasmania’s senseofitsculture. Theboat- who make theseboats have contributed agreat is known for itswooden boat building.Craftsmen Tasmania. Asanisland-below-an-island, Tasmania Partnershipping Project The littleboats that carried theartworks in forces inaspirit ofreciprocal trust. agreement was basedontheirwillingness to join involved. Thelong-lasting successofthe while strengthening tiesbetween the countries ‘partnershipping’, they shared economic gains a partnership called theHanseatic League. By 1 resources/defining_partnerships-apps.pdf ) www.who.int/patientsafety/implementation/apps/ African Partnerships for Patient Safety (APPS) (http:// 2009, Kanter, 1994,inWorld HealthOrganisation (WHO), Building aWorking Definition of Partnership 1 were salvaged from across The representing each of the four regions. of eight was comprised offour lotsoftwo boats toArt Gallery return ‘home’ to BRAG, the fleet and Lismore. Sowhentheexhibition left Riddoch exhibited withthework from Tasmania, Townsville twoArt Gallery artists had two boats to fill, tobe with Tasmanian work) to Mt.Gambier. At Riddoch boats withTownsville work andtwo boats filled carrying work from Lismore moved on(withtwo from Townsville andTasmania, butonlytwo boats Regional alongwiththework Gallery ofartists Four artists from Lismore exhibited at theLismore with Tasmanian works to arrive in Lismore. Townsville artists joinedthosetwo filledboats to Lismore, two boats filledwith works from When theexhibition travelled onfrom Townsville Tasmanian artists. based artists, andtwo boats carried work from included sixboats bearingartworks from locally boats, sothat theexhibition at Umbrella Studios work ofsixTownsville artists filledthesixempty to thenext destination in Townsville. Here the with thework ofTasmanian artists continued exhibition moved forward, onlytwo boats filled Burnie Regional (BRAG). ArtGallery Butwhenthe boats for thefirst iteration ofthe project at The work ofeight Tasmanian artists filledthe added to ‘thefleet’. At eachvenue, thework ofmore artists was each ofitsvenues. changing ‘cargo’ intheform ofartwork to/for tenders from Tasmania. Thislittlefleet carried re-purposing eight littlehand-made wooden for theartists’ installations was created through As hasbeenmentioned, the ‘display furniture’ collaboration andconsultation”. that includedinteraction, intervention, arrivedadjustments atthroughprocesses of ongoingassessments,amendmentsand ofexhibitions—itthan achain aprocess entailed finalproject “The was conceived more ofasmuch TOURING MODEL

and consultation. included interaction, intervention, collaboration adjustments arrived at through processes that of ongoing assessments, amendments and than achainofexhibitions—it entailed aprocess The finalproject was conceived ofasmuchmore individual artist’s developments and contributions. online catalogue andwebsite documented all destinations. Alongsidethis,a comprehensive documentary oftheproject’s various iterations at final exhibition inBRAG featured avideo of eachexhibition was recorded, sothat the All theway alongthejourney, documentation

Touring Model | Pat Hoffie 5

6 Artists ARTISTS www.facebook.com/PinnaclesTCC/posts/1142087755804854 context to expose new relationships and meaning. and symbols many useto define theirsense ofselfand re-presented them inanew and socialboundaries.For ThePartnershipping Project provides auniquemeansofexpression, alanguage capable oftraversing cultural destinations. These experiences formthebasis forhis growing conviction that art Rob was involved inarange ofmilitary experiences inarange ofinternational influenced its tattoo culture. After leaving hishome towninBurnie, Tasmania, local tattoo community to examine how Townsville’s role asanarmy garrison has known Townsville-based tattoo artist, Rob draws from his interaction withthe work for atertiary course infineart to preparing images forhis day-job asa well- As anemerging artist whose everyday drawing practiceextends from preparing Rob Douma compelling andchallenging.For ThePartnershipping Project to some ofthecritical andcrucialissuesofourtime, to produce works that are much-deserved acclaim.Shedraws from herpersonal experience andherresponses A proud Wiradjuri woman, Karla’s powerful imagery isgaining increasing and Karla Dickens www.selenadecarvalho.com/ and personal. Selena addressed disturbance inTasmania’s environment inways that are up-close viewers into itspoetic senseof mystery andmagic”. For ThePartnershipping Project immersive practice aims to be “experiential inthebest possiblesense, drawing consciously orunconsciously seekingto control it”. Selena’s successwithinteractive, of wildness,focusing onthecore paradox ofhow we yearn for theuntamed, while often relating totheperceived consumption ofwildernessand lived experiences describes herartwork as“respond(ing) to humaninteraction withtheenvironment, Selena deCarvalho aninter-disciplinary artist basedinLongley, Tasmania. She Selena deCarvalho www.theadvocate.com.au/story/3981666/artist-chips-away-at-new-major-project/ conversation and care. to thediscarded, sanctify bringing community together inprocesses ofshared again”. Thecareful, elegant attention to detail Ritchie brings tohis workserves techniques, construct theminto anartwork, andthenshipthembackoffshore this land.Iaimto collect thesematerials, make theminto artby usingtraditional North West ofTasmania are shippedfrom othershorelines butare discarded in large community teams. Hewrites, “Material discarded from factories around the fabric-wrapping to transform discarded industrial materials, often working with Born inCebuthePhilippines,Ritchie draws from traditional basket-weaving and AresDoña Ritchie Karla Dickens isrepresented by Andrew Baker www.andrew-baker.com Gallery: www.karladickens.com.au (www.andrew-baker.com). Australia’s Aboriginalpeoples.Karla isrepresented by Andrew Baker Galleries such as of theBritishEmpire. This work extended Karla’s concerns evident inearlier work by local artist LeighArnold,the work addressed the attempted world take-over a smallbrave boat, onecapable ofsailingendlessgalaxies. Withitshullpainted Unwelcome—where shefloats direct issues concerning the colonisation of

, Rob selected images, icons Karla hasdesigned www.jamin.com.au/about/ values andknowledge differ from person to person and community to community. suggest that there are many layers to asingle experience, andthat ourown ideas, drew from the notion of Partnershipping Project and exhibiting asanartist in traditional spaces. His gallery installation forThe graffiti and workingwithMONA’s style-mixing, festivals, running youth workshops Jamin isa‘local legend’ whoworks across arange ofmedia includingsound-mixing, Jamin www.utas.edu.au/community/naidoc/community-bio-david-gough Fires ArtPrize in Queen Victoria Museumand ArtGallery, Launceston andwas acommissioned artist heritage sites across the state; hecurrently hasworks inpermanent display at Corporation, Devonport. Dave hasbeenheavily involved in protection of Aboriginal Tasmanian AboriginalCultural Centre, Devonport andChairofSixRivers Aboriginal CouncilofTMAG, Co-Ordinatormember oftheAboriginalAdvisory ofTiagarra University ofTasmania, Co-ChairoftheQVMAG Council,board AboriginalAdvisory with educators andstudents across thestate. Heisthecultural advisorfor Tasmania. Dave hasspent many years passionately sharing hiscultural knowledge bungana manalargenna’s (chief) oldest daughter, woretemoeteyemer ofnorth-east Dave mangenner Goughisaproud trawlwoolway manwhodescendsfrom Dave mangennerGough www.despard-gallery.com.au/artistprofiles/lisa-garland/ West coast. fragile, powerful andhaunting land,sea-scapes anddenizens of Tasmania’s North my family to continue life ontheocean(for now)”. Lisa’s imagery isapaean to the to the fishmarkets in Sydney. Thisiswhat remains: itissustainable anditenables the NorthWest coast. Myfamily now fish for SouthernCalamari(squid),that’s sent Southern Fishfarms andtherelocation ofseals,wildfishingisonthedecline point for Tasmanian aquaculture. “Now we seethearrival offish farming from ordinary lives. For ThePartnershipping Project subject matter grants her work poetic intimacy through thesmall details of Tasmania’s northerncoastlines; herkeen, candid eye andherfamiliarity withher A highlyacclaimedphotographer, Lisaisfrom alonglineoffisher-folk from Lisa Garland www.pennyevansart.com presented theminasmallboat that performed therole ofafragile ark. Partnershipping Project throw light onsomeofthemost critical problems inour country today. For The together to give usglimpses ofwhat could be.Theworks sheproduces asaresult, Country to search for remaining pockets ofcultural knowledge that can besutured north-western New SouthWales. Sheisacultural gleaner, whospendstimeon come to focus onecological issuesthat includethethreat to theriver systems of identity and connections toCountry. From thiscentral axis,the workhas gradually ceramics, printmaking andcollage. Sheuseswork asameansofexploring herown Kamileroi/Gomeroi artist Penny Evans works witha range ofmediaincluding Penny Evans 10 DaysontheIsland 2018. offered a reflection on perception andunderstanding. He , Penny reconsidered aselectionofthoseissuesand re- 2017.Hiswork received aHighlyCommendedinthe umwelt (reality asexperienced by aspecificorganism) to Lisa focused onacrucialturning

Bay of

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8 Artists ARTISTS www.visualartist.info/annelord ancient landasthe planet moves towards aprecarious ecological future. viewing audiencesto re-think thenecessityofcollaborative custodianship ofthis organisms emerging from primalmatter ofthe prehistoric inlandsea,sheinvites Anne reflects ontheland’s deeppast. Tracing back to thepre-human existence of highly respected artist whohas worked ina range ofmedia for over three decades, to heruniqueapproach to interpreting theenvironment. Asanestablished and cattle property and returning to helpduring teaching holidays have contributed Anne Lord’s life experiences innorthwest Queenslandgrowing uponasheepand Anne Lord sculpture andperformance. Hisinstallation of hisidentity asaChineseAustralian working in forms that traverse installation, Greg Leongoften usescross-cultural symbolism to investigate the complexities Greg Leong www.robertasykesfoundation.com/greg-lehman.html traditions ofAboriginalcultural production. imagery andmaterial evidence that are anindication ofthe strong continuing reconsider traditional accounts of Tasmanian history through references to historical and paperbark”. Hiswork for ThePartnershipping Project developed by my Aboriginal ancestors involving canoe/catamarans made from reeds Tasmania by Europeans, butwere preceded by adistinctive maritime technology 18th-19th century colonial art.Hehaswritten,“…watercraft weren’t introduced to and curator, whosePhDexamined therepresentation of Tasmanian Aboriginesin Greg Lehmanisanationally recognised Aboriginal(Trewulway) writer, researcher Greg Lehman honour_roll_of_women/inductees/2008/kelly,_joan_phyllis http://www.dpac.tas.gov.au/divisions/csr/programs-and-services/tasmanian_ sense ofcommunity innorthernTasmania. withlocalsthe practice provided the basis of“partnershipping” for buildinga strong that welcomed herandfamily to Tasmania inDecember, 1968.Joanwrites that documented, inblackandwhite etched drawings, thenorthernTasmania coastline Project and etchings trace the tiny details ofher local surroundings. For Federation ofMiniaturists from herhometown ofBurnie.Joan’s miniature paintings Since 2004,JoanKelly hasheldtheremarkable positionofPresident for the World Joan Kelly www.abc.net.au/local/stories/2013/01/02/3663236.htm shore incarceration”. and perhaps thereferences are to pitiless governments, drownings at seaandoff and silver for thedead)tell asadderstory ofmigration andthesearch for asylum, love, courage andwealth. However my carp skeletons, wrapped injosspaper(gold world incomfort andwell-heeled. To theChinesecarp (orkoi) isasymbol of Chinese livingburnduringghost festivals andso keep their relatives inthe nether simply asaghost ship,referencing themany papereffigies of worldly goodsthe is theboat that symbolically bringsnew peopleshere. Myinstallation can be read people from non-Anglo-Saxon countries. Greg writes, “Myboat in Carp used a ‘pest’ speciesinAustralian useda‘pest’ waterways to refer to Australia’s rejection of , Joanextended thesejewel-like miniatures into installation. She The Tasmanian MigrationofOriental offered anopportunity to The Partnershipping Partnershipping www.australianartnetwork.com.au/category/indigenous-artists/obery-sambo/ reinterpretation ofthepowerful masks that are socentral to hisheritage. brings art,performance, ritualanddancetogether inhisuniquecontemporary of animals,spiritsandpeopletheregion. For ThePartnershipping Project Island, Eastern Torres Strait. Hisinventive masks (Krar) capture thespiritandenergy SamboisaperformanceObery andvisualartist whodraws from his roots inMurray Sambo Obery www.artistprofile.com.au/brian-robinson/ knowledge ofthetraditional tenure and placeofhispeople”. Robinson produced a“cartographic system asameansofproducing andpreserving each other. In response to the‘water travel’ aspectofThePartnershipping Project new possibilities for seekingout connections withplace, cosmologyandwith of theseclashingworld-views to invent new ecosystems—imagery that offers fascination with comic-book super-heroes. Robinson usestheapparent conundrums memories where traditional cosmologies of the Torres Strait merged withhis are cuttingedge andaesthetically powerful. Robinson draws fromhischildhood knowledge ofhisTorres Strait Islandheritage to approaches andmaterials that Brian Robinson isaninternationally acclaimedartist whoharnesseshisdeep Brian Robinson of community voice against oppression inIndonesia.Heisalsoacclaimedastheleader member of Prior to moving Australia seventeen years ago Ariswas well known asakey Aris Prabawa www.eyelinepublishing.com/eyeline-82/review/gail-mabo-mabo-kara-art several generations. ‘Does PlaceMatter?’—a question that hasbeenpivotal toher family’s focus for other artists andmembers of community, responding to theproject’s core question project asameansto extend herpractice into installation. Gail collaborated with public figure andahighly commended artist, Gail welcomed participation inthe tois necessary raise consciousness aboutIndigenous LandRights. Ahigh-profile Daughter ofEddie Mabo, Gailisaware oftheongoing vigilanceandenergy that Gail Mabo https://arisprabawa.wordpress.com/ perform withthem. Black Boots maintained acareer ofexhibiting asanartist inAustralia andIndonesia.Hisband National Museum, Yogyakarta to celebrate asolo exhibition ofhis work,andhas and Jogjakarta. In2019hereturned ontheinvitation oftheDirector ofthe Yogya where he continues to make artandmusic,travels regularly between Lismore Black Boots hasenjoyed successful Australian tours, andhecontinues to write and Taring Padi , thelongest lives runningpunkbandinIndonesia.Henow inLismore , acultural activist group ofartists who have fought to foster Obery Obery

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10 Artists ARTISTS www.hiromitango.com each other. edges where themore private andpublicaspectsoflivingasanartist rubagainst we share. For ThePartnershipping Project changes intheways we relate to eachother, to ourselves andto theenvironments the playful aspectoftheseworks belietheartist’s serious commitment to making of ways ofworking witheachotherthat might bepossible.However, nototherwise and children inimmersive worlds where they are ableto experiment witharange known for theirplayful interactive qualities;qualities that often involve bothadults Japanese/Australian Hiromi Tango’s installation/performance projects are well Hiromi Tango www.artistprofile.com.au/damien-shen-2/ racial stereotyping. investigate the role ofscientific scanningandbodypart sampling, collectionin An accomplished story-teller, hecollaborated withRobert Hagueinthisproject to about theirearlymemoriesofgrowing upontheRaukkan missionintheearly50s”. “interested intheCoorong region, work that relates to thestories my family has powerful images that reflect the complexities of raceandidentity in Australia. He’s Damien Shendraws from hisNgarrindjeri andChineseheritage making Damien Shen , Hiromi choseto experiment withthose www.serawaters.com.au Art, andisrepresented by Hugo MichellGallery. studio memberofTheIncinerator, Thebarton, lecturer at AdelaideCentral Schoolof ofSouthAustraliathe ArtGallery and private collections nationwide. Waters isa Her works are heldby theCruthers collection of Women’s art,Ararat Gallery TAMA, Australian artist commission, where she staged hersolo exhibition ghostscapes. In2017shewas therecipient oftheinaugural ACE OpenSouth and intertwine thesegaps inhistory withreferences to her own genealogical crafted sculptures examine settler colonialhome-making patterns and practices, characterised by adarklystitched meticulousness. Herembroideries andhand- embroidery at theRoyal SchoolofNeedlework (UK),Waters’ artpractice hasbeen Gambier. Sincebeingawarded aRuthTuck Scholarship in2006to study hand Sera iscurrently working from Adelaideafter having spent herchildhoodinMt. Sera Waters www.vanghoua-anthonyvue.com translation ofhomefrom South East Asia to far northQueensland. Hmong journeys across various bodiesofwater and andland,the‘shipping’ project Vue worked withhisparents inCairnsto develop new work exploring reinterprets theseasmonumental graphics for ersatz graffiti markings. Forthis Hmong textiles that have sooften beenmisinterpreted assimple patterns, and community across theglobe.Vue explores Hmongwriting systems, together with work exploring theperipatetic journeys undertaken by members ofhisHmong Vanghoua Anthony Vue isalready gaining international attention forhis Vanghoua Anthony Vue Domestic Arts.

Artists 11 12 ARTWORKS & STORIES ARTISTS’ Interviews transcribed byInterviews Pat Hoffie

14 Ritchie Ares Doña Ares Ritchie Artworks| and Stories Artists’ This was doubly difficult,especially as a resultof had never beenableto have children oftheirown. be looked after by herbrother and hiswife who live withher, soIwas removed from hercare to a littlewhile,but my motherdidnot want me to continued to live with my step-grandmother for After my real motherleft to return toAustralia I unplanned. between usbutithadbeensosuddenand and jealousy. Shewanted to restore the affection were shotthrough withfeelings ofconfusion months Istayed family withmy inCebu ‘new’ though Iwas lessimportant thanthem;thetwo from anAustralian manshe’d married.Ifelt as mother now hadtwo smallchildren ofherown confusion was exacerbated by the fact that my son andIfelt complete attachment to her. The me upwell, she’d always treated measherown confusion—my step-grandmother hadbrought isyour mother”.simply said,“This Ifelt complete I could never remember having seenbefore and never entered before. Shetook meto awoman believed to bemy motherledme to ahouseI’d event vividly:theperson whomIhadalways was nineat thetime.I can still rememberthis I returned to Cebuafter my grandfather died—I parents. Negros. Iwas raised believing that they were my and my step-grandmother intheirfamily homein inherited. Iwas taken care ofby my grandfather indigenous inhabitants. It’s acharacteristic I’ve is often associated withtheNegritos—the original unusual characteristic amongFilipinos—onethat than thefact that hehadcurlyhair. Thisisafairly months old—Iknow very littleabouthimother left. My father hadalready left after I was two Philippines. Iwas two years oldwhenmy mother I was bornintheprovince ofCebuinthe ARES DOÑA RITCHIE to the Christian Outreach College at Toowoomba, English, butwhen Iwent to live inWithcott I went my accent andmy imperfect attempts at speaking attended Ihadbeenbulliedbecause of my colour, difficulties intheir own homes. Atthe first schoolI and alsoby others like mewhohadexperienced in my homelife by the otherchildren inthefamily there until theendofgrade twelve, surrounded me withafamily to bemy legal guardians. Istayed town nearToowoomba. TheSocialWorker placed home, soat fifteen I wassent toWithcott, alittle the schoolcounselor recommended that Ileave After considering thedomestic situation I wasin, that Ihadlost my skillsinmy native tongue. was nooneelseto speakto inCebuanomeant later, by thetimeIleft home,the factthat there thinking inEnglishandtranslating inEnglish,and Filipino until gradually it got to apoint where I was I hadto translate what Iwas learningbackinto awaya sanctuary from thetrialsofhome.At first learn thelanguage. Ididn’tlike school,butitwas family—I was lesswhite andIwas struggling to violence. Iwas inevitably theoddoneoutin roller-coaster ridethat includeddomestic following two years were akinto anemotional My motherwas livinginGatton, Queensland.The understand, was enormous. country I’d never heard ofwithalanguage Ididn’t who was marriedto amanI’d never met, andina with awoman Ihadonlyknown for afew weeks, The prospect oftravelling huge distances to live on theplanealoneandIcouldn’t speakEnglish. December 1997at theage ofthirteen. Itravelled to get meto Australia. Iwas sent off to Australia in unbeknownst to me,they prepared thepaperwork year withmy aunt anduncle,duringthistime, goodbye to my step-grandmother. Ilived for a the fact that Iwas never given achanceofsaying fully focusing onthe written aspect of my thesis, for my studio work hadtaken my focus away from downside ofthissuccesswas that thedemand Charles Imight not bewhere Iamtoday. The space. Ioften reflect that ifIhadn’tlistened to exhibited at Crafts Queensland’s Artisan exhibition Airport bought my otherworks whenthey were after this,a representative from theBrisbane made from thefolded books. Andimmediately Library ofQueenslandcommissioned chandeliers Art). Asaresult, arepresentative from theState emerging artists at theIMA(Institute ofModern for Fresh Cut—theprestigious annual exhibition of was chosenastheonlyrepresentation for theUSQ into theproject. Thework produced awork that folding bookwork andthrew myself completely stern critique, after whichI went back tothe the assessment Charlesgave meaparticularly and itwas taking meages. Inthecritiquebefore had beenfaltering withapproaches andmethods the books by usingclay slabs withpaperclay but completely transformed them.Iwanted to imitate In 2004I’d invented away offolding books that deal oftimeintheceramics and textiles studios. my practice. Iloved sculpture, andspent agreat Charles Robb—had hada profound influence on practice around completely. Oneof my lecturers— there was oneparticular event that turned my My studies were proceeding reasonably well, but him. After my graduation Ienrolled inHonours. studies, andI’ve continued to keep in touch with high school.Hehelpedthroughout my university a Degree inVisualArtsafter Igraduated from University ofSouthernQueenslandto complete encouragement Iwas successful inapplyingto the Gunter became my ersatz through ‘father’; his I flourished at art—my teacher Mr. Robert where thebullyingalleviated. Itwas here that And whenI’d shared accommodation witha the contradictions in religious ideas andbeliefs. But itwas duringthistimeI began to question attend theirparticularchurch withtheir family. were alsoreligious, and they were keen for meto Catholicism. The family I moved in with in Withcott with my motherinAustralia I’d renounced my was brought upCatholic, when I’d parted company included asanintegral partofdailylife. AlthoughI was raised to understand that worship shouldbe my life I’ve beenreligious—like most Filipinos,I to study at theTasmanian Preaching School.All the bills.WhenIgraduated Imoved to Tasmania worked 40hours aweek at Domino’s Pizza to pay I’d lived onmy own withYouth Allowance, and like him.WhenI’d moved to Toowoomba to study to my curlyhairandappearance, Ilooksomuch had alotto dowiththefact that, especiallydue problems between my motherandIhave probably father. Myspeculation is,lookingback,that the they hadrefused to have anything to dowithmy father andmy biological father, andthat was why been differences ofopinionbetween my mother’s of thefamily. Sheexplained to methat there had again to findoutfrom herabout my father’s side In 2011whenIreconciled withmy motherItried was borneither. they claimedto have never seenmy father sinceI someone called outto meusingmy father’s name, and althoughthere was anoccasion where me to aregion inhabited withmountain people, father’s sideofthefamily came from. They took of my mother’s family to show mewhere my my family onmy father’s side,soIasked members time sinceI’d left. I wanted tofindout more about In 2007Iwent backto thePhilippinesfor thefirst my Honours. and asaresult Iwas unsuccessful incompleting

Artists’ Stories and Artworks| Ritchie Ares Doña 15 16 own thinking”. rob you ofyour of cities—theychaos places—I don’tlike the I grew upinsmall From early childhood creative processes. ideas andthoughts here—to incubate your you have timeto think lifestyle inBurnie— “I love thelaid-back

18 Ritchie Ares Doña Ares Ritchie Artworks| and Stories Artists’ also becostly. up certain tools, you have to buyonline—thiscan Sydney. Ifyou don’ttravel there yourself to pick the books require partsthat are onlyavailable in materials; for example, theband-saws Iuseto cut The difficultiesinclude access to resources like What might make itdifficult? thinking. the chaosofcities—they rob you of your own childhood Igrew upinsmallplaces—Idon’tlike thoughts andcreative processes. From early time to thinkhere—to incubate your ideasand I love thelaid-backlifestyle inBurnie—you have experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? work withto seetheirown value. individuals. Ican useartasaway ofgetting thoseI have thesameopportunitiesI was given by special through, Iwant theyoung peopleIwork withto thought ofasworthless. Because ofwhat I went to seeandshow value inwhat can be otherwise Detention Centre, using my artasametaphor roles withyouth andalsowork intheJuvenile rubbish for materials, andundertake mentoring integral partofmy role asanartist: Iusemainly to stay. What Ilearnedthere hasprovided an completed itIloved Tasmania somuchIdecided inDevonport.School ofPreaching, By thetimeI’d a two-year Diplomacourse at theTasmanian seriously, andasaresult appliedto undertake I madethedecisionto study theBiblemore more involved. who ran theradio program, and gradually became I’d continue to listen. Eventually I called theman after that was run by thechurch ofChrist, and to understand Tagalog language. Theprogram songs—I’d listen to itinpartto test my capacity community radio there would play Filipino At thesametime every Sunday night alocal and compelling. they raised for meseemedincreasingly complex Toowoomba, thecontradictions andthequestions friend whoworshipped at theAssemblyofGodin to aparticularplace. result, Idon’thave aparticularsentiment attached my childhoodwe were constantly moving. Asa life—I’m coming upto my fifth yearhere. Even in I’m livingnow iswhere I’ve stayed longest inmy place. Allmy life I’ve beenmoving. Theplace I’ve never really hadasenseofbeingfixed inone How doesitfeel now? changed, andlast year Ileft. has taken over theinitiative, thedynamichas the publicwhilesellingyour work. But sinceUTAS with them—itwas agood way ofengaging with specially designed‘pod’where peoplecould chat artists from abroad range ofdisciplines to work in Workshop that was started by theCouncilfor I was invited here to participate intheMakers One ofthereasons Imoved to Burniewas because just say that, asanartist, you just go withtheflow. No—never. Iguessthe best answer for thisisto in aplacelike this? Did you ever envision yourself livingandworking like libraries andcouncil halls. that thecommunity hascontributed to building— galleries—a lotofthetimethey’re inpublicplaces then most ofmy works are noteven presented in in withthefinalpresentation ofthe work,but engage thesecommunities. The galleries come because anessential purposeof my work is to have to beintouch withthebroader communities so Ican’t say for sure… butasan‘art I worker’ don’t really work through thegalleries asmuch, Because Iseemy role asa‘community artist’, I community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic plans I’d intended inthebeginning. consequence, theoutcomes are better thanthe … Ioften need to cut costs butoften, asa ideas. Thisconstantly happensinmy projects inventive—I have to change and compromise my but thismakes mebemore resourceful and The challenges lieindistance andexpenses— benefits are there? these challenges worthwhile? Andwhat kindof And where dotheother challenges lie?Butare love thepeople here—I have astrong connection my own senseofcontentment wherever Igo, I people …right now, whileIcan say that I can build Especially inTasmania—place isvery important to Amazon; Netflix; Google etc.)? national conglomerates (Facebook; Apple; marketing andtheonslaught ofthemulti- been dissolved by socialmedia,international just thinkthat theimportance ofplacehas Do you think placestill matters…or do you isolated. important—even thoughnoregion iscompletely a range of media—andcultural exchange is each otherthrough theircommunications across Absolutely crucial—because regions connect relationships? How important are region-to-region contact and creative impulses to develop. as itcanalso beagood give thing, time for your you can get outoftouch withthis.Butthiscan unless you leave every sooften to get involved, had changed. Theissueschange allthetime,and engaging withandthelanguage they were using— could seethat thedescriptions ofartthey were happening. WhenIwas recently inLorneI In someways—yes. You can losetrack ofwhat’s regions andcome backinagain? Do you thinkit’s important to ‘get from the out’ more addsto theexpenses. there. Andthefact that you have to travel abit generally more expensive—the competition isnot moment, soIcan’t complain at all.Fuelandfood is I have agood situation withwhere Ilive at the Is itcheaperto live intheregions? well beyond theconveniences ofgalleries. was regionally focused. Perhaps arthasnow gone last project Iwas engaged inat LorneinVictoria to allkindsofbroader community initiatives. The from thelibrary to juvenile detention institutions much dependonworkshops inarange ofplaces Toowoomba. From my point ofview now, I very work for Brisbanethanfor local exhibitions in this question now—back thenI was doingmore would have beendifferent to how I would answer The answer whileIwas livinginToowoomba Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the see value insomething that’s worthless. significance with psychological interpretations—to do them,andthematerials Iusehave anethical processes are simple enoughthat everyone can my artencourages shared conversations. The other humanbeingsbothphysically andsocially— purposeistoMy primary have theinteraction with What istherole ofyour work? the strongest senseof—andconnection to—place. in developing my artprojects—that’s whenIbuild that whenIwork most closelywithcommunities from place.Ican say from my own experiences people connection ina way that disconnects them media, butI’m aware that itcan break people-towith thepeoplethrough my art.Iamnotonsocial

Artists’ Stories and Artworks| Ritchie Ares Doña 19 20 Photos: RickEaves experiences. on thefoundation of my cultural heritage and the placebutchanges my ideasandmaterials complete chandelier. Moving does not only change The work hungat Makers’ Workshop Burnieasa was asked to make achandelierfor aconcert. films started whenI was livinginDevonport. I and transparency films. Folding transparency arrived inTasmania Ifolded brochures, flyers books whenIwas inQueenslandandwhenI take to thenext place.Istarted folding discarded Wherever Igo Ialways take something withmeto Tasmania bothincitiesand regional areas. I have moved around inQueenslandand of coconut leaves usedinhuts. transparency films,whichare similar to the folding rice. For thisproject, Ifolded 9,170overhead from woven coconut leaves, whichare filledwith bottles. Pusoisatraditional techniquemade of heart-like-shapes called Pusofrom plastic milk from thearea inwhichIlive. Imadethousands from thePhilippines,Iusematerial sourced Tasmania. Thoughmy ideasandprocesses are of shippingmy cultural ideasandexperiences to which thework quietly sitsserves asametaphor traditions to my placein Tasmania. Theboat in integration of my childhood,culture, values and Cultural Transmission I doit. experiences are thefabric ofwhat Idoandhow of Bohol.Mycultural heritage andchildhood Hills are 2,000naturally formed hillsontheIsland the Philippinescalled Chocolate Hills.Chocolate remind meoftheincredible iconic landmarkin bamboo andcoconut leaves, andtheworks artwork reminded meofmakingahutfrom me ofplanting rice,cuttingand foldingindividual when glueingthestands for thework itreminded Transmission cultural heritage. Every process ofmaking I produce artworks Ireflect on my childhoodand in Australia for twenty-one years andevery time outcome ofthethingsImake. Ihave now lived They determine my design,process thinking, and aremaking, theimportant elements inmy work. My childhoodandtherepetitive process of Artist Statement Installation at Burnie (2018) Regional ArtGallery polycarbonate plastic, glue,andLEDbatten Overhead transparency films,wire comb, 2018 Cultural Transmission AresDoña Ritche hadelements ofmy childhood; is atransportation and

Cultural

Artists’ Stories and Artworks| Ritchie Ares Doña 21

22 Selena de Carvalho de Selena Artworks| and Stories Artists’ was extra family support—bothmy grandmother to be spent outdoors. Themove hadmeant there Nevertheless, muchofmy childhoodcontinued the Newcastle University. went backhometo nurse herandDadgot ajobat sister hadbeendiagnosedwithcancer, soMum was undergoing aneconomic crash andmy Mum’s Newcastle. Itwas duringthe1980s—thecountry But whenIwas 11we allmoved backto was idyllic. the warmth, the river, the lifestyle—that childhood the housebeingcovered by a passionfruit vine— Indonesia lived downstairs. Ican remember half stilts and for a couple of years somefriendsfrom weatherboard dwelling. Butmy parents putiton right next to theOrara river, itwas astandard families. Whenwe first moved into that home were way lessconservative thanthe rest oftheir mainstream family experiences. MumandDad different to what I could seearound measmore peers they shared andtheplaceswe’d go were ‘drop outs’. They’d come from Newcastle, butthe them helddown jobs, they were insomeways generation Australians—and althougheachof Health psychologist. Bothofthemwere first Dad was anarchitect andMumwas aWomen’s northern New SouthWales. Coramba, asmalltown inlandfrom Coffs Harborin always beenhisnaughty littlesister. We grew upin brother is two and a half years older than me—I’ve in thebranches that overhung thewater. My arrival, they’d vacate theirsun-baskingpositions them, andfrightened by thenoisy prospect ofour the river. They’d hearuswell before we could see water dragons asthey launchedthemselves into I ran down to thecreek, theslap,slapof I can remember in summers, when my brother and CARVALHO SELENA DE high school.I pilfered alength, stitched together a paisley material that were usedascurtains at my it. Ican remember fancying some ofthe70sstyle that he’d watched mestay upallnight to make end Dadhadto go into bat for meandtell her She absolutely refused to believe meandinthe she accusedmeof, saying itwas notmy work. the teacher whenIhandedinanightie dress that sewing classesat schoolbutIhadaconflict with sell at markets to make money. Iespeciallyloved painting and felting. Ididlotsof sewing that I’d of mediaincludingcrochet, embroidery, silk considered really dorky. Iworked inallkinds interested incraft andmakingthings was I was acrafty teenager at atime whenbeing seek outthelesspopularbeachesandquiet. refuge. Soridingmy bicycle furtherafield, I would status were fought over, butthebeachitselfwas a was atraumatic space,onewhere identities and with thebeachideaofbeauty. For me,surfculture purple hairdown past my bottom and Ididn’tfitin arrived from analtogether different ‘tribe’—Ihad learned to surf. Itseemedto measthoughI’d culture. Iendedupwondering why I’d never that Iwas definitely anoutsider to thelocal beach I became ateenager Ihadtheincreased sensation town seemedto befulloffierce, people.As angry town itself—thelocal steel millhadclosedandthe It was alsoadifficult transition forusand forthe imagined venture asaski-er. roller bladesinaneffort to prepare for my next one wholesummertraining hard onmy cousin’s that Ihadn’t‘mastered’—the ski-fields, soIspent thinking that there was anotherkindofterrain water—the creek andthebeach.Ican remember I thinkofmy childhoodasspent neartwo kinds of beach. We’d beengoing upthere every holidays so and aunty lived there, andthey lived opposite the first day. Someone helpedusout, we got the car panel van that broke down in Ulverstone onthe I drove down with my brother andafriendin Australia before Iheadedoverseas. place andIreally wanted to know more of first time. I’d heard it was anamazing forested the east coast andwent down to Tasmania for the part oftheBibbulumtrack. ThenIcame backto Bay, thenkept going southto Perth andwalked there, thenIhitched down thewest coast to Coral on apermaculture project for acommunity garden up to to Darwin assist afriendwhowas working protesting I was livingoutofabackpack.I’d gone school 2years earlier. WhenIwasn’t involved in their abuse.By thistimeI was 19;I’d finished ultimately received monetary compensation for to court over theway they were treated—and a protest incident where civilianstook thestate took someten years to settle—the first caseof of thesevictims continued a court casethat girl was tear-gassed duringthoseevents. Some a shippingcontainer. Aneight-year-old Indigenous beaten andthenherded together andwelded into protesters andcustodians were tear gassed and out theStar Force (riotpolice)from Adelaideand was aparticularlyviolent protest—the mineflew in several othercountries. TheopeningofBeverley process theyellow cake hadalready beenbanned Beverly uranium mineusedto retrieve and Mine intheFlinders Ranges. Themethod that In 2000they were openingtheBeverly Uranium country theRoxby Downs Uranium Mineaffects. like theArabunna elders from Lake Eyre, whose In thedesertwe worked with Indigenous groups were protesting environmental degradation. out into thedesertinwinter aspartofgroups that and NorthernNew SouthWales insummer, and journeys travelling to theforests ofEast Gippsland for thenext few years, where Icontinued to make kicked offthedirection that occupied my interest seeing thedestruction ofanoldgrowth forest; this area.logging Thiswas my first experience of my friendwhere there was afestival around the weekend Icaught abusto East Gippsland with with kidswhowere alotolderthanmyself. One When Iwas 15,Iwas involved inasocialscene pass my subjects. did alotoftruanting butsomehow managed to parents thought Iwas visitingfriendsin Sydney. I going. Iwent to all-weekend rave partieswhen my I’d sneakoffschooland tell fibs aboutwhere I was my otherskillswas aproficiency at forging notes. in theclasses.Iadmitwas really naughty. Oneof art history, andasaresult Iwasn’t sointerested to make stuff butthere was a strong emphasison I found my artclassesreally stifling—I just wanted time lapse photos. spend alotoftime taking blackandwhite and subjects. Dadbought meanSLRcamera, andI’d year 11you could take electives at TAFE asschool in front oftheschoolcurtains that remained. In suit, anddidaseriesofphotographs ofmeposing way through my candidature I’d fallen inlove, had any ofmy subjectsuntil theory my last year. Part drawing, e-media productions, butIdidn’tdo was very productive, producing alotofprintmaking, really learnedto maximize my time expenditure—I I loved university—it was atimeduringwhichI later on I’d work onmy artfor my courses. hang outinthebath whileIwas making dinnerand room. Butitwas perfect for us—my daughter could of granny flat where thebathtub was inthelounge that I got a little place in Ferntree—an eccentric kind the state took over theproperty andsoldit.After house we’d beenlivinginhadnever beenpaid,so the university andwas accepted. Therates ofthe been dragged around from placeto place.Iwent to managed to salvage from my belongingsthat had photos andlotsofscrappy bitsandpiecesthat I’d that I’d assembledfrom acollection of my zinesand school, andmanaged to scrape together aportfolio separated from herfather. Idecidedto applyfor art collected. Mydaughter was 3at thetimeandI had stayed there. Thehomewas fullofthethingsshe’d allowed usto ‘caretake’ theplacefor thetime we an oldtwo-story rambling house.Theowner’s sister Tasmania again where Istarted asquat inHobart, After that periodinMelbourne we moved back to they’re now massive gums. Last week Irevisited sometrees we planted there— amongst abigcrew offriendsintheMaribyrnong. and grew up,withmy daughter, inFootscray living how to drive andlearned how to become aparent squat warehouse anditwas there that Ilearned time we moved to Melbournewhere Ilived ina how to drive anditwas quite isolating. After that We lived there for two years, butI’d never learned place—and that’s where Ifree-birthed my daughter. the fireplace—a simple,rustic andbeautifullittle property. Ithadahotwater system that came off and there was adonkey andagoat that lived onthe bush. Theshackstood at thetop ofawindytrack, little half-falling down shacks scattered through the like afragile deckofcards, oneamonganumberof every angleinthebuildinghadalean—itlooked was forty dollars aweek. There was nopower, and a littleshackinthebushnearFranklin. The rent within sixmonth I’d fallen pregnant. We moved into I fell inlove withamanI’d met at that first partyand great dealsincethat time. windows smashedseveral times.It’s changed a environmental activists, theHVEC haditsoffice There was alotoftension between industry and Huonville. At thetimeit was a really hostile place. that theHuonValley Environment Officeopenedin free soIcould print anddistribute them.Soonafter to thelocal council to usetheirphotocopier for house at MoleStreet to helpmake a‘zine’andwent were to become closefriends.Igot everyone inthe timing—at that party we met alotofpeoplewho a partythenext day. Itturnedoutto beperfect living at MoleStreet inHobartwhowere having to Hobart.Myfriendfrom hadoldfriends Darwin on theroad again, andwe headedondown south

Artists’ Stories and Artworks| Selena de Carvalho 23 24 I arrived”. lived herelongbefore Indigenous peoplewho for ofthe thestories outside thecity. Ipine what Ilove aboutliving a newspaper, that’s have nothingto dowith andnewshistories that of thosethatlive there, inthememories storied way“The aplaceis

26 Selena de Carvalho de Selena Artworks| and Stories Artists’ space focused ontheenvironment andon the continuing my preoccupation witha conceptual immediately transportable. Even so, Iwas still medias like film and technology that were more moved away from printmaking andtowards aware ofthecomplexities ofthe ‘art world’. I’d viewed myself asanartist, buthad become more built upmy skillsandconfidence. I’d always university, I’d undergone experiences that had commence my Honours. By thetimeI re-entered that’s what Ididuntil 2015whenI re-enrolled to get outoftheinstitution andmake art,andso Japan to seeEchigo–Tsumari. Ijust wanted to I spent sixweeks inChinaafter whichI went to mentorship anda residency in2012Beijing. an Australia CouncilArtstart grant, aJump residencies. Iwas successful inbeingawarded and immediately began applyingfor grants and I completed my undergraduate studies in2011 good patch berry outtheback. is quaint, quirky, colorful andwarm… andthere’s a river that forms theheartofplace.Myhouse moved to aplaceinLongley—a littlevillage witha and thenI’d sitandread for ages. Inbetween I’d around inthecar until they noddedoff tosleep reading I’d putoff for solong.I’d drive thekids candidature, Ireally enjoyed thethinkingand subjects duringthelast year ofmy undergraduate By thetimeI got round to doing my theory I was Ishifted achieving, my attitude. responsibilities, butwhenI could seethe fact that tosimply trying get through allmy work andallmy this point I’d never checked my grades—I was according to my grades, Iwas doingwell. Upto my lecturers drew my attention tothe factthat, the second timewhenI was 28.Thistimeoneof another childandcome backto university for Further study suitsme—I guessbecause I’m Since thenI’ve gone onto beginmy PhDat UTAS. an overnight success. transformed from theblacksheepoffamily as I was, arrivingasashell-shocked success-story, I arrived my wholefamily was there—and there the burden of theworst hangover ofmy life. When Dad to celebrate my uncle’s 70thbirthday, carrying 30 amto get on theplaneto Sydney to meet with me champagne.Thenext day Ihadto get upat 4. desirable person to know, andeverybody bought Iwas a glow ofbeinga‘winner’—suddenly But neitherseemedto diminishtheimmediate tipsy andholdingthehalf-finished Choc Wedge. astonished! ButIhadto go upthere onstage abit whentheybit nervous called outmy name.Iwas threw backthebeer andwas beginningto feel a cream (baddinnerchoice)anddrank abeer. I and thirsty Iwas. Iimmediately bought anice- so whenIgot to theevent Irealised how hungry self-imposed regime that I’d forgotten to eat and of ‘good deeds’. I’d beensopreoccupied withmy devoting theday to performing anongoing series to Fremantle and hadatalk to myself about On theday I’d installed thework Itook thetrain Perth Ididn’tknow Iwas going to wintheaward. financial boost for me.WhenI’d flown over to Australia …this was afantastic confidence and Award ($35,000)for onestudent from across receivedii’ theHarold Schenberg PICAHatched in Tasmania. Thefinal work ‘Ecological Haunts into Country—connecting to asenseofplace research project involved alotofgetting back The Honours year was areally successful one—my shared custodianship. communities that gather together ina space of a placeisstoried inthememories ofthosethat and acurse. Butmostly it’s ablessing. Theway all my neighbours. Thiscan bebothablessing that hadpreviously just read ‘Longley’. Iknow Council pop-riveted theword ‘village’ onthesign Hobart. Icall itavillage because oneday the I live inalittlevillage 20kilometres southof distance enables. as they waft upthehill.The perspective that miss theliltofcover bandsonaSunday afternoon, autumn, Imissthequiet andsometimes, I even smell oftheairandway thesunsets linger in and deliciousthisplaceis.WhenIleave Imissthe I appreciate andacknowledge how trulyunique back here. Themore that I’ve travelled, themore in otherplaces,buteachtimeI found my way stayed. Itriedleaving, andliving Inthebeginning, Tasmania, thatI came is. forlatein avisit 2002 and I thinkthisplacechoseme,more thanIchoseit. there are alotmore adventures to come… and camped for 2weeks inIcelandlast year, and of artadventures withme—we allwent to Europe out together aswe go. beenonanumber They’ve very different—the three ofusare working things been said(injest) thecommunication we have is I didI’d beonto theminasecond. That having role modelandifmy children any try ofthestunts I’ve given up socialmediainmy efforts to bethat mother, Ihave to present apositive role-model; I take on.AndI’m aware that, in my role asa to beabitmore choosy interms ofwhat projects scholarship that gives methefinancialfreedom current ispositive for me.Also, itoffers mea into my own research andto maintain onestrong the focus offered by thePhD to delve further arts; whileit’s awesome andI’m well-supported, working inaproject-based capacity inthevisual and let italldrop away. with theeveryday. Remembering to get outbush movement, whilealsostaying grounded, being as place,keeps meconnected to abroader being mindfulofhowIengage withthe internet and potential time-wasting. Iguess, like anything, a darksideto ittoo, ablackholeofinformation of ideasandpeopleremotely. ButIcan alsosee live andstill be connected to thebroader flow I love theinternet! Ilove that Ican live where I critically engage. people get behindandsupport new work, but also different levelsIt’s oftheirpractice. aplacewhere you can accessandconnect withpeopleat all fantastic aboutthat too. It’s kindofhorizontal; everyone knows everyone, butthere’s something here. There’s ahealthy art scene,it’s small,and Diversity andchange, it’s anexciting time tobe But there are interesting folks moving here too. and quiet willover-populate thisfragile place. many peopleallseekingsomesenseofconnection refugium… Ithinkmy fear isthat perhaps too its inbred, penalcolony image). Tasmania isa become a‘desirable’ location to live, (outgrown it onFacebook orperhaps sinceTasmania has in summertime,perhaps sincesomeoneshared waterhole whichusedto be‘secret’ hasboomed Even inthetimethat Ihave lived here. The can swim inanddrinkoutof…butit’s changing. operate onanhonesty system, andariver that I abundance too. There are still roadside stalls that arrived. There’s diversity in this smallvalley, and Indigenous peoplewholived here longbefore I living outsidethecity. Ipinefor thestories ofthe to dowithanewspaper, that’s what Ilove about live there, histories andnews that have nothing

Artists’ Stories and Artworks| Selena de Carvalho 27

Selena de Carvalho de Selena Artworks| and Stories Artists’ 28 Photos: RickEaves home species a ghetto ofideas, weeds andnon-indigenous driving doughnutsaround my garden many projects I make inkoutofcar fumesandtake ontoo exhausted breath the mountain isnotours to brand face like ascreen saver sharing stories ofthe bigfloodandthefire we toast marshmallows around aburningtyre fence carboniferous perfumedrifts over theback I checkmy sleepingchildren into thestorm instead ofrippingmy clothesoffandrunning unfamiliar streets new islandsemerge ascars float down waterfalls outofpower sockets electric stream 100 year flood quick fix,oracheapimmortal crown. sails addatone ofconsumerism to thework, a environment inwhichwe reside. Theplastic poetic, pathetic rumination onthehaunted human, thisinkbecame thevehicle for a through theenvironment asacontemporary boat. Attempting to translate actsof moving the ink,whichadornsexterior ofthe I usedto collect particulate matter to create had asleeve madefor my car exhaust, which relocated after theflashfloodof May2018.I mast was found intheNorthWest Bay River, filling theboat withthis carbon cargo. The burnt rainforest coup intheWeld Valley and of disturbance, collecting charcoal from a visited andworked withenvironmental sites communicating anengagement withplace.I My material attention is focusedon Artist Statement (2020) (2020),andBurnieRegionalArt Gallery ArtGallery (2019), Lismore Regional (2020),Riddoch Gallery (2018), Umbrella StudioContemporary Arts flood |Installation atBurnie RegionalArtGallery Valley, tree mast from NorthWest Bay River, post Mixed media:car exhaust ink,charcoal from Weld 2018 100 Year Flood Selena deCarvalho

Artists’ Stories and Artworks| Selena de Carvalho 29

30 Karla Dickens Karla Artworks| and Stories Artists’ find stuff on the street and make things. Like him, influence on whoIam—my grandfather would always being told Iwas loved. hadahuge They’ve the garden andwould andwas helpwith cooking, holidays and often during weekends. I’d helpin I’d spendtimewith my grandparents every school their garden and read therace guidetogether. daily holdinghandsto thelocal shops, work in grandmother was tiny. They would walk together was avery tall man—aboutsixfeet four, andmy of thetrauma they’d suffered. Mygrandfather as they maintained theirinsularity asaresult life, nophoneorcar andlittle contact withothers seventy-six.He and my grandmother lived a simple worked inaniron foundry inMascot ‘tilhe was was my grandparents’ onlychild.MyGrandfather the motel explosion around theairport.Myfather year asaresult ofMascot’s re-gentrification and father moved outofthat samehousejust last bought her inMascot until they bothdied.My they remained together inthat samehousehe did, andthey were married.Stillintheir teens, agreed to himifhebought marry herahouse.He met my grandfather, aGermanimmigrant and the cityfor work andarange ofreasons. Myrtle moved offtheiroriginallandsandwho’d come to large community ofdisplacedpeoplewho’d been where Mascot Airportnow sits.There was a when shewas young—she lived inahumpy village Grandmother Myrtlewas brought to Mascot my Grandparents wholived inMascot. My was afactory worker. Iwas always closewith Dad was awharfieandtruckdriver andMum My brother Grant isfive years olderthanme. to theeastern suburbs whenIwas aboutten. Beaconsfield, Waterloo, Mascot and we moved in arange ofsuburbs around theinnercity— I was borninDarlinghurst, Sydney, growing up with LeighArnold DICKENS KARLA drug abuse.At theend ofthat period—at theage towards apattern ofself-destruction that included uncomfortable inmy own spaceandmoved years, things changed inabigway. Ibecame Once Istarted moving towards my teen solitude Ifindduringthose processes ofcreating. still love thesamebasicprocess ofmakingandthe Things haven’t changed muchinthat sense as I more enjoyable thantheartclassesat school. reconstructing andbuilding—allofwhichI found myself entertained for hours, pasting, cutting, things at home;my parents loved theway I’d keep because Iwas good at it.Iwas always making of theworld outsideofmy own. Iliked maths the geography teacher—he gave measense order—were Geography, Maths andArt.Iloved my teenage years. Myfavourite subjects—in captain. Iwas hardworking anddiligent until was classcaptain andhousecaptain andschool Gardeners Road PublicSchoolandloved it.I During my schoolyears primary Iwent to table andthat we were allsafe. important to make sure there was food onthe not themost pressing issue—itwas simplymore at homeandtheissueofbeingAboriginalwas But there were plenty ofother things going on to thebeach,andto tell peopleIwas Italian. warned meto stay outofthesun,to avoid going very cautious aboutidentifying asAboriginal—she but nothingmuchwas said.Mygrandmother was I knew Iwas AboriginalwhileIwas growing up people—Myrtle andTommy. me ofthem—my nostalgia draws from thosetwo made andusedfrom theirtime—they remind things Iselecteven now are often thingsthat were it’s also my tie with him and my grandmother—the I enjoy thetip—it’s agreat resource for my artand connected me withnature andwithmyself. That it enabledme to live alifestyle inthebush that many walls onthedwelling—it was rustic, but fire under for showers and washing. There weren’t had aforty-four gallon tank outsidethat I’d light a old cooker noon andnight. that I Iusedmorning, mountain. There was nopower, butthere was an had worked inaprinting studio onthesame forty dollars aweek… Margaret Preston’s brother area andIgot amortgage andasmallhousefor the bush—there were alotofartists living inthe so Imoved to theHunter Valley. Iwanted to bein I couldn’t afford to live inthecityandmake art, But by thetimeI’d finished mydegree in1993/4 shows inanARIcalled theTap Gallery. which to show your work. Iexhibited ingroup of cheapfood spotsandArtist RunInitiatives in artists andit was affordable. There were plenty always peopleonthestreets, there were lotsof Kinselas. Taylor Square was alive then—there were Square inashare houseabove ashopacross from did well at theArtSchool;Ilived closeby at Taylor forward—to take risks andto pushthemselves. I emotional headspacethey needed to keep going of makingart—hewould recognise thekindof way oftalking hisstudents through theprocess artist who was alsoaBuddhist. Hehadanamazing One ofmy teachers, Roy Jackson, was apracticing transformed into anobsession with makingart. At that point my obsession for self-destruction was enrol mesimplybecause Iwas drivingthem mad. Either that orthey might have taken thetrouble to who recognised thepassionandtalent Ihad. They were involved intheartsanditwas them friends whowatched over andtook care ofme. in theNational ArtSchool.Ihada family anddear centre. WhenIexited from that facility, Ienrolled of twenty-four—I endedupinarehabilitation be agreat fit.ElaineandGordon Syron opened beautiful bush andbeachesnearby, itseemed to artist andAboriginalenvironmentalist. With open partofthecountry to beagay parent, living inthearea anditseemsto beasafe and moved to theNorthernRivers. Ihadclosefriends in livingthecityanymore andsoin2003I Chippendale for abit, butIwasn’t interested I hadahousingcommission residence in Through thenineties Ijust madeart for myself. become ateenager. until Ihad my daughter in2005.Shehasjust I didn’treally take my artseriouslycommercially were the most important considerations for me, so do onmyself—my mental healthandrecovery Apart from artIhave hadmuchneededwork to validated andinspired. collaged canvases. Thesell-outleft me feeling my sexuality. There were two rooms ofheavily letting goofshameandbeing comfortable with of vaginas withbutterfly wings.It wasabout Garden ofWings People enjoyed it.Theshow was called supportive responses andtheshow soldout. The exhibition withElaineand Gordon drew Dreaming. had agallery inTaylor Square called Blackfellas of theperiodwithElaineandGordon Syron who away, butIdidhave someshows towards theend time—I just lived andmadeart.Ithrew most ofit seven years. Ididn’thave exhibitions duringthis that enabledmeto keep thislifestyle going for art materials. Iwas onadisabilitysupportpension hitch into Cessnock andbackfor provisions and had acar someofthetime,andwhen Ididn’t,I’d for thefirst time,anditenabledme tomake art. I little dwelling was my way to move outofthecity . Itwas pretty naughty—full The

Artists’ Stories and Artworks| Karla Dickens 31 32 or both”. story, materials whether thatbein and ruralAustralia— essence ofthe bush and moreholds the more know withmy art I energy intheart. believe they feel the to people’senergyI as they areattracted built upareas.Just that isn’tfound in freshness andrawness your energy—ithasa are attracted to town—city slickers of timeandheadinto for adecentamount bush oroutofthecity “If you have been

34 Karla Dickens Karla Artworks| and Stories Artists’ safe space—andthefoundation to beable to I love thespace to make work—I’ve got aroof—a has paidoffinanumber of positive ways. simple lifestyle we’ve taken upinorder to survive conscious andcareful about what sheeats, sothe Ginger whoisnow thirteen isvery health- been helpful inanumberofways. Mydaughter lived afrugal life where growing my own food has the streets andoutofacycle ofdrugabuseI’ve feed bothmyself anddaughter. Ever sinceIgot off planted fruittrees anddeveloped garden bedsto an oldhousewithplenty ofspaceto make art.I an outer suburbthat’s closeto thebush.Ibought I moved from Bangalow in2007 to Goonellabah, more-or-less dailybasis. demanded that Ijust keep onmakingarta of group shows managed to keep meafloat, and running workshops andinclusioninanumber were themost important outcomes. Teaching, out ofit,onalocal aswell asaninterstate level, sold afew pieces,buttheopportunitiesthat came my daughter. From afinancialpoint ofview, I’d positive possibilities forme tomake art and feed validated my role asanartist and reinforced the and theopportunitiesthat came outofitagain successful. Theresponse was positive anduplifting fabric element ofmy collages were particularly I worked insculpture andfabric andcollages—the about thegrief oflosingachildandclosefriend. in2007,wasGallery called job. That soloexhibition at theLismore Regional crack before becoming anadultandgetting a real was offered to me,Idecided to have one more practical, butwhentheoffer forasoloshow art at that time,asitdidn’tseemfinancially Alderton. Ihadbeenprepared to let go ofmaking Lismore Regional by then-Director Gallery Steven daughter was a toddler Iwas offered ashow at rearing andto setting upthehome.When my I took afew years offmakingart to devote to child Bangalow. Itwas here that my daughter was born. initially lived in,before buyingasmallhouse in There was ahouseattached to the thatgallery I documenting urban Aboriginal life sincethe1980s. is adocumentary photographer who’d been contemporary urban-basedIndigenous art.Elaine showcased thework ofAboriginalartists—mainly Gallery andMuseum Gallery up agallery called Blackfellas Dreaming Art inBangalow where we Loving Memory. Itwas and fresh air. everyday life, thebeautyofcountry I live on than affordable—I’m inspired by theeasinessof I have agreat spaceto work in,that ismore And what kindofbenefits are there? anyway. get to seeasmany exhibitions asIimagine would with astrong working practice Iprobably wouldn’t Social mediasoftens theblow—as asinglemother But are thesechallenges worthwhile? I don’tget to seeasmuchartIwould like to. Where dotheotherchallenges lie? I’m ahappy camper. internet stays connected andIcan find my phone inspired inmy studio working andaslongthe opportunities whichinvolve shorttrips away. I’m heathy interest inmy work andIreceive exciting regional livingonlyhelps my work, there isa I’m at agreat stage inmy practice where What might make itdifficult? beautiful andspacious. of fundingcityliving.Regional NSW isaffordable, on artseemedmore important thanthestress essential to live and work asanartist. Focusing also realised that leaving thebigsmoke would be my passionincreating andmaking. At thistime,I of artschoolthat Iwas seriousaboutfollowing Growing upinSydney Imadeadecisiononceout experienced? (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? grandparents—one that’s honest andsimple. by andaspired to thekindoflife lived by my to supportbothofus.I’ve always beeninspired schoolyears,primary Icontinued to make artand drive andinspiration. Throughout my daughter’s and to stay inoneplace.Sheisthesource ofmy the majorcatalyst to continue with my work is very important to me.Mydaughter hasbeen challenging anddifficult,sothesite ofthehome of securityIneed.Mywork istherapy andoften work away at buyingahomegives methesense history andculture. other regions, meeting the people and explore the other people; for myself Isimplyenjoy visiting I’m notreally sure how important they are for relationships? How important are region-to-region contact and Staying away from socialmedia alsohelps. Australia’s racist politicsdoes wear medown— to leave Australia more thanthearea Ilive in. When Ithinkofgetting out—I feeltheneed back inagain? Do you think it’s important to ‘get andcome out’ Shit yeah. Is itcheaperto live intheregions? story, materials orboth. the bushandrural Australia—whether that bein with my artmore andmore holdstheessenceof I believe they feel theenergy intheart.Iknow areas. Just asthey are attracted to people’s energy freshness andrawness that isn’tfound inbuiltup slickers are attracted to your energy—it hasa decent amount oftimeandheadinto town—city If you have beenbushoroutofthecityfor a Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the ever heard of. the town ofGoonellabahthat next-to-nobody has beautiful andyummy garden; allIneedishere in housework, doadecent jobparenting, rock a them inacityisnearimpossible)Imake art,do materials Ihave at my doorstep—(sourcing It feels like aperfect fit,I’m inspired by the How doesit feel now? as well asitdoesfor me. Yes Ididbutdefinitely didnot expect it to work in aplacelike this? Did you ever envision yourself livingandworking and concerns to inspire. the area. Nothinglike theinspiration of real life lack ofartcommunity isimportant to theartist in Yes Ido, yet insaying that Ialsobelieve that the community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkyour galleries andtheartistic outside ofmajorcityvery do-able. have changed ithasmadelife asanartist living idea how to senddigital images. Now that times computer, didn’thave asmartphone,Ihadno When Ifirst started makingartIdidn’thave a Apple; Amazon; Netflix; Google etc)? of themulti-national conglomerates (Facebook; media, international marketing and the onslaught importance ofplacehasbeendissolved by social important?…or doyou just thinkthat the Do you thinkthat where you work isstill

Artists’ Stories and Artworks| Karla Dickens 35 36 Photos: Brett Adlington (top) and Vanghoua Anthony Vue (bottom-left and bottom-right) adventure ofthespacebetween. mapping you may just enjoy thespaceand finding refuge withancient skillsof star blessed withknowledge oftheoldways, Not allsinkingships are doomed,ifyou are positions. land andtherefore indangerous, uncertain humans) findingthemselves outofsight of This work speaks ofships at sea(orvulnerable at seaorinspace. and planets may serve to navigate alost soul an Indigenous artist andastronomer. The stars has beenpainted by contributor LeighArnold A space-like cabin sitsontop ofthehullwhich and peoples,leaving themlost at sea. history anditsabilityto overturn countries a UnionJack,talking oftheBritishEmpire’s overturned vessel. The rusty oilcans form reconstructing found objects to reclaim an explores andplays withtheterm ‘lost at sea’ The work ColonialBottom Feeders Artist Statement (2019) Gallery Mixed media|Installation at Lismore Regional 2018–19 Colonial Bottom Feeders with LeighArnold Karla Dickens visually

Artists’ Stories and Artworks| Karla Dickens 37

38 Rob Douma Rob Artworks| and Stories Artists’ when there are onlyfour intheclass.Butyou find little drawbacks—team sportsdon’t really happen attending smallrural schools came witha range of the outskirtsofAustralian culture. Growing up Australian”; someonewhowas always slightly on Australian withDutch parents mademe feel “less in asmalltown inTasmania asafirst generation already captured my imagination. Growing up Europe, andtheirstories ofotherplaceshad and Mumhadtravelled extensively throughout 13 was whenthefamily visited Holland.MyDad My first majortripoutofAustralia whenI was that itmight have impacted onmy Englishstudies. but my parents were hesitant at thetime,thinking from Holland.Iwas keen to learnthelanguage Hobart andPenguin hasquite afew immigrants images ofthesurrounding landscape. concerns hewould sitfillinghissketchbook with old building.Whenhewasn’t working onpractical began therepairs to fullyandcarefully restore the of carpentry from books at thelocal library and very resourceful—he taught himselftheskills grandfather hadactuallybuiltit.Dadisalways and post-office. Theneighbor’s father and had oncebeenusedasthelocal coach station they purchased anoldsmalltimber cottage that settled intheNorthwest coast of Tasmania where for my sister took afurtherfour years. Thefamily I came alongin1973,andtheadoption process and started theadoption process. continued the romance, marriedtwo years later, three months’ time.Whenthey met upagain they visit herinTasmania after hefinishedhisjobin Australia andhit itoff. Mumsuggested that Dad Zealand for work whenthey met ontheboat to sister for aholiday andDadwas onhis way to New late Mum sixties. was onher way to visit herolder My MumandDademigrated from Hollandinthe DOUMA ROB

in 1991.Ican lookbacknow to thetime I was a interested inthearmy; Iapplied andwas accepted Throughout my childhoodI’d alsoalways been keen to explore the world. comments onthings.Iwas sixteen andextremely do intheworld before Iwas ready to start making quite right. Ifelt there was muchmore to seeand and sat inona couple ofclasses,butitdidn’tfeel working class.Iconsidered going to ArtCollege upper classrichkidsrather thanthosefrom the to university—I’d always thought itwas only for late eighties, Ididn’thave a strong ambition to go focus. WhenI’d completed grade twelve inthe were my strengths, butartwas always my main competitiveness. English,Geography andHistory other to bebetter artists through asupportive we were bothkeen onartandpushedeach toes throughout andsecondary school; primary parents. Ihadamate Richard whokept meonmy art, andwas encouraged by theschoolandmy At school,Ihadanatural tendency towards instead ofdolls’houses. wood, butIpreferred to make wooden guns grew from that childhood.Iloved working with listening to classical music.Mylove ofmateriality with Mumcompleting cross-stitch art together, knitting andneedlework. I can remembersitting the wooden toys. Shealsodidalotofstitch-work, art andwould helpDadpainting and varnishing of Dutch colonial homes.Mummadealotoffolk made intricate doll’s housesthat were replicas out ofscrap wood—that hesoldat markets. He made beautifullycrafted wooden toys—often Both MumandDadwere very creative. Dad more solosportslike karate andboxing. interested insports,buttended to bedrawn to other ways ofgetting around things—I was still to seek alternate employment. AsIalready at didn’tpan out;bothcollapsed andIwas forced away. Unfortunately, thefirst two studios I worked tattoo-style drawings. I was offered ajob straight drawings—so was asked to produce more typical of works, alltheimages were fineart style When Iwas first asked to show my portfolio controlled industry where entry was difficult. for othersoldiers. Ihadheard itwas atightly and hadbeencommissioned to designtattoos I hadby thisstage acquired several large tattoos interested ingetting into the tattooing industry. Upon discharge from thearmy in2004Iwas training andoperational missions. as aninterpreter to theRoyal ThaiArmy onboth graduation, Ibecame aThailinguist and worked where Iachieved aDiplomainThai.Upon me to theAustralian Defence SchoolofLanguages having aproficiency inlanguages, thearmy sent Melbourne for ayear. WhenIwas recognised as soldier where Istayed for four years, thenwent to I was posted to Townsville in1995asaninfantry Timor. After initial training in New South Wales, I alsocompleted two operational tours to East Thailand, Singapore, andtheUSA includingHawaii. overseas training incountries suchasMalaysia, My interest intravelling was fanned by the military anyway. Ironic. military. Butintheend,Ienrolled intheAustralian were fearful Iwould bedrafted into theDutch relinquished theirDutch passportsbecause they always wanted my Dutch passportbutmy parents wooden guns.It’s ironic how thingsturnout—I’d I was growing up,butIwas keen onmakingthose never let mehave firearms ontheproperty when largely onWorld War 2.MumandDadwould in family programs like TheSullivans, that focused child andhow Iwas influenced by soft propaganda China, thenspent the last couple ofyears working East Asiafor aboutayear, includingamonth in the world andconsequently worked around South hired inTexas, Iwas happy to work anywhere in off roster system. Althoughtrained inScotland and industry from 2011to 2015onamonth on/month salvage orrepair operations. I worked inthe conducting tasks such assubsea construction, where Iwould control the vehicle, and‘fly’ ROV (Remote Operated Vehicle). Pilot/Technician work onoilrigs,Iwas hired inHouston, Texas asa in Scotland getting qualifications thenecessary to more time at home. After spendingthree months industry would meanbetter financial returns and toThe opportunity workthe offshore in and oil gas way oflife that allowed memore time to make art. photography inAfghanistan butIknew Ineeded a getting worse, andmore dangerous. Ididalotof in started paying lessandtheconditions were down to lifestyle choices—thework Iwas engaged place Iwas surprisinglysadto leave, butitcame years were onaUSDefence contract. Itwas a in Afghanistan from 2008to 2011.Thelast three I worked asanindependent securityconsultant Afghanistan inKabul, thecountry’s capital city. offered employment asaSecurityConsultant in this timeinCairns.However outoftheblueI was had madeplansto commence tattooing again, I commenced work onaMines Rescue team and the circuit inIraq, Afghanistan orAfrica. In2007, in thelucrative security contractor industry on guard, hopingto secure employment overseas next two years Iworked locally asasecurity in CapeTown, SouthAfrica in2005andfor the A bodyguard andmedical course was completed Townsville andhave useditasabaseever since. network from my military career, I moved backto owned ahouseinTownsville andhadalarge

Artists’ Stories and Artworks| Rob Douma 39 40 future in the arts”. financially viable be possible to make a assessing how itmight in to berealistic Youall costs? have at ethics andbeliefs to yourOr doyou stick to make endsmeet. order or otherwise—in prepared to conform— about theextent you’re have to askyourself environment... You more aware ofyour forces you toart, be to makewell astrying to make aliving,as “Living hereandtrying

42 Rob Douma Rob Artworks| and Stories Artists’ the military ingeneral were notreally liked by the energy ofthetown haschanged; priorto 1999 related to themilitary insomeway. Themoodand thirty thousandpeopleinTownsville are directly base andNaval facilities. Ithinkapproximately Barracks grows continuously, asdoestheAir Force Australia andit’s in asmallregional city. Lavarack Townsville hasthelargest military community in experienced) (To ametropolitan area/to otherregions you’ve What makes where you live andwork different? akin to acraft. and material aspectsoftattooing asbeingmore expressing my own viewpoint. Isee the physical commission aswell, butitcomes muchcloserto a specificbrief. Fineartmight beproduced on or style, butit’s generally always tied to following I can. At times,there isscope for my own design My role isto bringthat client’s visionto life asbest whole generally dictates thedesignoftattoo. can bedifferent theclient onthe from ‘fineart’; art’. Iview itinasimilarway to how graphic design reiterate that my tattooing isseparate to my ‘real trade, there’s a kind of running joke where I always tattooing asdifferent to myart practice. In the virtually non-stop for thepast two years. Isee which Itook up.SincethenIhave beentattooing art andheoffered mea start into tattooing again, owner whohadpreviously bought someofmy On return Ibumpedinto alocal tattoo studio Studio SchoolofDrawing, Painting andSculpture. Life drawing Marathon course at theNew York 2016,IhadsuccessfullyIn January appliedfor a degree, focusing more on3Dworks. about to commence thefinalsemester ofthat Arts program at theTAFE campus. Iamcurrently University ofCanberra began aBachelorofVisual and rolled itinto adegree program whenthe Diploma, Icompleted theAdvanced Diploma focused ondrawing andprintmaking. After the me to enroll into aDiplomaprogram where I developing my artspractice, Donnaencouraged Foley. WhenImentioned that I was interested in (Tertiary andFurther Education) campus,Donna Lead Vocational Teacher from thelocal TAFE on contemporary art.At Imet the theopening, Mark national touring exhibition, titled In 2015Iwas approached to participate inamajor bring materials to draw withwhilst Iwas offduty. received awards. Even whenIwas at work, Iwould local shows andcompetitions where my work painting anddrawing inearnest, participating in on my art,andintime-off from theoilrigsIbegan By 2012,Ihadidentified my realneed to ‘catch-up’ Timor Sea. making sidetrips to theBassStrait andtheEast Shelf, west ofDampierinWestern Australia, and around Australia, mostly offtheGreat Western , that focused ontheimpactoftattooing A Permanent you have to askyourself whether you’ll beable financially viable future inthe arts.Andinturn, in assessinghow itmight bepossibleto make a and beliefs at allcosts? You have to berealistic make endsmeet. Ordoyou stick to your ethics prepared to conform—or order otherwise—in to You have to askyourself about theextent you’re your environment—there’s nosafety blanket here. totrying make art,forces you to bemore aware of Living here to andtrying make aswell as aliving, benefits are there? these challenges worthwhile? Andwhat kindof And where dotheotherchallenges lie?But are not bepopularwithsomeofmy clients. my work aboutthecommercialisation of war may Obviously any critical responses Imight make in off-center can seemquite challengingouthere. It’s alsoavery conservative town—anything businesses. real opportunitiesandadvancements to local of thefact that itis artsandculture that bring a V8track over anew cultural premise inspite Council opts to supportaSuperstadium and events bringinbigaudiences.Buteven so, the exhibitions anda range ofothercultural music performances, thesculpture competitions, revenue to Townsville that sportdoes.Thelive cultural activitiesbringthree to five timesthe This isinspite ofarecent report that artand be embraced more by locals thanartistic ventures. communities might: thenew football stadium will doesn’t embrace artasmuch asothersmall lengthy and challenging. Also, I feel the community and getting exhibitionspace canbe attimes two main galleries—Perc Tucker andUmbrella— Opportunities for artists are minimal—there are What might make itdifficult? come backwith. thousand tax-free dollars that eachguywould were keen to collect partoftheforty to fifty change was driven by the fact that local businesses back Heroes”. Part ofthat supportive, positive particularly inthe car yards—reading“Welcome There were signsposted allover thetown—and they were viewed inamuchmore positive light. their independencefrom Indonesia.From thenon Australian Army was sent to helpEast Timorregain However, allthat changed in1999whenthe Alpha malearmy typeswithadisposableincome. locals weren’t very enamoured ofthetypical culture backthen—Iguessitstill does—andthe much lesscashed up.Townsville hadabigdrinking of theuniversity students, whowere generally The otherlarge sector inTownsville was comprised having fun. and were interested inspendingitgoing outand fact that thearmy menhadadisposableincome, level ofcontempt andjealousy stemmed from the as ‘AJ’s’—an acronym for Army Jerks. Alotofthe locals, whoopenlyreferred to army personnel If peoplethink ofnorthQueenslandculture in people across Australia are aware offor itsculture. Townsville itselfisnot really aplacethat Ithink associated with theteaching institutions, but artists wholive uphere, many ofwhom are I’m nottoo sure …there are afew fairly major Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the but… move to Bangkok itmight actuallybeheaven… now, itsuitsmefine.IfI could replicate allthisand work isafew minutes intheotherdirection. Right university isafew minutes down theroad, and in anindustrial estate butit’s very central. The Convenient—I live inaconverted warehouse How doesitfeel now? regional city. envisage myself cityrather livinginabigger thana first went to Bangkok, Iloved livingthere—I can to thecities,butIhate livinginsuburbs. WhenI Growing uponarural farm, Ialways felt thepull No, althoughIdidimagineI’d beanartist. in aplacelike this? Did you ever envision yourself livingandworking slowly. seem to have beengrowing, even thoughvery received, buttheresponse andsupportdefinitely I’m notentirely sure abouthow they’ve been art works that increase theprofile oftheCBD. commissioned large street artmurals andpublic pulls thecommunity. Inrecent years council has competition heldontheStrand, which really Strand Ephemera, asculpture exhibition and to theconverted. Every two years we have the cultural outreach could bedescribedaspreaching degree you could argue that onthewholeits hard over theyears to bring peoplein.To alarge Regional Gallery, andit’s beenworking very tattooing clients seem to onlyknow aboutthe involvement. Umbrella too, butmost ofmy a great dealofcommunity engagement and The Perc Tucker Regional hasfostered Gallery community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic to get outto lookaround hasastrong benefit. fact that thisplacemakes you aware that you have Melbourne orBrisbaneto visitanexhibition. The later thisyear. Orfrom time to timeI’llfly down to will attend a printmaking workshop inMildura enrolled inadrawing workshop inNew York and beyond thebubbleofTownsville. In2016I It’s forced meto lookhard at opportunities stronger rationale for your work. But answering thosekindsofquestions can drive a want to make somewhere else,sometime else. really beableto make thekindofstatements you to maintain apractice here orwhether you’ll only spending time in Townsville—especially withthe personal agendas. For me theopportunityof I thinkitcan be—but itdependslargely on Apple; Amazon; Netflix; Google etc.)? of themulti-national conglomerates (Facebook; media, international marketing and the onslaught importance ofplacehasbeendissolved by social important? …ordoyou just thinkthat the Do you think that where you work isstill similar problems. what otherregional towns are doingto combat at themoment, anditwould beinteresting to see For example, we have a large issue with crime here understanding aboutlivinginregional contexts. insular mind-set. It’s alsoimportant to share resolving issuesthat can helppreventing that way others dothingscan present new ways of into theconcept ofbeing open-minded—the They can bevery important—I guessthat ties relationships? How important are region-to-region contact and experience for themselves. hopingthatcondescending, they will travel and towith themItry beencouraging rather than people who’ve never left Townsville, whenIspeak world to get thebest outofit.Itattoo alotof differently. You have to get outand explore the it’s enlightening to seehow peopledothings close-minded. Irecommend travel to everyone; as aconsequence you can easilybecome quite bubble—it can tend to bequite territorial, and people grow uplivingintheirownlittle regional Australia isthat itcan bequite insular—many time inthoseplaces.Abroad comment about the internet, butit’s notlike actuallyspending Absolutely—you can educate yourself well through regions andcome backinagain? Do you thinkit’s important to ‘get from the out’ always addingonextra for freight. in otherways through artsupplies,where you’re gallery events amonth. Butuphere you pay for it openings. Here there may beonlyoneortwo out ontaxis, food anddrinks to endlessexhibition much money; inbigcities you spendmoney going of entertainment meanyou’re notspendingso driving around town. Also, thelimitations in terms here—plus Idon’thave to spendmuchtime proximity to theCBDinBrisbanefor what Ipay Yes—rent ischeaper;Icouldn’t achieve this Is itcheaperto live intheregions? artists. opportunities to network withotherinterstate Strand Ephemera. Theseevents alsooffer great dollars, raise theprofile ofthecity, asdoesthe Prize, that offers afirst prize offiftythousand National competitions like the Percival Portrait with Indigenous artists. throughfootprint’—especially theirinvolvement artistic community—they have a stronger ‘arts Australia, Cairnspromotes itselfmore asan

Artists’ Stories and Artworks| Rob Douma 43 44 people change theiropinions,inapositive way. somewhat confirming how exposure to more information canhelp on themwhenthey’reit’s beingtattooed. Sometimes surprisingand or history programs oninthebackground, andpeopleconcentrate can form bridges orgive insights. WhenItattoo Ioften have science conversational aspect oftheprocess; Ilike the way communication on theprofiteering behindit.In my tattooing practice I like the for example, anti-army statements per-se, butmore to comment art that doesthat, I’m pretty happy. I’m notinterested inmaking, confrontational way, but to appreciate different opinions.IfImake that makes positive change; artthat challenges people—notina think—art that works asanagent ofchange. I’d love to make art Ultimately Iamdrawn to make thekindofartthat makes people What istherole ofyour work? of both. Sometimes we’re notasunique we think we are—it could beabit the Internet you can seerepetitive patterns all overthe world. But withsocialmediaandtheabilityto experience theworld via military context—has beenvery important to my development.

Artists’ Stories and Artworks| Rob Douma 45 46 Photos: Rob Douma(left), Angela Little (top-right) andRachelCunningham (bottom-right) and itsother occupants. alternate anddifferent relationships toland papers—brown andwhite—symbolic of deliberately constructed from two coloured ephemeral nature ofexistence. The sailis are quite fragile, andthisalsospeaks to the although itisreasonably rigid, the materials The boat isconstructed from plywood and soul across theseaoflife from placeto place. the tattooed body, a vessel that carries the decorative motifs isa strong metaphor for The skeletal structure oftheboat covered by existence ofpeople. sail, inthesameway placeprovides for the the structure, orgrounding, for themast and between peopleandplace.The hull provides same way that there isaphysical relationship relationship between thetwo materials in the using pre-used stencils. There isadirect original carbon sheets. Thesailisformed needles. Thehulloftheboat iscladwiththe outline that can betraced withthetattoo is thenappliedto theskin,leaving acarbon tattoo designonto athinpaper stencil that carbon transfer sheets are usedto putthe used materials from thetattoo stencil process: re-purpose theminartworks. Inthisartwork I kept thedetritus from tattooing procedures to generated by tattooists for several years now, I Concerned withtheamount ofwaste hazardous to theenvironment. to mention other consumables that are also a massive increase ofsingle-useplastics, not tattooing industry globally, thishas resulted in the popularityandrapid expansion ofthe made mass-produced setups. Considering needles anymore; most peopleusepre- items. Few practitioners make their own tattoo industry towards usingdisposable countries suchasChina,have moved the of outsourcing manufacture overseas to Advancements intechnology andtherise opened my own studio, my overseas journeys, Ireturned and nineties. After having collected more on Townsville whenIfirst arrived inthemid- in fact, Ireceived muchbodyarthere in Tattooing hasbeena constant in my travels; Artist Statement Contemporary Arts(2019) paper, andcord |Installation at Umbrella Studio Timber, carbon transfer paper, tattoo stencil 2019 Grounded Rob Douma DeathProofTattoo.

Artists’ Stories and Artworks| Rob Douma 47

48 Penny Evans Penny Artworks| and Stories Artists’ pool that they built next to theriver pool.We used Narrandera hadtwo pools—amodern chlorinated bunions from her feet. Itwas theearly1970sand when we were kidstaking itinturnsshaving the all sittingonthefloorin front ofthe wood stove were alsoofGomeroi descent. Ican remember us I was later to discover that that sideofmy family no ideawhat sheactually meant by it.Ironically, remember herfear of“theblacks” althoughIhad were thepoorest white peopleintown andIstill a boy, originalfurniture from the1930s.They and alltheiroldfurniture from whenDadwas the depression era. Shehadanoldwood stove with nomodernfacilities. Ithadn’tchanged since spend thesummerholidays inNanna’s oldhouse mighty Murrumbidgee River runsby it.We’d Narrandera. It’s in Wiradjuri Country andthe with hiselderlymother. We called herNanain down to south-west New SouthWales to stay During schoolholidays, Dadusedto drive uskids anyway. to drop inonherbecause we were inthearea parties andhangingout,soit was convenient Darlinghurst, going to partyingandclubbing, sister andIspent alotoftimehangingaround her there onandoff. Duringtheearly1980s my in NorthSydney, andmy sister andIlived with she’d moved nearby into alittle rental property family circle, by thetimeI was in my early teens Although Mumdisappeared from theimmediate forty years they gave himagold-plated watch. Commonwealth Bankandwhenheretired after Dad brought usupwhileworking inthe Mum abandoneduswhenIwas eight. and my brother isfour years younger thanme. middle kid:my sister istwo years olderthanme describe asapretty dysfunctional family. Iamthe I grew up inLane Cove in Sydney in what you could EVANS PENNY

laps. Hewas, and still is,amad genealogist. We Stan threw awholelotof paperwork into our Bicentennial in 1988,whenmy Mum’s cousin The evidence ofconnection came around the started to connect with my cultural heritage. This was where, through my artspractice, I really College ofthe Arts,where Imajored inceramics. called theNational ArtSchool)andlater Sydney to East Sydney Technical College (whichisnow who Iwas that Ididn’tunderstand. In1985,Iwent me… itmademeaware that there was alotabout mattered to them.That talk was confronting for their roots—where they came from—and how it out withpeopledrinkingthey’d betalking about was inmy late teens—when we were hanging I wasn’t aware ofmy Aboriginalheritage until I her side. walked outwhenwe were kids,Ilost contact with Kamilaroi Country, at Narrabri. Because Mumhad in hisKamilaroi heritage. MyDadwas alsobornin clues that pointed to hisownership ofandpride years later Irealised that he’d left alltheselittle just to trying get by—to survive—and allthese didn’t talk abouthisGomeroi identity—he was settled onnearMoree was called that thenameofproperty that Pop’s family to understand certain connections: we found out was called longing for that river from thosetimes.Hisboat when we were little.I feel a strong connection and the Hawkesbury from Brooklyn to Dangar Island Dad—my Pop—used to take usonhisboat up Aboriginal ifyou could passfor white. MyMum’s In thosedays, peoplewould shutupaboutbeing river pool. noticed that thelocal Aboriginalkids stuck to the to swim inbothpoolswhenwe were there, butI Bengerang. Ittook metwenty years Bengerang. He just getting through bytheskinof my teeth realise that Ireally wasanartist. Even so, I was me through thisperiod by encouraging meto Department at Sydney College oftheArtshelped Gudrun Klixwhowas theheadofCeramics own body. generations ofsuffering had taken lodgingin my massacres. Itwas asiftheinherited trauma of Caroline oneofthemany Carrhadsurvived when Irealised that my great-great-grandmother The insights kept moving closerto thepersonal in my mind. had happenedto ourpeoplebecame crystal clear of thefrontier massacres asthehorror ofwhat with thewaves ofrealisations aboutthebrutality during thisperiodfrom self-medicating to cope I could probably describemyself as fairly psychotic kept ondrawing at home. bicentennial ‘celebrations’ had exhumed, butI at thetime—topsy-turvy withtheemotions images, fears. Australia was inastate ofturmoil kept working—it was my way ofprocessing ideas, it all,butnomatter how wasted I got Ialways a lotofdrugabuse.Iwas right inthemiddleof At artschoolduringthelate eighties, there was Bengerang station. Gomeroi great-great-grandmother andestablished west to nearMungundiwhere hemarriedmy great-grandfather who, whenfreed, headedout true history through thejourney ofmy convict understand ourfamily story inthecontext ofour showed tribalnamesandboundaries.Ibegan to looked at theAboriginallanguage maps which about thereal history ofNew SouthWales. I get my handsonto findoutasmuchI could side. After that Ibegan reading everything I could were Aboriginal,Kamilaroi, through my Mum’s the Sydney Olympics. produced theKamilaroi Ceramics Collection for extremely successful enterprise for whichwe Aboriginal cultural centre at DarlingHarbour, an a lineofceramics. They ran GAVALA, thefirst shop andasked whether they could commission two Kamilaroi peoplefrom Moree came into the Before itallfell apart,AlanaRose andGavin Flick, All thedesignwork ontheceramics was carved. apprenticeship onproduction anddesign for me. my artpractice today. That period was like an we developed refined the way I still approach eight years. We were prolific, andthe work ethic in Enmore Road withafriend.Iworked there for After College Imoved to a studio-workshop/store decorative ceramic work Ido today. of working that hascontinued into thekindof a meditative process Igreatly enjoy, anda way odd bitsandpiecesofwood andstarted carving, whatever Icould anduseit.At timesI’d collect whatever circumstances Imoved into. I’d pickup groups ofpeople,butIkept onmakingthingsin living insquats andwitharange ofdifferent not, I’d kept working onmy art.I’d moved around, matter whether I was attending theinstitution or cause to get backinto theinstitution again. No time offduring myfinal yearandhad to show just even thoughIwas suspendedfor taking too much Miraculously, Ifinallydidgraduate from art college an outsider. land priorto 1770hadforced meinto apositionas official denialoftheAboriginaloccupation ofthe my own behaviour—the fact that two centuries of connections between thehistory, the events and reality ofAustralia at thetimeand could seethe absent from classes.Shecould alsorecognise the mainly asaresult oftheamount oftimeI was

Artists’ Stories and Artworks| Penny Evans 49 50 connection”. of thisprocess of evidencethe tangible The work Iproduceis through my making. I amamaker—I think present andthefuture. history, place,the designs connectswith identity evident inmy “Myconnectionto

51 52 may have negative repercussions onhow I’m recognised asanartist. successful, and regrettably, to some extent I feel that thissuccess The ceramics designwork Ihave produced hasbeencommercially respected inthisarea. and othercultures—a Renaissance manwhose nameiswidely Aboriginal philosopherwho hadadeepunderstanding ofwestern until sadlyhedied at theage ofsixty-four inApril2017.He was an from my own senseofconnection to that place. We were close very grew from Burri’s stories aboutthewaters ofthat area, andalso Gorrogarah Binjul camps andavoiding themissionsystem. Ibegan producing my South Wales coast from Brisbaneto Wollongong, staying invarious story teller whodescribedhow, asachild,his mob walked theNew Mum. Burriwas adeep-thinkingphilosopher andaphenomenal up andknew alltheDreaming stories for that Country through his for holidays. Unbeknownst to methiswas where Burrihadgrown for Country. Whenwe met, I’d beentaking my kidsto Hat Head culture, identity andtheimportance of connecting withand caring made aprofound impactonmy understanding andknowledge of During that time,Imet BurriJerome—an Aboriginalartist who connections through aseriesof workshops andprograms. Rivers established various programs which facilitated withfunding, in andaround theNorthernRivers. At thetime,ArtsNorthern many connections withlocal Gomeroi peoplewho were living was ableto reconnect to people andCountry whilst alsomaking My sister hadmoved to Moree in2004andwhenIvisited herI that could beusedfor studio spaces. I alsohadabigoldwooden houseinLismore withplenty ofrooms kiln from Ballinaastheurge to return to ceramics hadresurfaced. During thethree years Itaught at TAFE I’d managed to buyanoldgas Mapping Genealogy Library’s rare books collections. Oneistitled that Iconstructed into books, many ofwhichare now inourState paper, collage oncardboard, andlotsofexperimental approaches I was blossoming—producing work through stitched imagery on to re-flourish. I was feeling more connected to my own culture and into good sleepingroutines andthis was when my artpractice began a very productive and connecting time forme.The boys were settled students at Lismore TAFE (Tertiary andFurther Education). This was At that timeI was offered ajob teachingceramics toAboriginal about five years my relationship withthe boys’ father dissolved. having hadtwo miscarriages priorto conceiving Solomon.After in 2006.Iwas very pleasedto have given birthto thosetwo boys with my first son,Solomon,in2005.Mysecond son,Stan, was born Southern Cross, butleft after two years whenIbecame pregnant I started aBachelorofIndigenous Studiesat theUniversity ofthe felt. trauma helpedmeto understand my own experience andtheway I ran Gnibi.Theway herbookexplained trans andintergenerational to rehab I’d read Trauma Trails College that’s partofSouthernCross University. Before I’d gone When Igot outIheadedto Lismore to attend theGnibiIndigenous drug andalcohol rehab andtherapeutic community near Byron Bay. ended upspendingtwelve months in generation. Ihada complete breakdown awhile after that timeand Later intown Ihadpeoplerecognising meandaskingifIwas stolen encouraged to ‘speak outloud’to her. Iloved beingonCountry. Carr was bornin1846.Whenwe were there we litafire andI was me to GilCreek where my great-great-grandmother Caroline on my first trip to Country. He taught mecultural protocols and took Around thesame time(1999)Imet a Kamilaroi manwho took me seriesofceramic diffusion ware—designs that , avariable editionoffive books. by Professor JudyAtkinson, who The Buttery—a residential Proof andanother

Artists’ Stories and Artworks| Penny Evans 53

54 Penny Evans Penny Artworks| and Stories Artists’ sinker “Becausecalling, youswallowed ithook, lineand Museum aboutfreshwater musselsthat I’m Indigenous Ceramic award at Shepparton Art I amcurrently creating abodyof work for the relate to ouridentities asdecolonising peoples. there transcends allthepoliticsandissuesthat connectivity to Country andeachotherbeing Boobera—it’s incredibly important for asenseof cotton farm. We are gathering again this year at farming andBengerang Station isnow ahuge much ofourwater hasbeentaken by thecotton and water theft onourCountry isdistressing—so degradation asa result of agricultural practices various family linesto place.Theenvironmental together andmadeconnections through our learned aboutbushmedicines,painted up,danced with eachotheronthat very specialsite. We at Booberra Lagoon nearBogabilla to connect Equinox agroup ofseventy Gomeroi women met Country hasincreased—last year ontheSpring In thelast few years thefrequency ofmy trips to tangible evidence ofthisprocess ofconnection. through my making.Thework Iproduce isthe the present andthefuture. Iamamaker—I think evident inmy designsconnects with history, place, it hasfunctional value. My connection toidentity conceptual andcultural responses, even though should always beconsidered asemerging through I amconcerned, therefore, that my production ”, referring to these damagingagricultural life asanartist. culture isfundamental to my journey through this basis. Connection to Country, my peopleand my impact onourCountry distresses meonadaily past Walgett now. whichisalso dry very The part ofourSonglinethat runsout to Narran Lakes trees—it’s atiny time capsule from thepast—it’s ground neartheirbora—is surrounded by carved time capsule from ourpast—our ancestor’s camp born issurrounded by many scar trees. It’s like a waterhole nearwhere NannaCaroline Carrwas ancestral waterhole for thefirst-time last year. This and thirteen just andthey’ve beenoutto our also usedinceremony. Myboys are now twelve system for Opurrivers andimportantly were birds andanimals.They provide anatural filtration middens andalsovery important food sources for of food for ourancestors evidenced by huge freshwater musselswere oneofthemainsources ecosystems are inastate ofmajorcollapse. The practices that need to stop onourCountry. Entire for aregional area. Northern rivers andafairly diverse demographic We have avery creative community inthe community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you think your galleries andtheartistic Simpler lifestyle. Lesschoicecan begood. Clean air, space,time. Easier to bringupkids. And what kindofbenefits are there? can alsobevery difficult. has to offer culturally. When we floodinLismore it collections inthemajorcities.Missingallcity Not having easy accessto museumand artgallery What might make itdifficult? regularly camp withmy children. also muchcloserto many national parks where I Mungindi, Garah, Boomi,Moree andBogabilla. I’m and easierto get onCountry—to placeslike I amcloserto my homelandssoit’s muchquicker as there are way lessdistractions thaninthecity. plenty oftime to work uninterrupted in my studio quieter andeasierto negotiate; itallows me Living inNorthernNew SouthWales ismuch experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? migrate regularly backandforth regionally. This isvery important for Aboriginalpeople.We relationships? How important are region-to-region contact and what’s going oninthecities. Not necessarily. WithsocialmediaIget to see back inagain? Do you think it’s important to ‘get andcome out’ Much cheaper. Is itcheaperto live intheregions? up that there’s noway Icould afford in Sydney. I’m settled here now withpretty good studio set How doesit feel now? bush anddidn’trealise it. all—although Ialways hadafantasy aboutgoing Sydney sodidnotseemyself livinginLismore at I spent thefirst 35 years of my life ininnercity in aplacelike this? Did you ever envision yourself livingandworking

Artists’ Stories and Artworks| Penny Evans 55 56 Photos: Vanghoua Anthony Vue (top andbottom-left) andColinLangridge (bottom-right) within Country, within damage, withinspirit. This work comes from place whichiswithinme, for Country for 200years. Country tounable and perform ceremonycare and Gomeroi have beenlocked out—fenced off in theface ofthis shockingmanmadedisaster. able to remain onCountry ishard to comprehend next 10years apparently…. How peoplewillbe ‘environmental flows’ are tiedupindeals forthe Gali, ourcultural waters whichare referred to as beginnings ofpastoral migration inthe1830’s. Our have beendrivingthisdestruction sincethe the agricultural barons incahoots withpoliticians The settler state which suffocates Country, led by animals, birds, humansare severely impacted. way oflife oftheGomeroi Nation includingplants, everything that relies onfreshwater, therefore the rivers, swamps, wetlands, warrambools….and and impactto land andwaterways—our creeks, extreme intheirsize andtheecological damage andarefloodplains hasaddedinsult to injury The development ofthepractice ofdamming way for broad acre monocultural cash crops. Country hasbeencleared andflattened tomake foreign owned agribusinesses.Ourprecious which inmy lifetime hasdeveloped into massive is theepicentre oftheAustralian cotton industry conventional cotton growing. Thenorthernbasin the stench ofpollutant toxic chemicals usedin through themat unnatural speedscarrying have beenharnessed,thewater beingpumped Many ofthecreeks that feed these waterholes nightmare created by thesettler/colonisers. just inthevast surviving ongoing monocultural bodies andscars. This waterhole isalittle gem in Country. Everything isCountry includingour is ourspirit,culture, heritage. Ourancestors reside andevidencememory ofouroccupation. Country waterhole issurrounded by scar trees—the by GilCreek withinthe‘northernbasin’. The between two massive cotton farms andis fed generations of my family were bornsurvives the ‘northernbasin’. Awaterhole, nearwhere My Ancestors Country iswhat isreferred to as different locations throughout Country. attending community organised gatherings in Country—over thepast 20years andhave been Country—Northern Gomeroi/Gamilaraay I have beenjourneying backto my grandmother’s is to destroy ordamage partofourselves. through ourselves. To destroy ordamage theland through trees isthesameenergy that flows interconnectedness. Theenergy that flows There exists atimeless relationship of Artist Statement (2020), andBurnieRegional (2020) ArtGallery Regional (2019),RiddochArtGallery Gallery and cotton thread |Installation atLismore Cast iron bed,ceramic, emufeathers, sand, 2019 Patient Penny Evans

Artists’ Stories and Artworks| Penny Evans 57

58 Lisa Garland Lisa Artworks| and Stories Artists’ coping mechanism at Wynyard Highwas to Everyone inthearea knew aboutDad,somy fines down by going to jail for shortperiods. fish. Whenhe’d get caught, he’d usually keep his always full of packets ofthesweet-tasting little were cast to catch the‘tiddlies’. Ourfreezer was aseasonalnetting poaching, process where nets income involved anillegal activity called whitebait gambling habits.Oneofthesealternative forms of could to make endsmeet, keep busy andfundhis Dad was outofwork andwould to try dowhat he recently—she turned86thisyear. the samehousesinWynyard every day until keep thehouseholdgoing. Sheworked at cleaning My Mumworked at housecleaningevery day to four at the time.Ihave anolderbrother andsister. and was unableto work from thenon.Iwas about had afall underground where hebroke hisneck bought my Mumahouse.Dadwas aminer, buthe and settled in Wynyard. Mygrandfather had Nevertheless, they met, fell inlove andmarried, famous for a range of raucous unruly local legends. even ridingtheirbikes infront ofhisfamily home, friends usedto planways ofavoiding. They’d avoid was afootballer—the kindofguymy mother’s and went to thedancewithabunchofmates. He held at thelocal hall,andDadlived inthetown the danceonahorse andcart. Socialevents were didn’t have acar, soshewould have travelled to near Milabeena.Inthosedays Mum’s parents Dad met at adanceat thetownship ofMyalla, on theNorth-West coast ofTasmania. Mumand a township called Milabeena,outsideofWynyard three girls—partofafarming family that lived in Launceston. Mymothercame from afamily of of hisrelatives arrived ontheFirst Fleet in My father comes from afamily oftwelve—one GARLAND LISA dressed ortheirdifferent ways. Itmakes a good spoken down to because oftheway they were side ofthefamily. No-onewas ever judged orwas the take-it-as-it-comes attitudes of my father’s well-to-do family, but shehadaspecialspotfor and welcoming to others. Mumhadcome from a and my grandmother’s homewere always open an Orphan’s Christmas ontheirown—our home was no-oneinthearea whowould have to have they’d pickupanyone hitching aride,andthere too, butbothofthemwould always make sure boats andotherforms ofwork. Mumdidittough 3 through choppingwood, working on‘couta start contributing to the family income by Grade of my father’s siblingshadbeenexpected to a career pathway—my Dadwas illiterate—most university. Myparents hadnever really pushed I was thefirst in my extended family to attend until sheencouraged me to apply for art college. I hadany particular strengths withthesubject towards photography, andIwas unaware that formal experience—Ms. Round encouraged me compass andaprofessionalism. Itwas atotally encouraged ustowards developing aninnermoral woman whosaw value ineveryone—who I moved there. Shewas abrilliant teacher—a role asthephotography teacher at thesametime College, aseniorcollege inBurnie,to take upher By coincidence, Michellemoved to Hellyer phone book,themargins ofany reading materials. on allkindsofscraps ofpaper—envelopes, the patterns, thingsthat came to mind,mark-making drew—I drew anything—I drew onanything— I felt kept aclosewatch onme.At homeIalways a also had great art teacher—Michelle Round, who routine ofitandIhadagreat bunchoffriends.I miss aday from grade 3to grade 10.Iliked the maintain analoofness.Iloved schoolanddidn’t see thejoy ineducation. Myprac teacher was all-boys school,was really enjoyable, andIcould two boutsof‘prac’—the second one, at apublic the artmakingwas stopped initstracks. Idid During my oneyear ofDiplomaEducation large. the responsibilities of work-and-income loomed with theresponsibility ofhaving to make aliving— rather thanpursue Honours, butIwas saddled years ofstudying artwithaDiplomainEducation to timethat Idecided to follow upthosethree When Ilookbackthere’s someregrets from time of beingableto chooseapathway for myself. my skillsbasedeveloped andIloved thefreedom As thestudy progressed my confidence kicked in, passions Idid. exhilarating meeting peoplewhoshared thesame is just theBEST”. Ifelt Icould breathe—it was steps inthemorningI’d catch myself thinking“this of how good itwas at thetime—walking upthose had agrowing senseofindependence. Iwas aware the first timeI wasmaking my owndecisions—I years were some of the best years of my life. It was to thecitywithagroup ofstudents. ArtSchool an adontheartschoolwall andmoved incloser to Hobart.OnceI’d gotten on my feet Ianswered Austin’s whereFerry Itravelled in by bus every day During my first year Iboarded witha family at personal messages from homereally worked. to helpget meby, andfood packs withsome mother. Shealways dideverything shecould food post-packs sent inthemailby my amazing through Austudy andwithsomevery important Hobart andbegan my degree—I supported myself was accepted at theTasmanian SchoolofArtin they helpedmewithmy university application. I Ulverstone for my final year ofsenior college, and mix. Stilldoes.I was livingwithafriend’s family in that I’d been‘taking my family for granted’—my The timethat hadpassed had mademe realise force, butthesubjectmatter hadturned around. excitement ofmakingimages again returned infull devote more time to my own practice again. The When Ireturned to teaching Iwas able to for grades 11–12,where Istill work. of theArtsat DonCollege inDevonport, acollege that Imoved to apositionofLearningArea Leader college Iattended asa student years before. After and thenafurtherseven at Hellyer College, the seven years working at Marist Regional College local Catholic private schoolwas accepted, Ispent my application to teach photography andart at a were highandthepay was low. After five years lead workshops. AlthoughIloved it,thehours Tasmanian artists up to theNorth West coast to on behalfof and fun‘clients’. We began applying for grants sculpture—with someofthemost entertaining working inarange drawing, ofmedia—painting, That jobenabledmeto move backtowards immediately. Iresigned from theAdvocate. with disabilities.WhenIapplied,they said‘yes’ asking for helpsetting upanart studio forpeople corner, looked at thesign a change. Onelunchtime I walked around the butintheendIdecidedneeded was challenging, printed inthedarkroom. Thenewspaper work ability—it was duringthedays offilmwhere we The jobwas really positive for my technical straight into employment withalocal newspaper. training to beateacher at the age of22Iwent But whenIreturned to theNorthWest coast after his frank advicehelpedmegreatly. back ofmy classesandwrite pages ofnotes, but daunting andbrutally honest; he would sitinthe Multicap to bringarange ofleading Multicap hadposted

Artists’ Stories and Artworks| Lisa Garland 59 60 me in order”. my life rhythm. Itkeeps my pulse and mirrors sound ofthe ocean.It living withoutthe jetty), Icannotimagine away fromafishing was childhood doors fact). Ialways have (my (twenty metresin my life neartheocean interruptions. Ispend void ofmetropolitan myand accept space and timeto consider “Space, openspace

62 Lisa Garland Lisa Artworks| and Stories Artists’ I don’tstop and process. Itisinnate. Butdueto and know itbutinreality Ijust go withtheflow, is offtheland,anagingwind. I can write allthis and contentment. A Southernbreeze, inmy case, wind, andsoonANortherly bringsbreakthroughs of feelings dependingonthetemperature, awarm is directly offtheocean,this can bringamultitude turn inyour moodandtime to work. ANortherly and assess.AWesterly represents acold change, a heavy feeling, itbecomes atime to reflect, worry by theweather. AnEasterly bringsaforeboding, home’. Mymoodanddrive tends to bedictated process thisfeeling andfindmeaningin‘my early twenties, hence too young to thoroughly missing. Thiswas whenIwas inmy late teens, and Ifelt muddledandat aloss;something was keeps meinorder. Ididspendtimelivinginacity ocean. Itmirrors my pulseandmy life rhythm. It I cannot imaginelivingwithoutthesoundof childhood was doors away from afishingjetty), (twenty metres infact). Ialways have (my interruptions. Ispend my life neartheocean and accept my spacevoid ofmetropolitan Space, openspaceandtime to consider experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? now. AndIkeep onmakingvisionsofthis. quietness, thesea—they’re allpartofhislife too things that my town hadusedto form me—space, jumpingoff jetties, bushwalking—allfishing, the objects, tools, toys, dogs.We cherishactivitieslike bursting withthe stuff ofourlives—books, only metres from theocean,inawooden dwelling interested inconstructing thingsthat last. We live and my son,whois12.Mypartneradoer— with my partnerwho’s awoodwork teacher Now Ilive inPreservation Bay, just before Penguin, changed theway Ishotmaterial. sector hadopenedpaths into ways ofseeingthat the country roads, andthework inthedisability community. Also, thework inthe the incidental things—thepeoplethat make a in somany ofthethingsI’d taken for granted— eyes. WhenIcame backIcould alsoseevalue work openedaway to seethemthrough fresh Advocate driving tank, anextra enlarger. The list goes on. paper, fresh chemicals, anextra development for my enlarger, extra lamps, multiple rolls of problem-solve. Imake sure Ihave theright fuses hopefully Iamorganised and have thegear to Totally. Nothingsurprisesmeandifitdoes, But are thesechallenges worthwhile? and self-sufficient. hard way andknow that Ihave to beorganised have stayed withmefor years. I’ve learnedthe hours. Someofthesegrievances andhappenings making process. Imeanittakes months—not just maybe it’s just whenpeopledon’tunderstand the as whenprints that are destroyed by framers or to thepoint oftears at times;smallthingssuch to rely oninregards to expertise. It’s frustration close to anexhibition deadlineandIhave no-one their moments, particularlywhenthings go wrong equipment andenlarger maintenance have had am Imostly left to my own devices. Obtaining is just how itis.Artist conversations are few and driven by. Itisnotnecessarilyachallenge butit do notunderstand my practice andwhat Iam Being surrounded by folk that meanwell but And where dotheotherchallenges lie? and makes mejust stop. the real thing.Avisitto MONAisalways magical base. Butitisstill suchagift toseeandwitness become partofmy motivation andartknowledge out. Obviously theinternet andpublications This makes ithard and,at times,I feel Iammissing or theexcitement inviewing new exciting work. able to bedriven by viewing thework ofmy peers happenings make itdifficult.Livinghere, Iamnot The absence ofavibrant artcommunity and What might make itdifficult? Tasmania andcoastal living. is inresponse to theNorthWest/West Coast of would imagine,thepractice ofanartist. My work trends andman-madeissuesimpactonlife and,I of theland,oceanandelements, social When life isbusy andwe are void oftheimpact I live. in regards to my thoughts andlifestyle andwhere how itrolls. It’s funny really, what Ihave become mentioned, discussedandithasdictated life and fishermen, the weather hasalways been my father, unclesandbrother beingcommercial mighty fine art!) the occasional overnight Hobartrunto see some anything (apartfrom agood reliable car to do It feels content andjust right. Ireally don’t need How doesitfeel now? not ever imagininglivinganywhere else. children, surrounding yourself withanimalsand years on,here you are raising buildingadwelling, because itseemedlike acheapblockandthen because oftheimportance offamily, buyingland just found myself inthisspace—returning home not theWest Coast. Withoutmeaningto, Ihave on theNorthWest Coast ofTasmania, certainly I never thought Iwould come homeandlive in aplacelike this? Did you ever envision yourself livingandworking is, initspurest form. find. Nothingisa façade ormoulded;itiswhat it for meandmy practice—I simplydocument the beauty oftheuntamed. Keeping itsimple works footprints ofdogs andlocals enjoying thewild beaches littered withdriftwood, bull kelpandthe doesn’t bringaninflux ofhipsters. We like the one ofthefirst onherdoorstep. Hopefully this weekends. Thisissuperexciting stuff andIam that doesgreat coffee onthe andfishcurry is theSeaPod, acaravan next to theArthur River totally void ofan artistic community. Ourculture shack where Ispendholidays andweekends is community buttheWest Coast where Ihave a My local community (Penguin) hasasmallartistic community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic incredibly lucky. that live offthelandandhave stories to tell. Iam quirky stuff andIlike people.Especiallypeople skin, bones,afresh water lobster claw, Ilike this earth. Iknow where to go to get afresh possum Enormous benefits—the peopleare saltofthe And what kindofbenefits are there? and helpgreat ideasbecome areality. Iread wellbeing—important to share visions,stories also important for ouryouth andfor ourgeneral be opento new ideas andvisions;to grow. It’s important to get outofyour own backyard; to I thinkthey are incredibly important; itis relationships? How important are region-to-region contact and me. my homehasvalue andistotally okay andright for artistically ifIdidnot travel. I wouldn’tknow that I felt, Iwould neitherbecontent norproductive know allthisthrough comparison andjust how I spent timelivinginHobartandScotland. I my personality andneeds.Iknow thisbecause and passion.Iknowlive inagreat placethat suits Melbourne—it’s important inregards to my drive It is.Iknow itisimportant to go to Hobartand regions andcome backinagain? Do you thinkit’s important to ‘get from the out’ in my bloodinasense. really andIhave evolved withinthislandscape; it’s theatre andart.But,Idon’t know any different see good movies, eat great food, andseegreat at acultural cost. Iamusedto notbeingableto hard to come by inaregional area. Italsocomes compliments your passionandinterests would be have work. Iwould imaginethat finding work that passive lifestyle andspace.However, Iamlucky untamed. Myhomeis‘cheaper’ inregards to a on theWest Coast. Acoastline that iswildand ocean infront, afarm behindme.Ihave ashack own withagarden, two dogs,andchickens, an on itsdoorstep, very comfortably, inahomeI I would imagineso.Ican live neartheocean, Is itcheaperto live intheregions? Despard andBett Gallery etc. art scenethrough Contemporary ArtTasmania, Hobart (Ihave felt) hasalways hadahealthy MONA hastotally putHobartonthemap,but Coast ofTasmania. Hobartisadifferent story. shores orhave any awareness oftheNorthWest only occasions national artists wouldvisitour ‘Tidal’. Iwould imaginethat thesewould bethe There’s aPrint Prize andanotherArtPrize titled Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the

Artists’ Stories and Artworks| Lisa Garland 63 64 ended. Hmmmm. with internet concerns orifIdrop my phoneitislike my life has Facebook, Googleand Netflix. That said,Ido regularly ring Telstra and thehumofaclosecommunity. At thisstage than itisbigger Luckily my phoneringsregularly withnews offamily, coastal dramas above. are atribeinsense.Thisgrounds meinregard to thestatement other’s children, grievances andgeneral day-to-day problems. We problems, rejoice inbirths,marriages etc. We helpoutwitheach I have alarge family andluckilywe allmeet regularly. We discuss conglomerates (Facebook; Apple;Amazon; Netflix; Google etc)? international marketing andtheonslaught ofthemulti-national the importance ofplacehasbeendissolved by socialmedia, Do you thinkplacestill matters…or do youjust thinkthat to share andconsider all.Beone. and listened to and,asaresponse, that they willgive back.We need I thinkandbelieve peoplegenuinely know that they are considered to day-to-day lives. Suchalovely thingto do. that heunderstands theimportance ofculture andwhat itcan bring Launceston. Thisvisionandgenerosity shows empathy, andthefact David Walsh realised theimportance andvalue inbringingMOFO to in therecent MOFO catalogue that duringhisvisitto Launceston

Artists’ Stories and Artworks| Lisa Garland 65 66 Photos: RickEaves home andplace. I seemy boat asavessel to carry my senseof to continue life ontheocean(for now). remains, itissustainable anditenablesmy family It issent to thefishmarkets in Sydney. Thisiswhat My family now fish for SouthernCalamari(squid). West Coast ofTasmania. farms, wildfishingisonthedeclineNorth relocation ofsealnumbers from Southern Fish Now we seethearrival of fish farming andthe and asuccessful boat buildingtrade. Tasmania become home to numerous fishermen banks oftheInglisRiver. TheNorthWest coast of port where Couta boats were beingbuiltonthe fishing trade. Wynyard wharfbecame abustling With European settlement came theCouta arrival ofEuropeans inthe19thcentury. Wynyard andTable Capeuntil soon after the tribe lived intheregion alongthecoastline around under theAboriginalRelics Act.TheTommeginer The rocks are still evident today andare protected be theresult oftheAboriginalTommeginer Clan. Wynyard isstill home to tidalfish traps believed to to thefishingvillage of Wynyard. Tasmania. From theNorthWest tipof Woolnorth This isallcentred ontheNorthWest Coast of was afisherman,his father andnow my brother. I amfrom astrong lineage offishing, my father and introduction offish willbelost. farming, as acraft andlifestyle which,withtheinclusion The images includeddocument the‘’wild fishing” form represents fish farming in Tasmania. five circle montages are attached, eachcylinder Five circle shapesare cutoutofthemainform and attached to the carcass ofabluefintuna. spliced andattached to asharkhookandthen fabricated canopy to suspend afishing rope, A metal spike isattached oneachendofthe placed directly onthevessel. montaged withphotographs andafishingnet, Purdon fibreglass dinghy withametal canopy Artist Statement (2018) bloats |Installation at Burnie Regional ArtGallery printed silk,metal, net, fish carcass, rope, and Mixed media:photographic print, photographic 2018 My Brother, theFisherman Lisa Garland

Artists’ Stories and Artworks| Lisa Garland 67

68 Dave mangenner Gough mangenner Dave Artworks| and Stories Artists’ grew up andmembers ofthegroups moved on. and othermusicgenres moved into favour, we all else. Butastimeschanged andthescenechanged didn’t really know a sense of community anywhere place well enoughto feel asenseofsecurity. I certainly asenseofharshness there, Iknew the the city;Iknew thestreets. Although there was eventually Iended upbackinPerth again. Iknew and Sydney to stay withMumandthenDad,but to timeItravelled backand forth to Melbourne ends meet, andstayed withfriends.From time feeling. Ididanassortment ofoddjobs to make easy, butthere was agood supportive community kept aneye outfor eachother. Thingsweren’t so we’d splitourearnings.Itwas apositive time—we meet inthecityto dancetogether, andafterwards involved increws ofhip-hopstreet dancers. We’d teenage years, andspent aboutfour orsoyears connection withagroup offriendsduring my stayed inWestern Australia. Ihadformed asocial and distractions, andwhenthe family splitupI period—there were all kindsofpersonalupheavals completely focused onmy schoolingduringthat Australia—I was ayoung teen at the time.I wasn’t My family separated whilewe were inWest of thelaboratory inPerth. transferred to thepositionofLaboratory Manager for Kodak for many years, andwas eventually to arange ofdestinations for work.He worked the family moved whenDadwas transferred Victoria in1969andwhileIwas growing up when hewas alittleboy. I was borninMelbourne, who isfrom Glasgow, Scotland, arrived inAustralia My motherisTasmanian Aboriginal—my father, man. I’m aproud trawlwoolway Tasmanian Aboriginal with Nathan Slater GOUGH mangenner DAVE

where Iworked my way upwithincustomer employment working in theautomotive industry Perth where Iundertook more conventional When Ileft theSouth West, we moved back to at that time. West Australia. We were aclose-knitcommunity of asupportive community when we lived inrural I’d holdherinmy to heart;trying create asense Country. Whenever Iwas away from my Tasmania me come back many times to connect with was very strong. Juliewas instrumental inhelping about ways to get backhome;thedraw to return family are connected. Iwas always dreaming to Tasmania where ourAboriginalheritage and During that time, my sister Juliehad returned assemblage ofoldparts. the skillsto cobble avehicle together from an the highway to get food every week until Ihad so inthebeginningIhadto hitch-hike down Narrogin, thenearest town that hadashop, a great deal.We were thirty-five kilometres from and connection. It was atimethat’s shapedme was atimeofgreat learning:aboutpeople,places of hands-onpractical skillsandsurvival skills.It about Noongar culture, anddeveloped arange and Ilearnedagreat dealaboutcommunity, became involved inthelocal Noongar community, building that stood right by themainhighway. I Over twelve years, Irestored andextended that in asmallcountry town. where we purchased arun-down 1910 shopfront Western Australia—one andhalfhours from Perth, wife andImoved to thewheat beltinSouth-West to return to bushonCountry was strong, somy and to remove ourselves from citylife. Thepull move outofthecityto seeksomesenseofpeace In my earlytwenties I got married. We wanted to

legislation by makingsixamendments to theAct, We’ve beensuccessful inchanging theformer protecting Aboriginalheritage sites in Tasmania. we focused onchangingthestate legislation Council ofTasmania, over atwo-year period After I was elected to theAboriginalHeritage fifty thousand years. on thislandinasustainable mannerfor at least supported eachotherduringtheprocess ofliving focus attention ontheclansandtribes that had the BlackWars, thedecisionwas madeto re- has focused onthethirtyyears offighting during objects inthem.Because somuchofourhistory I constructed thedioramas andmany ofthe commended. nominated for three museumawards! Andhighly been realised: we now have agallery that’s been funding to buildastate oftheartgallery, have Council andtheState Government to acquire the Tasmanians through working withtheLaunceston a gallery for oftheFirst ourpeople—theGallery Victoria MuseuminLaunceston. Ouraimsto build boardof theAboriginalAdvisory oftheQueen Cultural Centre inDevonport, andasCo-Chair with Tiagarra, theAboriginalMuseumand land. I’ve served roles inAboriginalconservation, community, my culture andtheprotection of my and sincethenI’ve beenheavily involved inmy special childhoodplace.In2010we returned, strong family connections andit’s my mother’s keen to move to East Devonport, where we have living inHobart,butbothMumandmyself were to Tasmania from livinginrural Victoria. Juliewas same time my mother was also talking of returning home Country was too strong andevident. At the I hadto move to Tasmania. Theyearning to beon returned to Tasmania for afew holidays Idecided Weservice. bought ahouseinthecity. Butafter I’d me alongtime to get here. I feel thisthrough my breathing onwhat for meissacred land.It’s taken on theeast coast andaconvict. I’m livingand area asthegranddaughter ofachief ofanation a smalltown they started in 1847andsettled the where my family survivedduring colonisation in located acity;I’m livingseven kilometres from Where Ilive, andthebulkofwhat Idonow, isnot experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? Orientation Days. north-west ofthestate, andat theopeningof leading Welcome to Country ceremonies inthe university; oncultural serving awareness training; other roles at opendays andeducation days at the on cultural matters andperform inanumberof of Tasmania; inthat role Iadvisetheuniversity held therole ofCultural Advisorto theUniversity generations. For thepast three years I’ve also Aboriginal knowledge working withtheyounger For thepast seven years I’ve worked asasharer of personally, thisisasource ofgreat pride. history inachieving thesechanges, andfor me of othercultural heritage sites. We’ve changed equitable withthoseappliedto thedestruction Aboriginal heritage have alsobeenraised to be ongoing andvital. Thepenalties for destroying recognition of Tasmanian Aboriginalculture as meant that we were ableto make claimsfor of Truganini, sotheoverturning ofthisstatement that ourculture hadceasedin1876withthedeath culture isongoing. Theprevious Acthadstated through legislation that Tasmanian Aboriginal and asaresult we have established recognition

Artists’ Stories and Artworks| Dave mangenner Gough 69 70 Country”. for my peopleandmy needs to besecured of securingwhat I needto doin terms dowhat members—to asgovernmenttable sitting atthesame once againreturnto so thatIcan charge go onto thatlandto re- an hourfromhere—I and protects—it’s half community looksafter land herethatmy some “There’s

72 Dave mangenner Gough mangenner Dave Artworks| and Stories Artists’ called last Ten Days ontheIslandIdidaninstallation and thenumberofprojects you take on.For the have to mediate theways inwhichyou work, difficulties, butin order to avoid overloading you weigh heavily onpersonal resources. It’s hadits the responsibilities of community and place— The responsibilities here— oflivingonCountry benefits are there? these challenges worthwhile? Andwhat kindof And where dotheotherchallenges lie?But are energy Ihave to devote to these objectives. me whoare affected by theamount oftimeand it’s hard for meandalsofor thepeoplearound government to make thesedecisions.Asaresult, our young peopleandIhave to engage with driven to protect Country, andto teaching of negotiating political decisions. I’mpassionately the questions inevitably come withthechallenge now want to know aboutourculture here, alotof That’s ahard question—because somany people What might make itdifficult? a vessel driven by my ancestors to protect Country. our ancient forests andourlandscapes—I feel Iam involved inthemovements to protect theTarkine, living onthelandinterms oflow impact. I’ve been protection ofCountry andsearching for ways of to move forward andheal.Mymainfocus ison understand what’s happenedinthepast inorder the younger generations andother generations I dealwithonadailybasis.I’m to trying help are partofwhat tore mefrom here andwhat effects of generational trauma anddisplacement colonisation. Iseeitas my own Country. The stayed here ifwe hadn’tbeendisplacedby British family—they’re allfrom here. We would have Resilience, that Isituated inthegrounds at Julie andIhave discussed evidence ofthis history impact ofthe BlackWars onourfamily. Both Much ofmy sister Julie’s arthasaddressed the with themismore orless adailystruggle. mixed feelings that come along with it, and dealing connecting withCountry andheritage andthe process. There are allkindsofissuesinvolved in communicating again hasnotbeenan easy as aresult ofdispossession,sothat point of sadness asaresult ofwhat’s happenedand complex history—many ofuscarry hurtand Country intheNorth-East ofTasmania. It’s a Country, asatrawlwoolway man,istraditional to return to doingwhat I’m now doing.Myown Yes to behonest, Idid.Asmatured, Iwas driven in aplacelike this? Did you ever envision yourself livingandworking local places. fundamentally alter bothlocal communities and and withplace.Soyes—these kindsofprojects do community to re-engage—both witheachother in buildingongoing practices that require the terms oftheirengagement withthework, butalso and that change thecommunities notonlyin the kindsofcultural activitiesthat are ongoing build opportunities to develop ‘art projects’ into developing are community based—Itend to to try The kindofprojects I’m working withand community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic with community andplace. cultural worker who’s dedicated to working closely to drawup and build from ifyou are to survive as a Tiagarra—it’s that kindofresilience that you have landscape andmy heritage. My passionfor protecting my Country, my What istherole ofyour work? back to others. ongoing process oflearningfrom others andgiving me. Iambothalearnerandteacher—it’s an as my culture gives mestrength andreplenishes symptoms ofthegenerational trauma isappeased and children—I get fed backmyself, andthe I’m sharingCountry withpeople—withschools I come backre-charged. ButIalsofeel that when do too much, I get depleted. Igo onto Country and I know Ihave to regularly ‘return to Country’. IfI relationships? How important are region-to-region contact and secured for my peopleand my Country. I needto dointerms ofsecuringwhat needsto be same table asgovernment members—to dowhat so that Ican onceagain return to sitting atthe hour from here—I go onto that landto re-charge community looks after andprotects—it’s halfan in two worlds. There’s somelandhere that my government anddoingthebest Ican to walk same week I’m alsoknockingonthedoorof sticks up,I walk on my own Country, andinthe what I’m supposedto bedoing.Ilight my fire I know I’m where I’m supposedto be,anddoing How doesit feel now? traditions. It’s partofhealingandcontinuing our present day. It’s hadamajoreffect onallofus. how thesethings have impacted onusto the publicly—everyone isstill trying to work through

Artists’ Stories and Artworks| Dave mangenner Gough 73 74 Photos: RickEaves adaptability withcultural strength. achieving ourcultural aims:resilience and may alter someprocess buttheresult isstill to useinourpractices. Thesenew materials and different resources can become available future. We alsoseehow thechangingworld our practices, respect, andprotect into the place andlandscape inways to utilisein connect with cultural crossovers. We see dive andstay onCountry. Together we Together we hunt, skinandtan hides,fish, from islandcultures. man andNathan beingofMaoridecent, both a Tasmanian Aboriginalman,atrawlwoolway with my friend,Nathan Slater. Myself, being I decidedto engage andwork onthisproject glass into precision tools. gain andpractices. They hitandshapedthat broken glass,they identified itsuse totheir to my Country, andmy ancestors found that When non-Aboriginalpeoplebrought glass Artist Statement (2020) (2020),andBurnieRegionalGallery ArtGallery Lismore Regional (2020),RiddochArt Gallery Umbrella StudioContemporary Arts(2019), Installation at Burnie (2018), Regional ArtGallery rock, wood, sand,andhandprints onhull| Tanned kangaroo hides,video, handmaderope, 2020 Canoe/Boat oftrawlwoolway) Te Waka atrawlwoolway(the with NathanSlater Dave mangennerGough

Artists’ Stories and Artworks| Dave mangenner Gough 75

76 Jamin Artworks| and Stories Artists’ Throughout his life this kindofselflessness was week he’d handhiswage over to hisparents. work asaclerk at the Commonwealth Bank.Every economic struggles, hequitschoolat fifteen to long walks andthink.Consciousofthefamily’s his earlyteens he’d skipschool to simplytake his years growing upas being adeepthinker; in get through the economic hardships. Herecalled and could well remember thefamily’s struggle to and brother. Dadgrew upduringthedepression Mydadwas thethird to bebornafter asister until hislast years. the Hawksbury River to go fishingright through been pushing his dinghy out through the mud onto at eighty-eight andPa diedat ninety-four. He’d they were sweethearts inkindergarten. Shedied Nan loved cooking andknittingsheloved Pa— sleeve. us for alltheseyears—he hadaton oftricks uphis do thistrickorwhether hissuccesslay induping To thisday I’m notsure whether hecould actually together inhismouthwithtongue. Andhedid! he claimedcould knittwo piecesofstring constructed. He’d always holduskidsenthralled— capping machine,that’s what heengineered and demands ofthat project necessitated abottle- He brewed hisown beerand,asthepractical and most ofthemwere completely practical. fishing reels. He was always working onprojects he’d produce finelytunedfunctionalobjectslike all thefittings,hinges andsliding brackets, and beautiful cabinets and tables where he’d fashion He’d work withbothmetal andwoodwork to make fisherman who could turnhishands to anything. railways. Pa was oneofthirteen children, anavid worked for fifty years asa fitter-and-turner onthe South Wales central coast. Hisfather—my Pa— My Dadwas aworking-class manfrom theNew JAMIN Nadu. Hermother, ofmainlyEnglish descent, one offour children bornin Nagercoil in Tamil they met. MyMumisofAnglo-Indiandescent— with herfamily from Indiasomefive years before Ten years younger thanhim,shehadmigrated who was alsoworking withtheReserve Bank. When Dadreturned to Australia hemet Mum, creatures, objectsandsculptures that ours was. with thesamekindofcultural menagerie of children Irealised that they weren’t populated of home.ButwhenI’d visitthehomesofother from India.Itwas allpartofourfamily’s sense were otherobjectsthat my motherhadbrought energy surrounding it. Amidst alltheseobjects with acrocodile headthat hadavery powerful alligator-skin initiation drumsanda walking stick There were creatures withcowrie shelleyes and influence on my later development asanartist. objects that filledour family home were ahuge Looking back,Irealise that theartefacts and returned to Australia. gifts, andbrought thembackwithhimwhenhe artefacts from theregion, often as received of Papua, andcollected alotofartandcultural He madefriendswiththethenPrimeMinister English andimmersed himselfintheculture there. where heworked for ten years. HelearnedPidgin offered amanagerial jobin Papua New Guinea joined theReserve BankofAustralia, andwas After his stint attheCommonwealth Bank,he dentures. to thedentist, hadthemallrippedoutand got any timemuckingaround—he just took himself challenges ofhiscrooked teeth; hedidn’twaste During hislate teens whenhegrew tired ofthe he was practical andjust got thingsdoneas well. a hallmarkofhow heoperated intheworld. But them innew ways. I’d been analtar boy for a and steal bitsandpieces ofideasandrecombine back, Ican seethat subconsciously Iwould imitate and won withadrawing ofakookaburra. Looking Australian bird, Iputall my energy into thevisuals when there was aclasscompetition to draw an remember lookinghard at how hedidthingsand who hadatalent that everyone celebrated. Ican remember Grade four. The‘class was akid artist’ even ifwe hadwritingassignments. I can vividly lot ofenergy into illustrating whatever I could— to Hobart.Iloved school—especiallyart.I’d puta I was turningeleven by thetimeour family moved time. appeared in allkindsofforms duringthat magical swarmed inprotest. Theforce ofplaceandnature amazed andterrified whenthebanana wasps banana bunchwithamakeshift sword—and being boats down rushinggutters, attacking a swollen meantin Darwin playing in therain, sailing paper on hadbeencompletely flattened. Ourchildhood the huge tree inourbackyard we always climbed remember beingastonished aboutthefact that raged outside.Andwhenwe came home,Ican the bank,where we took shelter whilethecyclone through thesheets ofhorizontal gusts ofrain to of Cyclone Max—how we hadto drive slowly the windows ofthehousepriorto theonslaught I can recall theoccasion we hadto tape upall Territory Museum. crocodile that holdsprideofplaceintheNorthern of uncomfortably familiar withtheterrifying spectre under that watery perfection. Allofuskids were knew there were crocs submerged somewhere were overlaid withanaddedspice—coz you just SpringsforBerry swims. Thosespecialtimesthere silhouettes ofthe casuarina trees, and going to family car, thelushvegetation, thepotent smells, years. Iremember longhottwilight drives inthe time spent where inDarwin, we lived for four most vividlyofthosechildhoodyears was the work at theReserve Bank.ThetimeI remember time Dad was transferred around the country for were bornacross aspaceofnineyears. Over that a halfafter that. Four girlsandoneboy (me!) married, andmy oldersister was bornayear and My parents courted for sixmonths before they longing. looks backonthislost opportunitywithsome final year. To thisday there’s asensethat Mum her BachelorofArtsdegree before herthird and to Sydney from India,my motherhadto abandon 1969, whenthefamily madethedecisionto move and knowledge was shared by hischildren. Butin man whosefocus ontheimportance ofeducation born, buthewas apparently astern andlearned passed away before any ofusgrandchildren were engineer andarchitect ofIndiandescent. He thoroughly Indianto us!Mum’s father was an in Indiafor several generations—she seemed was amagnificent cook ofwhose family hadlived Sweetheart —the stupendously large stuffed going to have to change, soIreapplied for art or artschool. Iknew that thispredisposition was things—I hadn’t completed my TCE, ormy trade, that Ihad had difficultiesinactually completing think withmore retrospect, anditcame to me son was aturning point for me.Iwas ableto The periodofpregnancy andthearrival ofmy pregnant withourson.River was bornin2003. with me.Whilst we were in Tasmania, Sallyfell make thereturn trip,andSallywas keen to come some kindofinnerpeaceandthat Iwas ready to go hometo seeheragain. Ifelt like I’d reached for aaboutyear andIfelt strongly thedesire to region from Tamworth. Ihadn’tseenmy mother in Mullumbimby—she’d made herway to the I met my now-past butthen-future wife, Sally, my rudder. have suchastrong father figure; I felt like I’d lost something Ihadto do.I’d always beenluckyto working through thisgrieving process—it was a livingduringthistime—I was just focused on moved upthere to live for ayear. Iwasn’t earning some peoplewho’d beenlivinginMullumbimby. I After a few months livingnear Port Arthur, Imet lived inmy van here andthere around theisland. me. Iset offonadrivingtripwithnodestination. I but even so, alotofrichmaterial hademerged for course whenIdecidedto quitafter second year— spiritual search. Iwas onlyhalf-way through the towards afocus ondeath andgrief andakindof experiences duringthefirst year turnedinwards inquisitiveness that hadcharacterised my of dealingwithgrief took itstoll. Thejoy of I loved my time at artschoolbuttheenergy predictions ofthetime—was onits way. four years. Themillennium—withallthegloomy the sameyear Ibroke offwith my sweetheart of off life support.I was twenty-four at thetime.On family finallyhad to make thedecision to switch lain suspendedinacoma for two weeks until the my father diedofasuddenaneurism.Hehad accepted. 1999 was abigyear. At theage ofsixty, resigned andmy application to art school was But by 1999Iwas tired withtheindustry. I the print industry. good cross-range ofskillsinthepre-press area of working there for five years, where Ideveloped a printing press ingraphic design.Iendedup into it,Iwas offered anapprenticeship atalocal subjects, andwas doingwell. Butsixmonths Rosny College concentrating ona variety ofart continued into a year thirteen optional year at warned against itby anolderfriend.Instead, I art. I’d wanted to go to artschoolbuthadbeen the end,I’d hadto drop nearlyevery subjectbut glandular fever hadaffected my study badly. In But duringgrade twelve, aprolonged boutof drawing. that Grade four competition withthe kookaburra priesthood. That was alloverturned whenIwon and sofor sometimeIhad considered joiningthe time as we were educated at Christian schools,

Artists’ Stories and Artworks| Jamin 77 78 they’re further apart”. they’re further on thethat simply basis cities metropolitan to form inthebigger to longer take much and linksthatseem relationships, bonds up forming these As aresult,you end your fellow artists. andtoto gallerists government officials community—from ofthe other sectors in proximity to all you’re closer much “... asanartist

80 Jamin Artworks| and Stories Artists’ being offered tenure. I was becoming increasingly butwithnosense ofeverteaching andmarking, subjects with longhours ofpreparation as well as course writingas well aslecturing ina range of was carrying theresponsibilities associated with and theworkload hadbeen steadily increasing. I teaching at theuniversity for three orfour years, 2008 whenmy daughter Miawas born.I’d been The next significant turningpoint for me was in some new ‘oxygen’. benefits as well, and stimulated the releaseof played outinsuchaway, MONAhasbrought many bubbles from the‘pond’. Andwhilst thishas arrival ofMONAabsorbed somuchoftheoxygen in Hobart,tracing aprocess through whichthe tracked thefundingofgalleries andartinstitutions animation in2013thatfor thePlimsollGallery on thecultural ecology of Tasmania. Imade an I was sceptical abouttheimpactit would make a large fishemerging from suchasmallpond—and MONA—I was cynical aboutthepresence ofsuch Originally Iwas quite antagonistic to, orcritical of New Art)later on. up getting jobs at MONA(theMuseumofOldand I taught duringthat time—many ofthemended I’m still in touch withanumberofthe students lecturing across anumberofothersubjectareas. year graphic designaswell astutoring and undertaking my Masters; Iwas headingupsecond I started teaching at University whileIwas still Tasmania (CAT) from about2008–2010. Later on,Ijoinedtheboard ofContemporary Art but we were bothinvolved incuratorial decisions. the advertising andpromotions forthe gallery emerging artists. Mymain responsibilities lay in withClairField,whereGallery we showcased expansion. After that Ihelpedkick-start Redwall increased funding—itwas atimeofenergy and we argued for andwere successful inachieving from twelve shows to almost thirtyshows ayear; during whichtime we took the exhibition schedule and chairfor INFLIGHT responsibilities: I got involved asaboard member I alsotook onaraft ofmanagement andboard Sydney. scene inTasmania, aswell asMelbourneand scene, aswell astheArtist RunInitiative (ARI) heavily involved intheearlyAustralian street art of politicsin Tasmania—and beyond. Ibecame that were as erupting, well assurfacing corruption focus oninterms oftheglobalwars andtensions art, andthere was plenty ofsubject-matter to immersed instreet artandstencilling andprotest super-productive over that time—Ialsobecame to consider beingrepresented by them.Iwas in Honours, Criterion approached Gallery me Masters degree in2006.WhileIwas still enrolled graduated withafirst classHonours, I took ona I was offered Honours in2005,andwhenI different attitude—I felt I’dturnedthings around. had changed—I haddeveloped acompletely school andcompleted my degree.And everything ARIover afive year period, but thebenefits liein the fact that some aspects encouraging techniques and conceptual ideas, to migrant groups. Ittakes alotofenergy from schoolgroups, to groups over five, sixty with avery broad spread ofcommunity projects— Along withthegallery work, I’ve beeninvolved commercial gallery ornot. the distribution etc.—whether you are witha the work inthestudio, butalsothepromotion, All aspectsofarthave to beself-driven—not just the fatigue that kindof work inevitably entails. provide you withtheenergy to pushyou through self-interest. Infact, self-interest isn’tgoing to commitments, sothemotivation has to go beyond in otherareas. You give upalotfor thesekindsof in thecommunity work withInflight andARI’s and that pushedmetowards becoming soimmersed was uppermost inmy mind.That was thedriver I drove back,thecommunity that I’d left behind was home grew increasingly stronger, and so when crucial timeof the re-thinking, fact that Hobart living innorthernNew SouthWales duringthat adult life—I thinkofitashome,andwhileIwas I’ve beenlivingandworking inHobartmost ofmy experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? concurrently completing aPhD. doing since—working full-timeasanartist, whilst much energy andtime.Andthat’s what I’ve been the networking commitments that demandso the ARIcommitments, theboard commitments, haven’t gone backto teaching. Ialsobacked off a bigstep to take, anditwas ascary onetoo. I I neededto resign from teaching in2012.Itwas That’s what kicked offthe strength of conviction all theotherartists who were working there. in Paris Ifelt equalto my peers—on aparwith my experience asanartist was insignificant, but that Tasmania was sosmallandthat therefore as anartist. I’d gone there withasubliminalsense were working alongsideme.Ifelt acknowledged by theotherartists from other countries who much my practice was appreciated andsupported with my family, andlater alone,andIrealised how the University. I’d spent thefirst months there after receiving a studio residency in Paris through But duringthelater halfof2011allthat changed, dedication required to teaching at theuniversity. slipping through my fingers asa result ofthe most interms ofwhat Iloved aboutartwere a pitch—I felt like somany ofthethingsIvalued 2011 my senseofdisillusionment was reaching were arisingfor my own practice asanartist. By had begunto say noto lotsofopportunitiesthat own work was becoming increasingly cramped; I people’s ideas.ThetimeI was able to spendon my spending most ofmy timedeveloping other exhausted—and aware ofthefact that Iwas adaptation, andthat inturn builds strengths. The challenges ofaparticular placeencourage always what make uswhowe are. Theunique The challenges are totally worthwhile—they’re connected withthosethingsthat I’m critical of. than notincludedindividuals whoare directly audiences to thoseexhibitions have more often practice hasoften beenpolitically critical, andthe observer. For example, from time to time my own experiences, rather thanableto play therole of you into direct encounter withsituations and one where thesmallsize ofthepopulation brings Tasmania islike amicrocosm withinAustralia— benefits are there? these challenges worthwhile? Andwhat kindof And where dotheotherchallenges lie?But are containable. produce artinarecognisable form …sothat we’re expectation perception that weshould continue to on my ‘change indirection’. There’s anunstated that lineofwork, anewspaper review focused year whenIexhibited anotherdevelopment on gallery exhibitions for somefive years, butlast keep becoming. I’ve beendoingabstract work for to be.You have to keep breaking out ofthis—to you to remain inastate ofwhat itrecognises you if something isholdingyou very closelyandwants creates something Icall akindof‘held-ness’—as Probably exactly thesamething—that closeness What might make itdifficult? public. practice—one that reaches othermembers ofthe motivated to have a‘broader palette’ in myart a smallpartofmy community, soIalways feel alone, butIwas aware that itonlyappealedto work Icould have continued by focusing onthat When Ifirst started outdoingthepolitical stencil techniques isapparent andit’s beenproductive. the place.Inmy own work, that mixofstyles and interests, andthat’s oneofthereal strengths of reggae gig.Thiscreates avibrant mixofstyle and techno fan would alsogo to apunkvenue ora individual gigs,soaguywhomight beanindustrial scene inHobart,itwould betoo smallto support If peoplejust gravitated to theirown particular really have agenre existing inisolation down here. they’re furtherapart.Inthemusicsceneyou can’t metropolitanbigger citiessimplyonthebasisthat links that seemto take muchlonger to form inthe end upforming theserelationships, bondsand gallerists andto your fellow artists. Asa result, you the community—from government officials to much closerinproximity to allothersectors of close everything isinHobart; asanartist you’re and themaindifference Inoted lay inhow and Melbourneduringthemidto late 2000’s, undertook anumberofexchanges withSydney have gone onto make alife through theirart.I and now someofthosekidsItook inworkshops this kindofengagement fourteen years ago, of what you forge are I lasting, started doing from having your community around you. though—there’s comfort andsupportthat comes are growing. I’m committed to Hobartasabase, are getting older, new possibilities for travelling to spendoverseas at themoment, butasmy kids young family, there’s alimitto how longI’m able work inothercommunities overseas. Having a really strong desire to seeotherplacesandto Since Ireturned from Paris in2011I’ve hada How doesitfeel now? of getting offtheisland atleast once a year. here. Myfather usedto talk abouttheimportance here. It’s ahard placeto get outofonceyou’re difficult. Plusithassomany thingsthat keep you and ifyou’re considering amove, it’s abitmore is anisland,itinvolves aboat oraplaneto get out, the response isadefinite ‘yes’. Because Tasmania poignancy ifI’d come from somewhere else—coz The answer to that question might have more in aplacelike this? Did you ever envision yourself livingandworking issues. resulted inanenormousinfluence on Tasmanian the world ofartisvery self-sacrificing, buthas artists. Thiskindof commitment to causes beyond rather thanpromoting their own role asisolated turned theirenergies towards thoseagendas threatened ecological zones, many artists have surrounding oldgrowth forests andother In terms oftheGreen Movement andtheprotests situations. kinds ofcommunities I work within workshop world—they’re totally different again. Asare the communities that are extensions ofthe exhibiting their world insomeway. Andthenthere are the my role asanartist perse.Butthe work isshaping visit themregularly, andwhomay notbeaware of have influenced asector ofthe community who become closelylinked withthoseenvironments so thoseaesthetics andperceptions that have in thefit-outs offive orsixlocal restaurants and personal level, for example, I’ve beeninvolved different effects ondifferent communities.Ona in what could bedescribedas‘local’. Andthere’s there are somany different communities involved issuchabroad term—one—‘local community’ Yes Ithinkthey have ahuge effect. It’s acurious community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic wonderful aspectsoflivinghere. colleagues andgreat opportunitiesare also that senseofashared community withsupportive air, offood andoflife ingeneral—and onceagain, obvious—proximity to nature, thehighqualityof benefits oflivingin Tasmania are immediately

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82 Jamin Artworks| and Stories Artists’ and what I produce willprobably continue to change. I seemyself asaprovocateur who’s somewhat chameleonic,sotherole ofwhat Ido prohibited or controlled. those functionsinany society can often bethe first thing that’s suppressed or even focused onchallengingperceptions, hierarchies andthe status quo.Artthat performs I thinktherole ofmy work ispossiblythesameaswork ofthekindartthat’s What istherole ofyour work? my recent invitation to Russia was madepossiblethrough my presence onInstagram. we wouldn’t have that feeling ofeachbeinginourown littlebubble.That beingsaid, artificial boundaries. Yet ifsocialmedia wasas efficacious as it’sclaimed tobe,then village’ andmight have gone alongway towards bringingdown ofsomethose indelibly linked to placeinsomany ways. Globalmarketing hascreated a ‘global Place remains oneofthemost important thingsaffecting one’s life and career. We’re multi-national conglomerates (Facebook; Apple;Amazon; Netflix; Google etc.)? has beendissolved by socialmedia,international marketing andtheonslaught ofthe Do you thinkplaceisimportant…or doyou just thinkthat theimportance ofplace play thepartofeach of thebenefits ofHobartisthat it can bebotha capital anda regional area—it can purchased someofmy work andasaresult hasinvolved meinworkshops there. One country. For mepersonally Ballarat hasbeenanimportant regional town. Thegallery Springs andthetouring programs that linked exhibitions to other galleries around the with galleries andorganisations I really enjoyed doing exchanges withplaceslike Alice That’s where alotoftheglueis—andpossibly solvent. WhenIwas working How important are region-to-region contact andrelationships? live your entire life here andnot realise that it’s a oddanddistinctvery microcosm. Like my Dadsaid—it’s super-important. Thisplaceislike abubble—you could easily Do you thinkit’s important to ‘get from theregions andcome out’ backinagain? more, post GFC. maintained aflatter pricing structure. ButAustralia isnotacheapplace tolive any fuel. However inthelast ten years we’ve hadsomestores moving inthat have There’s anislandtax that’s appliedto allgoods that come into thestate—including Hobart isnow themost expensive placeto rent inAustralia onapercapita basis. me to beahuge amount for rental for herflat in Sydney buta recent report found that There would bemultipleschoolsofthought onthat—my sister pays what seems to Is itcheaperto live intheregions? entire state, so statistically that might workoutfine. kind ofnational recognition—mind you, we only have five hundred thousandinthe Midnight. We have very few emerging ormid-career visualartists whohave hadthat about thirtyyears ourbiggest contemporary musicexports was WildPumpkinsat of Tasmanian artists inthemetropolitan centres, andthat’s thesame for music… for so there are positives andnegatives. In general wedon’tseeasmuch representation difficult. Because you’re notlivingthere, you’re seenassomewhat ofanunknown, In otherways—such asfinding gallery representation inother states, things are more Hobart was advantageous. out—being different didusa favour—in that sensethe experience of working away in Festival itseemedasthoughour work hadaparticular styleandaesthetic that stood MickPaceO’Hern, andmyself. Whenwe were invited to theMelbourneStencil out in2004/05,we hadastreet artcollective called disadvantaged inany way from operating from a regional base.When we first started I feel like I’ve hadagood runwithopportunitiesinother states—I don’t feel focused artinAustralia? What placehave relationship does‘your’ to the general sceneinmetropolitan- Die Laughing madeupofTom

Artists’ Stories and Artworks| Jamin 83 84 Photos: RickEaves of life are from oneanother. yet ultimately how separate our experiences specialisation—of how connected we are, and This work isameditation on time. overlapping eachotherthrough spaceand multiplicities ofseparate experiences experiences theworld to ahuman! Cascading and make sense.How differently abee of theworld basedonitscapacity to sense, each organism hasaparticular experience has anuancedmeaningthat describeshow the word umwelt (literally environment) ever, entered into. IntheGermanlanguage, of worlds that can beglimpsed, butrarely, if shrouded inmystery, to another. Like amyriad person orgrouping that remains occulted, or specialisation that can occurwithinone intrigued by thedepth ofknowledge and producers, purveyors andconsumers. Iam social andcultural groups andindividuals: contact with,andintersect, abroad range of Within my practice asanartist, I come into Artist Statement at BurnieRegional (2018) ArtGallery components, string,tape, andfixings|Installation Assemblage: wood, mirrored mylar, LEDlights & 2018 The GapBetween Worlds Jamin umwelt and

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86 Joan Kelly Joan Artworks| and Stories Artists’ and travelled to thecountry insearch ofwork in my father joinedother unemployed young men The Depression years left many withoutjobs so afterwards trained as a plumber. father completed his schoolinginMelbourneand managed aboarding house and alaundry. My they moved to Melbournewhere his parents family haddifficultyfinding work atthetime, at JeparitduringtheFirst World War andashis on wheat farms inthearea. My father was born and grandfather worked withGermanrelatives in Victoria. Mygrandmother was amusicteacher (also withGermanparents), they settled at Jeparit town inVictoria andafter marriage to grandfather German, was bornat Woods Point, agold mining My paternal grandmother, whoseparents were Gippsland. to Labertouche andlater to ModellainSouth to purchase asmallfarm, thefamily moved coal to thesurface. Whenanopportunityarose mine. Thesmallhorses were usedto bringthe gained work caring for thepitponiesat the coal South Gippsland, Victoria where hergrandfather years old.Thefamily settled at in Wonthaggi to Australia withherparents whenshewas six My mother, whowas borninEngland,hadcome seen andnotheard. the Germangrandparents expected children to be were anadventure as andat timeschallenging, were ofGermandescent. Visitsto grandparents my father’s parents, although borninAustralia, My maternal grandparents were from Englandand language presented never endingareas ofinterest. other countries whosedifferent clothes, food and always seemedto besurrounded by peoplefrom there were many thingsto keep meoccupied.I I hadavery interesting andenjoyable childhood; KELLY JOAN was afarmer, hewas notselected. Iremember because of hisGermanancestry and thefact he advertisements, my father tried to enlist but nets for the army. Inanswer to recruitment soldiers. School children helpedmake camouflage in thefamily began knitting woolensocks forthe sisters andcousins were handed down. Women in shortsupply. Clothingfrom olderbrothers, items suchassugar, flourandchocolate were clothes rationing was inplaceandmany food During thewar years life changed asfood and collect whenhearrived homeintheevenings. placing thecutstalks into bundlesfor my father to I can remember cuttingmaize witha brother and worked shifts at alocal Butter Factory. begun—dug potatoes onsurrounding farms and for thecannery—the Second World War had father milked asmall herd ofcows, grew carrots home. Like many menonthelandat thetime, my jobs to had be completed before our father arrived result my olderbrother andIwere kept busy as and arrived homeafter we had gone to bed.Asa childhood ashewas gone before we were awake much ofourfather duringtheearlyyears ofour another brother. Mybrothers andIdidnotsee months later by abrother andfive years later by I was bornduringtheseyears, followed eighteen Settlement Act for SoldierSettlement after WW1. into twenty acre blocks aspartoftheCloser had beendrained intheearly1900’s anddivided Iona ontheedge oftheKooweerup Swamp which briefly at Bunyip before purchasing asmall farm at courtship andmarriage my parents share-farmed her motherwas thepianist. Following afour-year he met my motherat adanceat Modella where and fenced for farming. Itwas duringthistime the Modellaarea where landwas beingcleared 1 andmigrants whowere livinginthearea. Many holders includingsoldiersettlers from World War established for thelarge number ofsmallland schoolwhichhadbeen andprimary Nunnery ride past alarge Catholic Church, Presbytery, a smallcountry school at primary Iona.Ihadto When Ireached school age, Irode abicycle to worked at apapermill. bundles ofwhite paperoff-cuts from afriendwho later, anaunt, who lived inMelbournebrought draw onthesewithablack crayon. Several years contained many pages withsmallprint. Icould of-date Victorian telephone directories which My Englishgrandmother alsogave me theout- to make sure thebutcher didnotputbloodonit. meat order inwhite paperandIasked my mother the time.Thelocal butcher wrapped the weekly was onthelook-out for paperwhichwas scarce at I preferred to create my own pictures andalways pencils, crayons andcolouring-in books. However, draw thethingsaround me,my parents provided I was drawing at anearlyage andasIbegan to submarines landed. in thefamily discussingwhat might happenif perform theirdrillandlistened to thewomen recall feeling frightened asIwatched thesoldiers The wholecommunity was concerned; Ican mini submarinehadbeensighted closeto shore. had spread across thecountry that aJapanese was notfar from Western Port Bay where rumours training ontheroad infront ofourhouse.Iona front hedge to watch Australian Army personnel child I can remember peering through a hole in the The early1940swere alarmingfor me;asasmall army. Australian and was certainly fitenough for the that hewas quite upset ashefelt hewas an families wore blackfrom head to toe. families living inthearea andthewomen inthese costumes. There were alsoanumberofItalian special occasions thewomen dressed innational to thecountry from which they hadcome. On in thepaddocks whichwere flat andsimilar corduroy trousers and sometimes wooden clogs to draw. Themenfrom Holland wore heavy provided awonderful range ofsubjectsfor me many Dutch andItalian families. Thesenewcomers refugees began arrivingfrom Europe including Following theendofSecond World War, draining eachyear reduced theflooding. but thechildren found itto be exciting. Further now that my parents were probably quite worried, lake withtrees silhouetted inthedistance. I realise early morningandturningthewater into agolden rise. Imademany drawings ofthesunrisingin Fortunately, thehousehadbeenbuiltonaslight the farm housewas surrounded by flood waters. of theKooweerup Swamp andinvery wet winters a nearby district adjoiningIona.Thiswas alsopart farm andpurchased alarger property at Vervale, When Iwas ten years old,my father soldthesmall had to undertake began to appearinthehouse. booklets whichdescribedthesevere training nuns becomeplease mynot did This anun. parents, and drawings. Ieven imaginedthat Imight like to students inuniform began to appearinmy many scene madeanimpression onme,andnuns wore longdarkhabitswithwhite wimples.The neat uniforms andtheteachers, whowere nuns, the students attending theCatholic School wore surroundings withinterest andwondered why non-Catholic families livingnearby. Iobserved my Catholic community. However, there were other were very muchintheminorityamongst thelarge were Catholics. Myfamily were Protestant and

Artists’ Stories and Artworks| Joan Kelly 87 88 exchange ideas”. folk to work withand andcreative artistic surrounded by many ofall, I’m and most andmountains forest proximity to rain and gardens,close ovals, beautifulparks centre, cinema,sports gallery, entertainment the thingsIenjoy—art all cityoffers “This

90 Joan Kelly Joan Artworks| and Stories Artists’ was completely taken abackandthen we both Lindsay. Heasked ifIhadreceived his letter. I the bankandthere behindthecounter was during thelunchbreak. Iwalked into town to the headmistress asked meto dosomebanking various teachers. Several weeks after thedance, occasionally Iwas asked to do messages for At thetimeI was fourth year class captain and realise hehadhiseye onme. boyfriend. Ihadexaminations to focus on.Ididn’t becoming too friendlyasIdidn’treally want a was nicebutIwas notparticularlyinterested in was to become my future husband.Ithought he afterwards. This was where Imet Lindsay who father delivered us to thehallandcollected us hall andinvited meto accompany her. Thefriend’s friend was allowed to attend dancesinthelocal weekend withagirlfriendinanotherdistrict. The During my last year at highschoolIstayed for a four more children by then. with theexpanded family. Mymotherhad course, Ileft highschooland stayed home to help the year, whichwas thefinal year ofthe technical be ableto afford to sendme away. At theendof now outofthe question as my parents would not I was devastated. Ballarat Teachers College was should notworry “as Iwould get marriedanyway”. say; Ican vividlyremember hiscomment that I required to qualify. Helistened to what Ihadto following year to study theadditionalsubjects be ableto transfer to thesciencestream the listened to my story andIassured himIwould the schoolto interview prospective teachers. He with theMinister for Education who was visiting Western Victoria. Iattended adiscussionsession my going away to teachers’ college at Ballarat in a teaching bursary, my father would agree to of elocutionandmusic.Iknew that ifI could win of art.Bothmy grandmothers hadbeenteachers, wonderful ifIcould become ateacher, especially While at highschoolIthought itwould be were introduced. watercolour printing painting, andbookbinding However Ienjoyed artclasses,especiallywhen German surnamewould have beentheproblem. was notuntil Ihadleft schoolthat I realised my and was advisedto continue to do my best. It classes. Imentioned my concern to my parents, attitude, I was determined todo wellinboth friendly orhelpful to me.Hopingto change their teacher andageography teacher, were notvery year course. Two teachers at theschool,ascience When thiswas allowed, Isettled into the four- science classesasIwanted to study artandcraft. be allowed to jointhetechnical anddomestic However, itdidnotappealto meandIasked to high enoughto beplacedinthesciencestream. learn. Following anentrance exam, my score was enjoyed thenew school,asthere was muchto bus to thenearest highschoolat Warragul. I as children inthearea travelled for anhourby The highschoolyears offered further experiences, unknown, I felt allwould bewell. Anditwas; apprehensive taking hisyoung family into the was anexciting time,andalthoughLindsay was and we were soon onourway to Tasmania. This northern Tasmania. Theapplication was successful accountant at theCleveland TinMineat Luinain age, Lindsay appliedfor ahigherpaying jobas In 1968,asoureldest sonapproached highschool which documents thestory. Aboriginal community, wrote Jackson’s Track was closelyinvolved and aspokesman for the at thetime.Muchlater, Daryl Tonkin, amanwho wet inthearea. However words fell ondeaf ears about this,especiallyaswinters were cold and became available. Lindsay and Iwere nothappy caravans nearalocal race course until houses Boxer. OtherAboriginalfamilies were livingin later became World ChampionBantamweight Lionel aliftifhesaw him walking into town. Lionel with ourtwo young sons.Lindsay sometimes gave away andLionel,asaboy, often played inthe yard grandparents were moved to ahouseonedoor to towns throughout Gippsland. LionelRose’s relocated from theirsettlements inthebush treatment ofAboriginalfamilies whowere being Lindsay andIexperienced at first hand, the Show), sewing andgardening. Alsoat thetime entered inlocal shows (includingtheMelbourne ever-present intheform ofcake decorating that I was onhold;even so, thecreative spirit was marriage whenIwas having children, my drawing accountancy at thetime.Duringfirst years of a Butter Factory inDrouin. He was studying Lindsay left thebank to work inanoffice at 1957 andhoneymooned inTasmania. years later we became engaged. We marriedin weekend visitsevery two orthree weeks. Four branch inMelbourne.Outings were restricted to afterwards, Lindsay was transferred to abank saying hecould nottake hisdaughter out.Soon that shethought Lindsay was too niceto riskDad dance. Muchlater, my motherconfessed to me father’s permission,we were onourway to the that my motherwas dulyimpressed. Withoutmy so well dressed andcourteous andhandsome, Lindsay arrived at thedoorto take meout,hewas invitation. My father was not consulted. When her theletter, sheencouraged me to accept the when Imentioned this to my motherandshowed want thedistraction However, ofaboyfriend. examinations were nearand Ididnotparticularly but inajuniorclass.Iwas alittleannoyed, asfinal sister thistime.She was also attending theschool, He soonsent anotherletter—delivered viahis was infirst year. that hehadbeenaprefect at theschoolwhenI walked backto school.Whilewalking Irecalled told himIdidnotlike bonfires, thanked himand to afamily bonfire night the following week. I transaction, heasked meifI would like to come address. Undaunted, andcompleting thebanking realised that ithadbeensent to thewrong

who wrote poetry asked meto illustrate someof While at Boat School, ateacher HarbourPrimary lifestyles oftheTommeginer peopleofTable Cape. North West Tasmania, his findingsin spent muchtime studying thearea, documented area. Anotherresident, Dr. IanMcFarlane, who found. We could feel astrong presence inthe Rocky Capewhere acave andmiddenscould be the top ofthecliff. Theview to the west took in and saw on alarge anumberofcarvings rock at discovered anumberofstone tools inthegarden daughters. While livingat theCapefamily SchoolattendedHarbour Primary by ourtwo had obtained apositionasSecretary at theBoat was working asan accountant inBurnieandI small property became ahobby farm. Lindsay at Table Cape.Anew housewas builtandthe acre blockoflandoverlooking Boat Harbour Five years later the family moved to afive- mothers calling theirchildren home. stand quietly at theendofday, Ican still hear and whenIvisitwithfamily from time to timeand their children home.Luinaisnowaghost town. mothers would stand ontheirporches andcall the forest adjoiningthetown andat sundown, the forest. Children were allowed to wander in their own age where they hadfreedom to enjoy living inasmalltown withsomany children home to theforest eachfortnight. They enjoyed fitted in wellthey always looked forward to going years later by oursecond son.Althoughboth boys attended theCollege first and was followed two Hosie visited usto meet theboys. Oureldest son priest whowas PrincipaloftheCollege. Father son thesameage asoureldest son,spoke to the in theCommunityCentre andafriend,whohad fortnight theCatholic church conducted aservice was Marist Regional College at Burnie.Every school after grade six.Thenearest boarding school advised usto sendour two sonsto boarding there andback.Theheadmaster oftheschool River District Schoolfor three-quarters ofanhour through therainforest onawindingroad to Savage The three school-age children hadto travel by bus decorating. had spread, andsoonIwas tutoring cake Word that Iwas anexperienced cake decorator art classesthat started my skillsinoilpainting. I thoroughly enjoyed theseclasses,especiallythe snow to conduct classesinthecommunity centre. Tutors travelled onceaweek through rain, hailor tutors for popularclassessuchasartanddrama. Adult Education Board (AEB)inBurnieprovided tennis/basketball court andaVillage Green. The for badminton andindooractivities,anoutdoor a branch of theBurnieRegional Library, ahall office, aCommunityCentre, alibrary which was consisted ofageneral store, newsagent andpost of five hundred men, women andchildren, The smalltownship ofLuina,withapopulation the move brought huge changes for eachofus. Beyond Awakening: tribesof abookthat highlights the Art Gallery existed.Art Gallery the cinema.This was before theBurnieRegional openings (at theAdultEducation Centre) and to we travelled regularly to Burnie for exhibition the rain forest inTasmania. WhilelivinginLuina town at Luina(whichisnow aghost town) in in Victoria andlater (1968)inasmallmining Gippsland, Victoria, inasmallcountry town, also In thepast, Ihave lived inarural area inSouth work withandexchange ideas. surrounded by many artistic and creative folk to rain forest andmountains andmost ofall,I’m beautiful parks and gardens, closeproximity to entertainment centre, cinema,sportsovals, This cityoffers allthethingsIenjoy—art gallery, Regional Cityonthenorth-west coast ofTasmania. I currently live inwhat isknown asasmall other areas inwhichIhave lived? What makes thearea inwhichIlive different to way ofmakingthose dreams come true. just that—part ofaworld ofdreams. Butarthasa an artist, a teacher andtravelling seemed to be growing upinrural Australia, my dreams ofbeing art classfor retired citizens atBRAG. Asachild Workshops runby UTAS. Each week Iconduct an societies andI work asamaker at theMakers member ofthree ofAustralia’s miniature art I’m currently President ofFriendsBRAG, a and in2016,theevent inJohannesburg. Art Gallery, attended the2012 event inMoscow the 2008event inBurnieat theBurnieRegional in 2004where Iwas elected President. We hosted Hobart, andattended an event in Washington DC I lobbiedfor the2000WFM event to beheldin Miniaturists (WFM)exhibition inLondon1995. Tasmania at theinaugural World Federation of role ofPresident for twelve years. Irepresented (ASMA Tasmania) where Iwas elected to the Australian Society ofMiniature ArtTasmania years at theLodge Ibecame amemberofThe me more time for art work. Duringtheeight Paper Mill)Guest Lodge. Thispositionallowed as housekeeper at theAPPM(Australian Pulp After leaving computer work, Iapplied for ajob a Freelance Journalist Diploma by correspondence. writer for theAdvocate Newspaper andcompleted four years. At thetime,I was also weekend social established computer room—a positionIheld for became Systems inthenewly Supervisor store andafter training withIBMinMelbourne working intheofficeofanelectrical andfurniture to sellourhouseandrelocate to thetown. Iwas and we were alsoworking inBurnie,we decided our two daughters were attending schoolinBurnie Eight years later thefamily moved to Burnie.As Things her poems.Iaccepted thechallenge; was publishedin1986. Of Fleeting

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92 Joan Kelly Joan Artworks| and Stories Artists’ outweigh any challenges. overseas. Thebenefits oflivingwhere Inow live with themany artists Ihave met during my travels have theopportunity to communicate viaemail to me,asfamily members visitregularly andI The above challenges are notcurrently important But are thesechallenges worthwhile? lecturers, itsufficeswhenhas to. close range orlistening to discussionsby informed face conversations orseeinga famous art work at Although theinternet cannot emulate face to so muchinformation isnow available online. as they usedto, ascommunication iseasierand these challenges donotconcern measmuch gallery to view avisiting exhibition. However, the opportunityto beableto drop into amajor interstate, andlarge artgalleries. Isometimes miss Distance from family members whoare scattered Where dootherchallenges lie? performances. larger citiesoften prevents attendance atsuch associated withtravel andaccommodation in show ormusical performance isadvertised. Costs mainland whenanimportant international art distance from majorcitiesin Tasmania andthe The onlydifficultyIfindlivinginBurnieisthe What might make itdifficultlivinghere? the Makers ExhibitionSpace. other quality exhibitions are regularly displayed in works are displayed throughout thebuilding; and talking abouttheir artorcraft. Theircreative artists andcraftsmen and women workingonsite Makers Workshop ismakinganamefor itself with for local artists to showcase their work and the The Coastal provides ArtGallery anopportunity works ofart. members ofthepublicto experience famous adults andchildren to visitthegallery) enables excellent opportunities for alarge numberof and Michelangelo exhibitions (which provided from interstate and,inthecase oftheDaVinci Gallery, whichincludestravelling exhibitions the local community. TheBurnieRegional Art Workshop, have shaped andcontinue to shape Group andinrecent Gallery years theMakers such astheRegional andCoastal ArtGallery Art Yes, Idothinktheestablishment ofthegalleries community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkyour galleries andtheartistic I amextremely fortunate. Makers Workshop and sporting facilities, I consider minute walk to thegallery, civiccentre, cinema, Business District withaseaview andonlyaten- as Iamluckyto live ontheedge oftheCentral The benefits oflivinghere inBurnieare many, and What kindofbenefits are there? and restaurants) to become involved. You might as possible(shop owners, cafes andcoffee shops South Africa. We invited asmany townspeople overseas countries UKand including Russia,USA, from throughout Australia butalsofrom many proud to showcase thegallery to visitors notonly inMarchGallery 2008.Withmy committee I was the 5thWFMExhibitionin theBurnie Regional Art Miniaturists (WFM)Ihadtheprivilege ofarranging As President oftheWorld Federation of Australia? the general sceneinmetropolitan-focused artin What placehave relationship does“your” to surrounding me. fortunate to beinvolved intheartistic creativity The feeling continues andhasgrown. I feel so very How doesitfeel now? island life. “that creative activities” were animportant partof coastal towns, thesameimpression was gained— “creative heaven”. As we became familiar with creative activities, feltasifIhadarrived ina sculptures, printing, weaving andmany other filled theirtime by creating beautiful paintings, countries where women whowere notworking by beautiful rain forest andpeoplefrom many Mt. Cleveland, where Ifound myself surrounded arriving inasmallminingtown at thefoot of No Ididnot.Comingto Tasmania in1968and in aplacelike this? Did you ever envision yourself livingandworking relationships. would definitely supportany region-to-region the BurnieRegional ourmembers ArtGallery Very important, andasPresident ofFriends relationships? How important are region-to-region contact and students andlocal artists inthe region. experience enabledmeto share ideaswithmy and discussartwithprofessional artists. This worldwide, to view theirwork, attend workshops opportunity to meet andspeakwithartists Moscow andJohannesburg) provided an WFM Exhibitions(London, Washington DC, Yes itisandfor me,travel overseas to various back again? Do you thinkitisimportant to get outandcome metropolitan cities to Burnie. of young families whohave relocated from Yes itcertainly isfor meandalsofor anumber Is itcheaperto live intheregion? important venue. helped establish theBurnie Regional asan Gallery and State publications. Gallery Thisinformation listed asimportant exhibitions in various National large exhibitions mentioned previously were also say at itsvery best. itwas The “partnershipping”

Artists’ Stories and Artworks| Joan Kelly 93 94 Photos: RickEaves life. land are, Ibelieve, themost important thingsin strong partnerships together whilecaring for the theintelligencenot decrying ofothers butbuilding in anon-judgmental, openandrespectful way and together, regardless ofwhere we have come from, wish to live anywhere else.Working andlearning Workshop aswell asshops andcinemas.Idonot walking distance oftheGallery, Museum,Makers creative peoplewithan extensive seaview within here before. Inow live inBurnie amongst friendly, and again, theevidence ofapeoplewhohadlived beaches withanabundanceofbird andanimallife Three HummockIslandandenjoyed itsbeautiful land for thousandsofyears.We alsospent timeon working withthosethat hadbeenkeepers ofthe knowledge andinformation hadbeenlost by not feel that presence andwondered how much Wherever we travelled alongthecoast, we could many stone tools onthelandwe hadpurchased. We foundcircles on rocks on the edge of a and cliff lived inthearea longbefore Europeans arrived. strong presence oftheAboriginalpeoplewhohad the seaasthey flew east. It was here that we felt a through thesky, creating vast grey shadows over time. Mutton birds couldbeseenontheir way crayfish, oysters andmusselsinabundance at that a cliffabove an ever-changing seascape withfish, Living ontheCape,we experienced life ontop of purchased afive acre blockon Table Cape. on rocks. We were soattracted to thearea we with anabundanceofshellswithinandcarvings As we wandered, we observed middensandcaves scenic beachesbetween BurnieandCircular Head. to spendtimeenjoying and exploring themany the rainforest, we regularly travelled to thecoast I spent thefirst five years in Tasmanialivingin the NorthWest Coast. Althoughmy family and the beauty, themystery andthesadhistory of the blackandwhite drawings capture for me shore. Ichoseto work onblackscratchboard as this islandstate seeastheirshipapproaches the views visitors andprospective newcomers to drawings onblackscratchboard, someofthe I have set outto capture intwenty etched Artist Statement (2018) timber |Installation atBurnie RegionalArtGallery Black scratchboard etchings, andTasmanian 2018 First Impressions-theCoastline Joan Kelly

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96 Greg Lehman Greg Artworks| and Stories Artists’ referred to asTheCannery, even thoughby the in Ulverstone; afood-processing factory locally worked asshift workers at the Edgells factory While Iwas growing upMum andDadboth lineage my own Aboriginalitycomes from. ancestry was AboriginalandIrish;that’s the to Tasmania in1855.Myfather’s mother’s Dad’s grandfather arrived asaGermanimmigrant of herfamily hadcome from Ulverstone aswell. mother’s maidennamewas True, andthat side convicts—he’d beeninvolved ina murder; Mum’s of those“butheonlystole apotato” typeof named Richard hadn’tbeenone Chugg—he Mum’s family was descendedfrom aconvict hospital at Wynyard. their family whenmy sister Toni was bornat the it. MumandDadreturned to Tassie andstarted where thework was andjust made thebest of During the1940sand50speoplehadto travel at Circular Quay andDadworked asabarman. holiday where for awhile Mumworked at akiosk together, they left for Sydney for akindof working At theage ofeighteen, after heandmumhad got bulldozer driver. working at theDepartment ofMainRoads asa a pastry cook, butafter that term heendedup there. After leaving schoolhe was apprenticed as on theNorthWest Coast andlived hiswholelife Patrick Lehman,was bornin1930Ulverstone House andMountford (where she was born).Dad, of thebigestates inthearea, amongthemEntally asadomesticservice help working at anumber district, andwhenshewas twelve, mumwent into as afarm hand,thenasafarm manager inthe Midlands ofTasmania; herfather hadworked first town just outofLaunceston inthenorthern Mum was bornin1920Longford, acountry LEHMAN GREG thirty dollars perterm for schoolfees—and the have cost them too much—probably around school might give meabetter chance.It wouldn’t mind that my parents hadseenthat theCatholic some writingprizes, soIprobably haditin my I didpretty well school—I’dat primary won minute bustripto andfrom theschool in Burnie. with theprospect ofhaving to take theforty- it was afeeling offreedom that soonshutdown town, through bushtracks, to thelocal beaches— universe then—withotherkidsI’d beridingto school—myprimary bike was thecentre ofmy to schoolfrom aboutgrade three right through high school was terrifying to me. I’d ridden my bike schools, buttheprospect ofgoing to the Catholic strict Catholic, sowe allwent to Catholic primary Burnie. Dad’s mumNanaLehmanwas afairly decided to sendmeto aCatholic HighSchoolin high schoolandgo to College. MumandDadhad was fifteen; I wasthe first inthe family tofinish sister got ajobin Myers inMelbournewhenshe a panel-beating apprenticeship inBurnieand my My brother Rickyleft school at fifteen to take up another shiftcycle. three weeks whenhewas required to change to poor Dad’s bodyclock hadto bereadjusted every Those were hard years ofwork for my parents— of herown, andwhoworked asourbabysitter. woman called Pat McCullough,whohadafamily who iseight years olderthanme,andalocal a lotoftimebeinglooked after by mysister Toni, overs at TheCannery, whichmeant that Ispent coast. MumandDaddidrotational shiftchange- ruralone ofthebigger towns ontheNorthWest of around abouteight thousandpeople,andwas done. Inthosedays Ulverstone hadapopulation food meant that there wasn’t muchcanning being themovetime I came along, towards deepfrozen Aboriginal people. That research helpedleverage piecing together thefamily histories ofTasmanian people. Hedid atravelling tour ofthestate the family histories ofTasmanian Aboriginal University ofTasmania focused onresearching promotion ofpermaculture, buthisproject at the Tasmania. Later on,Billbecame famous for his in Environmental Psychology at theUniversity of Bill Mollison.Duringtheearly1970shestudied At that time, my family was also contacted by month. allowance to helpwithbooks anduniforms every who benefited from this;I can recall getting an Aboriginal people.Iwas theonlyoneinfamily was contacted aboutsupportprograms to assist people. At somestage duringthistime my family education programs focused onAboriginal and Malcolm Fraser introduced anumberof publicity, andPrimeMinisters GoughWhitlam Perkins’ Freedom Ridewas getting alotof that was going onacross thecountry: Charlie we were allaware ofalotpolitical change things indetail, althoughduringtheearly1970s but we never actuallytalked too muchabout school—some ofmy cousins were darkskinned, Aboriginal ancestry came at theendofprimary My earliest memoriesoftalking aboutour the darkinwinter andgoing homeinthedark. anymore. Inwinter Iwould becatching thebusin wasn’t around to doalltheafter-school things environment oftheotherUlverstone kids…Ijust darkness. That removed mefrom thelocal social morning andreturning at theendofday in till 5.30 at night, andinwinter I’d beleaving inthe travelling to andfrom school.Ididn’tget home continue to thepresent day, butit time took along made somegood andenduringfriendshipsthat school buseswere free. Highschoolwas OK—I from some ofthestaff andfrom my parents, that stage, butabitofurging and encouragement consider. Ihadn’t even travelled asfar asHobartat came up,itjustat Uni?” seemed impossibleto when thequestion“What are you going to do subjects! At sometime towards thefinal year, so to my delight Iwas able to take upfour Biology year twelve they were changingthecurriculum, Biology, someReligious Studies, English,Art.In subjects Ienjoyed somuch—Chemistry and In Devonport Iwas ableto concentrate onthe opposite direction from Burnie. school for thesame amount oftime,butinthe I spent thenext two years travelling by busto College inDevonport, andsoasaconsequence Luckily there was anotheralternative—Don so, Iknew Ididn’twant to stay at Marist College. jobs asafarm handfor whenIleft school. Even for thefirst time—I’d already been applying for this could actuallybeapossibilityfor mehit be thinkingofenrolling in,theconsideration that teachers asked mewhat matriculation college I’d even thoughIdidwell inEnglish.Whenoneofmy science, andthat’s where my real interest was, lay inthesciences—especiallywithbiological In terms ofacademic life at school,my strength overturned. at that timeallofthat assumption wasbeing been thelast Tasmanian surviving Aborigine,but history, ofcourse, hadtaught that Trucanini had Aboriginal person might mean.The‘official’ what beingafair skinned,blueeyed Tasmanian information in my attempt tomake senseof which Ibegan to seekoutmore and more detailed identity andbelongingthat’s the point at life whenyou start thinkingmore about group what itmight mean.Ithappened at atimeof my thinkingaboutmy own family’s ancestry and

Artists’ Stories and Artworks| Greg Lehman 97 98 encircles me”. knowledge ofhow it shoreline and the to aplace.It isthe how thatisconnected sense ofwhoIamand myhas contained shoreline ofTasmania Asia. Butno;the Pacific orSouth-East or even theSouth continent ofAustralia— to encompassthe home hasexpanded think thatmy senseof the world, one might “Now, having travelled

100 Greg Lehman Greg Artworks| and Stories Artists’ and borrowed arange ofoldfurniture andan scratch; we painted it upandcleanedit,bought office above ashopinHobart. We started from Land Council.In1991we moved into anold worked at establishing theTasmanian Aboriginal a Committee, and over thenext couple of years I Tasmania. We drafted a constitution andelected by JimEverett, to form aLandCouncilin Following that there was amove, championed Justice System, andpreparing a report. experiences ofTasmanian peopleintheCriminal I worked there for twelve months researching the Officer based atthe Tasmanian AboriginalCentre. approached to applyfor thepositionasa Research into Deaths inCustody was established, Iwas and Launceston. WhentheRoyal Commission Tasmania andhadcentres inHobart,Burnie an organisation that promoted landrights in involved withtheTasmanian AboriginalCentre, During thoseyears Iwas sociallyandpolitically years. Commission’s Education and Training Officer forsix into amainstream role andbecame theElectoral the Senate worked. After that Iendedup going example, how theHouseofRepresentatives and electoral programs for inschools;describing, enrol to vote. Ispent the next few years running the community andencouraging members to increase knowledge ofelectoral processes in they were offering aprogram that aimed to job withtheAustralian Electoral Commission— Aboriginal people.After that Iapplied for another aimed to improve theeducational successof at thetimethere was anincrease ininitiatives home orindividualtuition.That was in1984,and finding outwhether they neededsupport at involved visitingAboriginalkidsinschoolsand trainee jobasanAboriginalLiaisonOfficer. It Employment offered Service, meaone year and Youth Affairs, through theCommonwealth The Commonwealth Department ofEducation a numberofHobart-based Aboriginalpeople. I was completing my degree, I’d come to know Biological Sciences,following my passion.Butas When Ididn’tget it,Idecidedto just focus on photographic technician intheirArchives Section. want, Iappliedfor ajobat theState Library asa After I was offered that studentship Ididn’t have endeduptheperson Iamtoday. a successful andrewarding life …butIwouldn’t I would probably have still beenthere, enjoying If they’d offered school meaprimary studentship hated it—it was too closeto my own experience. offered meahighschoolscience studentship I schoolsandlovedin primary it,butwhenthey kind ofcareer inmind.I’d donesometeaching I didn’tenrol inthecourse withany particular Sandy Bay. myself sharingahousewithgroup offriendsat convinced me,andthefollowing year Ifound were going to go to Hobartfor university, together withthefact that someofmy friends In 1995I’d returned to university to undertake in Canberra asanIndigenous Research Fellow. Aboriginal and Torres Strait Island Studies (AIATSIS) and thenIappliedfor theAustralian Institute of during that timeImoved into a Policy Analyst role started in,in1984!Iwas there for five years and So inasenseIfound myself backintheworld I’d and education and student supportprograms. of Education, runningcurriculumdevelopment of AboriginalEducation intheState Department After that I was head-hunted for jobasManager 2004 and2006. company paidoff. I worked inthat role between legislation, allthe experience intheadvertising to develop new AboriginalHeritage Protection Government job to run a public relations campaign two years andwhenIwas headhunted for aState working intheprivate sector. Iworked there for I really enjoyed it—itwas my first experience fifty percent pay cut to take upthepositionbut and fascination injinglesandslogans. I’d taken a communications, andhadalways hadaninterest the like. I’d always beeninterested increative in theworkplace, anti-smoking campaigns and the promotion ofthingslike healthandsafety as acopywriter, writingads for products and and advertising, for thenext two years I worked advertising company specialisingin‘public good’ me at that time.Iknew someonewho owned an as burnoutandthat’s what was happeningto hard-going. There’s aphenomenonreferred to … allthese‘battles’ hadbeendemandingand But by 2002Ifelt that Ineededacomplete change heritage andlandmanagement issues. become more closelyandpractically involved in result openedtheway for thecommunity to symbolic inoneway, butmore importantly, the Aboriginal Communityownership. Itwas largely areas oflandinTasmania beingtransferred to passed through Parliament, resulting intwelve politics. In1995,theAboriginalLandsAct was involvement withLandRights andcommunity Associate. Duringthat timeI continued my ending upasDirector andthenasResearch and as theHeadofAboriginalStudent Services Education. I worked there for ten years, starting newly established Riawunna Centre ofAboriginal as theleaderofUniversity ofTasmania’s asked whether Iwould applyfor theposition maintenance person—I like new initiatives. I was might have guessedby now, I’m notacare and I thenhadanotherchange ofcareer—as you Upper House. pass theLower House—butitwas defeated inthe Labor government—the first Land Rights bill to Aboriginal LandsBillinto Parliament duringa in Tasmania. We were successful inmoving an while at thesametimeadvocating forlandrights Aboriginal Heritage Officers workingalongside initiatives was to set upa training program for funding to employ somestaff. Oneofthefirst old photocopier andworked outways ofgetting things together andshapingthem rather than drawing—making senseouttheworld by putting a kidIwas always makingthingsoutofwood and want to make—that I’m to trying work through. As and sculpture. Ihave anotebook list ofthingsI keen to make artagain … through photography I was younger Iwas often drawing, andI’ve been had theopportunityto make thingsagain …When With theluxury ofthesetting ofthePhD, Ialso on how we seeourselves andhow others seeus. continuing andunpackall those influences to try the analysis into thetwentieth century, asa way of with my postdoctoral research now—I’m moving that. Andthat’s what I’m really to trying get at experience ofcultural identity today isabit like gets placedinanother—inanother’s world. Our a sketch ofareal person, butthat originalfigure that person inthecolonial painting: it came from sorts ofways ofthinkingaboutourselves—just like inspired, conditioned, cajoled andpushedinto all completed inthisbusiness—we are influenced, question aboutpersonal sovereignty isnot ever that artist want to depictthat person? Thisbig the timeit was painted? And,ultimately, how did it was painted, what was that person doingat the image raised: whodidwhat to whom,where wanted to know answers to allkindsofquestions old colonial painting I was totally engrossed—I comes from visualsources. Every timeIsaw an led meinto advertising—a lotofourknowledge gets into ourbones—that might have beenwhat it’s that interest invisualand textual rhetoric that the drivingforce was visualhistory. AndIguess informing andthat andguidinginfluencing, are important, there was something elsethat was always seemedto methat whileallthesethings looked at landandCountry andhistory, butithad I’m interested inhow thingsfit together—I’d thesis. able to harnessallthisresearch to enrichmy PhD century artandmedieval landscape painting. I was portraiture andpost-colonialism intwentieth- I focused onBenjaminDuterrau andstudied month coursework Masters withadissertation. Art andVisualCultures at Oxford was atwelve- Canberra. TheMaster ofStudiesintheHistory of at Oxford whileIwas still enrolled inthePhD for permissionfrom UTAS to enrol intheMasters so whenmy application was successful, Iasked people to study at universities around the world, Foundation offered ascholarship forAboriginal theory. TheRoberta Sykes Indigenous Education lack ofastrong baseinhistory disciplinary andart People inColonial Art,butIwas conscious ofmy focused onVisualRepresentation ofAboriginal University to undertake aMasters. MyPhDtopic I was awarded asponsorship to go to Oxford PhD at AIATSIS. Duringthethird year inCanberra My First ClassHonours enabledmeto enrol ina My thesiswas onAboriginalLandManagement. time I was working ontheLandsRights programs. my Honours inEnvironmental History, around the you can trulylove. respect thisare few. Butthey are thepeople who number ofpeopleinyour life whounderstand and and yourspirituality way of being in the world. The manifestation of your sense ofself, your not democratic. They are personal—an external that thethingsthat make aplacehomeare to live thelife that you aspire to, andto realise These challenges are inevitable ifyou are willing But are thesechallenges worthwhile? for transgression. ourselves. Itisaplaceofestrangement—a penalty and thehomewe have dared to imaginefor nowhere landbetween thehomewe oncehad, leave behind.Thisleaves many ofusinastrange as something that you have beenforced to To berecognised asTasmanian isto beperceived only beexpected that theworld reacts inturn. insular anddistrustful oftheoutside world, it can When aplacelike Tasmania works sohard at being And where dotheotherchallenges lie? continue to bewho you were, and still are. person that you were—you are notallowed to familiarity, you are notallowed to return asthe It’s asifonceyou step beyond theboundsof those boundsisto experience akindofostracism. bounded by smalltown thinking. To step outof unbounded imagination might offer. Theislandis is adefault defensiveness. Ashyness ofwhat threatened, forgotten orhard done by. There bounded; by asenseofdisadvantage, offeeling seems to bethemajorityofitsresidents are also perspectives, aspirations andvisionofwhat moreThis islandisboundedby thansea.The What might make itdifficult? and theknowledge ofhow itencircles me. how that is connected to a place. It is the shoreline Tasmania hascontained my senseofwhoIamand Pacific orSouth-East Asia.Butno;theshoreline of the continent ofAustralia—or even theSouth my senseofhomehasexpanded to encompass having travelled theworld, onemight thinkthat the region that defined my senseofhome.Now, started to explore the north west coast a bit, it was was everything. By my teenage years, onceIhad was bornhere and,backinthosedays, thelocality Tasmania is,more thananything else,anisland.I experienced) (to ametropolitan area/to other regions you’ve What makes where you live andwork different? new ways. totrying seehow those thingsmight combine in often practical things—right now I’m interested in learning how to pullapushbike apart.They were things were simple—boats andbitsoffurniture or writing aboutthem.WhenI was younger these

Artists’ Stories and Artworks| Greg Lehman 101 102 them into acurrency that has value intheurban,butmissespoint ofthelocal. dampens andfilters thoseimportant relationships—it commodifiesthemandturns directly withitsdiversity inotherplaces.Brokering thosecontacts through cities Creating links directly between regions isanecessity. Itallows locality to engage understand more ofthereality that we are partofthesecycles andnatural systems. Country, regions are initsthrall. They feel andseethechanges oftheseasonsand rivers, tracks andcoastlines. Whilecitydwellers insulate themselves from nature and suburbs, butinregions thelinkages are more natural andhave evolved gently around of constellations oflocality. Inthis way they are abitlike acitythat ismadeupof The most important aspects of culture and knowledge are local. Regions are comprised How important are region-to-region contact andrelationships? home’. why strangers arrive anddeclare that, for thefirst timeintheirlives, they feel ‘at wish more peoplewould understand that. Thelandhere iskindandwelcoming. That’s fresh andgenerous. Ithasnotbeensodespoiledasmany otherplacesintheworld. I hordes ofinvaders, oneafter anotherlike Europe has.Ithinkthat leaves theCountry been over-run. TheOldPeople were alonehere for alongtime. We have nothad Country speakinglouderhere thaninmany otherplaces.Thisisaplacethat hasn’t themselves here for somereason. Maybe it’s theair, orthewater. Ormaybe it’s the They didn’thave to leave inorder to ‘come back’. Many artists finda natural place for Yes. Someofourgreatest artists are thosewhohave come here from elsewhere. Do you thinkit’s important to ‘get from theregions andcome out’ backinagain? along. And petrol. There’s lotsoffree entertainment andart—especiallysinceMONAcame traditional foods withouthaving to travel very far. Supermarkets are more expensive. your own food thanifyou live inabigcity. It’s possible to gather shellfishandother For somethings.It’s cheapto buylocally grown fruitandvegetables, it’s easierto grow Is itcheaperto live intheregions? to keep busy anddowhat you have theimpulseto do. reasonably self-sufficient here—not toeasilymake aliving from creative practice,but have galleries inMelbourneandSydney orinternationally, butit’s alsopossible to be It isadistant relationship inmany ways. Our more commercially successful artists focused artinAustralia? What placehave relationship does‘your’ to the general sceneinmetropolitan- change—for transformation. It’s starting to feellike ahomethat I never imagined. working harder thanever to make themost ofthis.Itisanopportunityfor powerful Exhausting. Exhilarating. In Tasmania now there isasenseofbecoming. We are all How doesitfeel now? Always. Did you ever envision yourself livingandworking inaplacelike this? quiet satisfaction inthis. the consciousness ofthe population—often unrealised oracknowledged. There isa the thinkingoflocal community. More often, their contribution slips quietly into Galleries andtheartists whofuelthemsometimes make a recognised impact,shaping extent? designers, artsworkers, volunteers) have shapedthelocal community? To what Do you thinkthat galleries andtheartistic communities aroundthem(theartists, A knowledge that you belongsomewhere. Andthat you are notaloneintheworld. And what kindofbenefits are there?

Artists’ Stories and Artworks| Greg Lehman 103 104 Photos: RickEaves lessons ofthepast. confirming that we have not forgotten the the globalmilieu,restating ourculture and despatching Webber’s drawings backinto journey for thisvisualrecord ofencounter— into an18th century spritrig;creating a return resources by Aboriginalcommunity members handmade andgathered material and A ShortHistory ofCook repeated theft. kidnap theirking;corresponding moments of Cook inHawai’i two years later ashetriesto figures from hislater drawing of Interview accompany uncannily similar In thiswork, thekey figures from Webber’s out. Theplacehardly mattered. middens uponwhichthescenewas played Aborigine. ButWebber missedtheshell made by aEuropean artist ofa Tasmanian trade andpower—and isthefirst image ever ancestors was first touched by globalised the moment that theislandofmy Aboriginal possession ofnew lands.Thedrawing marks Cook hadsecret instructions to take Country. Neunone Cook presenting amedal to theleaderof Bay, Van Dieman’s Land Cook’s interview withnativesinAdventure An unfinished drawing by John Webber, Artist Statement Installation at Burnie (2018) Regional ArtGallery Fibreglass, wood, fibre, canvas andink 2018 A ShortHistory ofCook Greg Lehman nation—a trifleas trade fortheir incorporates local, (1777)shows Capt. The Deathof

Artists’ Stories and Artworks| Greg Lehman 105

106 Greg Leong Greg Artworks| and Stories Artists’ This senseof estrangement between cultures—of a foreigner—she was ‘white trash’ over there. outsider; even herparents-in-law treated heras As far aslocals were concerned, Mumwas an and myself differently throughout ourlives. have deeplyaffected eachof my two brothers emotional, economic andphysical violence that During my childhood Iwas witnessto allkindsof I was borninHongKong in1946after the war. marriage was avery unhappy one. her life. Shejoined my father inIndia,buttheir difficulties of that journey were to characterise as shewas pregnant withmy older brother. The to India.Itwas ajourney ofenormous difficulties means shecould to travel overland from China to bewithhim,my motherhadto seekwhatever for ChinaAirLinesrelocated himto India.Inorder of unmarriedwomen. Myfather’s jobasapilot possibility ofrape that often threatened the fate were marriedasaway ofattempting to avoid the Prior to theJapanesetake-over ofHongKong, they Kong shemet my father, aMalaysian Chinese. of herlife. Whenthefamily later moved to Hong with whomshemaintained friendships for therest other ‘mixed blood’andoverseas Chinesegirls, school shewas absorbed into thecompany of cultural mix.Althoughshespoke Cantonese, at the reverse racism from the otherpartofher overseas Chinesegirls,where shewas met with shewas putintoin GuongDong, aschoolfor her grandfather’s bodybackto hishometown she accompanied herfamily whenthey returned racist at that time. At theage ofsixteen, when bred’ to Chinesepeople.Australia was alsovery to Australians, shedidn’tlooksufficiently ‘pure Chinese man.Althoughshelooked very Chinese the grand-daughter ofaScottish womananda My motherwas borninCobar, New SouthWales, LEONG GREG actively performing inplays intheuniversity I loved European culture andliterature and was I entered HongKong University withascholarship. belong to theChinesepartofmy identity. contributed to my own feeling that Ican’t fully either. These‘lacks’ inmy capacities have inturn conversation inChinese—I can’t write Chinese sense, andasaresult Ican’t have anintelligent I amonlyversed inChineseaspoken every-day out onlearningChinese—afact Iregret to thisday. French wouldbe useful, meant which that I missed education. Mymotherdecidedthat learning I stayed inHongKong for my highschool generations in different ways. the riftbetween cultures continues through the Although thisdidn’teventuate, itisevidence that ChineseAustraliansshould marry ifpossible. and my olderbrother agreed that hisdaughters discrimination yet again—and yet despite thisshe Mum came backto Australia sheexperienced women intheirattempts to control them.When to thecrueltythat mencan show towards and hisfather hasforever coloured my response patriarchal power exercised by bothmy father at theendofmonthly tirade. Thistraditional cruelty, even thoughhewould handoutmoney to my motherwas oneofdisdainandhumiliating financial assistance. Mygrandfather’s response work, shehadto approach herfather-in-law for our education, andinorder to set herself up for their education. MyMumhad to work to pay for and younger brothers were sent to Australia for 12. Itcame withagreat senseofrelief. Myolder My father walked outonthefamily whenIwas both sidesof‘difference’. earned herdiscrimination from bothcultures on being treated unfairly for her lackof‘pure blood’ undertook there was aninvestment that hasnever and artofthe SouthBank,butthetraining I Covent Garden, aswell asthewonderful concerts lure oftheopera andtheatre at theWest Endand that haddrawn meto chooseLondonwas the Management. Ihave to confess that thereal pull in thePolytechnic ofCentral Londonto study Arts an irredeemably irresponsible way, butIenrolled go to London.Myfamily thought Iwas behaving in of therelationship I’d entered was my decision to my resolve to dealwiththeinevitable complexities One ofthelife-changing decisionsthat followed ways. experiences that changed my life insignificant regrets—each ofthemendedupleadingto other rather thanmy head.Butinthelong run,Ihave no throughout my life where I’d followed my heart This isprobably thefirst of a numberofinstances continue witha relationship Ihadembarked on. decided to throw intheoffer ofthescholarship to was eventually successful. Butsoonafter that, I an “Englishtest”. Myappealagainst thedecision rampant colonial rulings,was forced to undergo degrees inEnglishandyet, asaresult ofthestill- I’d contracted asachild.At that timeIhadtwo ostensibly onthegrounds ofthetuberculosis my taking upthe scholarship onmedical grounds the BritishCommonwealth Scholarship forbade in Vancouver andwas awarded one.However, for aCommonwealth Scholarship to university run FMradio station. DuringthistimeIapplied ‘fine music’producer at theBritish Government- Bernard Shaw. After graduating I worked asa (1968–1974) focused onthework ofGeorge thesis ofmy Master ofPhilosophy inDrama No doubt thiscontributed to thefact that the engagement withChinesecultural experiences. drama society. DuringthisperiodIhadmuchless were notrepealed until 1997. Towards the things very difficult.In Tasmania, anti-gay laws when Tasmania’s homophobicattitudes made there between 1982and1988,duringaperiod (formerly theTasmanian Arts Council).Iworked as Artistic Director of Tasmanian Regional Arts I took upmy first Australian jobinDevonport of my response to matters oftheheart. my great life-changing moments madeasaresult consciousness oftheoutcomes, was thesecond of out’. Thisdecision,onethat was notmadeinfull to my decisionto take uptheoffer asa‘way very unhappy relationship at thetime contributed had notactively sought it,the fact that I was ina offer ofamigrant visa to Australia. Even thoughI was notifiedthat Ihadthree months toaccept an through theFamily Reunion Program. In1971I meanwhile appliedfor my Australian citizenship Unbeknown to me,at thetime my motherhad police. implications andthescare tactics used bythe was particularlyfraught asa result ofthepolitical roots gay lobby against discrimination, a role that supporters andcolleagues Iwas partofagrass- been introduced by theBritish!Withlike-minded that itwas amorally decadent condition that had inherently Chinesecondition—they heldtheview Chinese view was that homosexuality was notan an openlygay maninHongKong at thetime.The Head ofPrograms. There were difficultiesbeing the HongKong ArtsCentre. Later Ibecame the up therole ofPerforming ArtsCoordinator at and after that I returned to Hong Kong to take officer in YouthandMusicinLondon fora year, On graduating, I took upapositionasmarketing the artsbusinessever since. seen meoutofwork: I’ve beenactively involved in

Artists’ Stories and Artworks| Greg Leong 107 108 being still”. of the pleasure of while watering ispart things—for mecounting you water theseliving the secondswhile to countout Buddhist am told thatitisvery to have agarden. I I believe it’saprivilege return to thegarden... elsewhere, andthen nourishment you need in allthecultural take to you canflyoff forward to thereturn— this place,you look “Whenever you leave

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110 Greg Leong Greg Artworks| and Stories Artists’ Hansen’s One Nation Party. Despite the repeal of anti-Chinese rhetoric fanned up by Pauline went onto coincide withanupsurge in1997 of deeptrauma for me.That grief andtrauma acknowledge ourrelationship resulted inatime ten years inLaunceston, his family’s refusal to In 1994,after thedeath of my thenpartnerof until 2000. Tasmanian University oftheArtswhere Iworked full-time lecturer for the textile studio at anddrawing,theory andin1996Iwas appointed time—the early1990s—Ilectured part-time in emblem connoting doublesorrow. Duringthat symbol ofdoublehappinesswas altered to an a wedding gown where thetraditional Chinese against by two cultures. Theinstallation featured difficulties she experienced beingdiscriminated of garments remembering my motherandthe Remembering Chinese show heldinSydney andMelbourneentitled During that timeIalsoembarked on my first solo has subsequently become identified asapest. a food source for colonial residents, butwhich China to Australian waters for recreation andas experience—a speciesinitiallyintroduced from environment. Iusedthecarp asasymbol ofthis work aboutbeinggay andAsian inahostile title of show ofgay craft artists withtheunsurprising when theCrafts CouncilofAustralia curated a first national exposure was followed in1995, the Tamworth National Textile Biennial.This came in1992whenIwas selected to show in of my life. Myfirst break asanAustralian artist I could alludeto thefabric ofsomany aspects as away ofbuildinginstallations through which smoking) Imajored intextiles. Iusedthis focus in visualarts1988(thesameyear Igave up my identity I’d chosen to ignore. WhenIenrolled 1980’s. I’d realised that there was alarge partof My practice asavisualartist began inthe late the basisofachoiceheart. role asavisualartist—was, onceagain, madeon the most significant aspectsof my identity—my decision to embarkonacourse that ledto oneof of Tasmania might offer a good solution.My course at theLaunceston campus oftheUniversity to him,anddecidedthat enrolment inavisualarts Launceston. Iwanted to move there to becloser a relationship withapartnerwholived in latter years of my role inDevonport I’d begun Homocraft . Mycontribution was a . The works included a series taking over from Tony inthegarden. I continue to work, to make art,and to enjoy life loss Iill-advisedlysoldthehousewe shared. But years. Tony diedin2014.To assuage thepainof in Launceston andbriefly inBurnie for eighteen In 1996Imoved inwithTony. Ilived withhim in anhilariousway. re-writing Chinesepresence into Australian history some ofAustralia’s most beloved icons asaway of as importantly, plannedasacritical onslaught on on acareer as acabaret star myself, but itwas, just life for thefact that Ihadnotbeenableto embark Edna. Ofcourse thiswas, inpart,a‘revenge’ on panache andaplombto rival thespiritofDame favourite Australian songsinCantonese witha a Chinesecabaret program where shesings it hard to integrate, sodecidesto introduce from Chinato Australia for abetter life, finds family)—a cabaret aboutaprincesswhomoves into aperformance work titledJia(Chinesefor sung inCantonese. Thework soondeveloped to someofAustralia’s most beloved bushballads button intheholeofquilt,order to listen the audiencecould participate by pressing a Chinese Australians made GregLeong’s SingingHistory Quiltsfor New In 2001,duringtheCentenary ofFederation, I change themtowards positive outcomes. I experienced the way work can salve wounds and an homage to thepainIfelt. Thework toured, and bride, butthecolour ofmourninginChina)—and partner (white isthecolour ofthevirginal Western of white garments asakindofmemorialto my emotional price.Asa result, Imadeaninstallation burdens for whichIwas going to have to pay an my Chinese-nessandmy gay-ness seemedto be resentment took longer to subside. Onceagain of theanti-gay laws in Tasmania that year, public —an installation inwhich watering ispartofthepleasure of beingstill. water theselivingthings—for mecounting while very Buddhist to count outthe seconds whileyou it’s aprivilege to have agarden. Iamtold that itis Maybe it’s asure sign of growing old,butIbelieve need elsewhere, andthenreturn to thegarden. fly off to take inallthecultural nourishment you place, you lookforward to thereturn—you can slower paceisgood here. Whenever you leave this and theintellectual andemotional rewards ofthe everything that’s onoffer inalarger cityanyway ‘cultural plenty’, butyou simplycan’t take up hurried—I may belackingthingsinterms of Benefits? Thelackofnot feeling rushedand and may contribute to thebroader debate. Sydney theconcerns are more widelyunderstood like thisare mainlyto tend to one’s innerself. In global perspective. Thebenefits oflivinginaplace here—people aren’t always aware ofthat kindof around mewere. There’s a senseofisolation for 100years Iwas concerned well before others Port was ofDarwin recently leasedto theChinese me usedto feel acutely. For example, whenthe Australia—a theme that very few peoplearound the changingrelationship between Chinaand to keep passionate. Mypassioncurrently is The challenge isalways to berelevant—and benefits are there? these challenges worthwhile? Andwhat kindof And where dotheotherchallenges lie?Butare less confrontational thanthey used to be. with growing older. Theworks I’m making now are community. Butthat kindofawareness alsocomes on your publicrole aspartofarelatively small be aware ofhow your private life might impact the BurnieArts&FunctionCentre, you had to Director for bothBurnieRegional and ArtGallery contemporary artexhibitions. WhenI was the Lack ofopportunities to take partinandsee What might make itdifficult? acutely, incontrast to what peoplethink. whereas inthebigcities you notice racismmore feel ‘noticed’simply for beingAsianand/or gay, open now. Gayness ismore accepted, andIdon’t since theanti-gay law reform—people are more in Burniepeoplehave come outoftheirbias It dependsonwhere you are inTasmania—but experienced) (to ametropolitan area/to other regions you’ve What makes where you live andwork different? experiences. while still engaging insmallerscale stimulating retire—they’ve chosen to embrace regional life and experiences whohave moved to Tasmania to coast. There are alsopeoplewithbigbackgrounds Launceston andstill love thefriendsImadeon the It’s homefor me...Ihave great friendshere in How doesitfeel now? could never findinthecity. realised immediately that there was akindnessI attitudes intheNorth West inthe1980s—I air. Andanotherthing—inspite ofsmall-town lungs would react against thesmog andpoisonous sky, andthat whenever Ispent timein Sydney my I noticedhow I could seethe stars inthenight shown two timesa week—but six months later Devonport Iwas shocked that movies were only metropolitan citiesuptillthen.WhenIarrived in When? Notuntil 1982—I’d always lived inlarge in aplacelike this? Did you ever envision yourself livingandworking great dealto thepeopleinBurnie. evidence alone you can say that theartsmatter a Devonport, Launceston andHobart.Onthat the subscription seasonit’s doingbetter than events. Sincethen,onapercapita basis,during the first subscription season forperforming arts the BurnieArtsandFunctionsCentre launched to eachmemberofthecommunity. In2009, percent—this cultural facility meanssomething engagement hadincreased by twenty-four it into adisco, butwithin11months theaudience When Iarrived, thepowers that bewanted to turn development oftheinfluence ofBRAG inBurnie. I’ve alsohadtheopportunityofwatching the up north—impactingtheislandasawhole. festivals associated withMONAare slowly moving MONA have changed thingsenormously. Andthe contemporary artspacesandthephenomenonof in HobartandLaunceston—the graduates andthe popular withthelocal community. Theartschools right ontheedge oftheCBDandit’s enormously to thecommunity here. Itstwo sites are situated Australia andplays avery important focal point is oneofthelarger regional artmuseumsin The QueenVictoria MuseumandArtGallery community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic

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112 Greg Leong Greg Artworks| and Stories Artists’ true for others. that matter to you—and hopefully what you experience willring It’s about contextualisingyour life and a way of reacting to the things saying. Hopefully itwilladdsomething to theirown life experience. To beprovocative—to prompt people to wonder aboutwhat I’m What istherole ofyour work? not eaten into my senseofplaceat all. need to feel fed by itandto feed itbackin return. Socialmediahas place where you endupliving—matter agreat deal—if you start ignoring I holdto thebelief that theplacesyou have come to—and theplace conglomerates (Facebook; Apple;Amazon; Netflix; Google etc)? international marketing andtheonslaught ofthemulti-national the importance ofplacehasbeendissolved by socialmedia, Do you thinkplacestill matters…or do youjust thinkthat the cityorregions oranothercountry. important to spendtimebeingwith‘your own’—whether it’s from often resulted inapowerful senseofan extended family; it’s very My experiences ofbeingpart of suchinter-regional gatherings has experiences withotherregional artists… it can be powerful.very a lotmore aboutbeingaregional artist by comparing your similarities butalsothedifferences. You can come tounderstand camaraderie between theregions—one where you are ableto see also to findpoints of commonality. You can feel ahuge senseof where you are interms context—and ofbeingplacedwithinabigger circumstances—networking isreally important inunderstanding Many regions share similarproblems, butthere are alsounique How important are region-to-region contact andrelationships? the regions. benefit, it’s also good for thebigcentres to seewhat’s happeningin extremely valuable for therest ofAustralia—not onlydoestheartist For younger artists it’s important,very butthat regional voice isalso back inagain? Do you thinkit’s important to ‘get from theregions andcome out’ more expensive. Not always—real estate usedto becheap—butfood tends to be Is itcheaperto live intheregions? reputations. Comingfrom ‘small’ doesnotmeanbeing‘lesser.’ being overlooked—many here enjoy national andinternational what’s happeningintheregions. Idon’tthinkwe suffer from 2014). Ithinkpeopledositupandnoticeinthecitiesabout 90s. Thelast show Icurated visited ten Australian venues (2012- in metropolitan andregional touring exhibitions throughout the Although I’m nolonger inmany shows, Iwas frequently included metropolitan-focused artinAustralia? What placehave relationship does‘your’ to the general scenein thenyou’re really ignoringahuge partofyour existence. You

Artists’ Stories and Artworks| Greg Leong 113 114 Photos: RickEaves Thanks alsoMichaelEssex”. David Hamilton, Terry Ryan andtheartist. designed andcompleted by MarkHoban, “Carp frames andinstallation method shore incarceration”. pitiless governments, drownings at seaandoff asylum, andperhaps thereferences are to sadder story ofmigration andthesearch for paper (gold andsilver for thedead)tell a However my carp skeletons, wrapped injoss is asymbol oflove, courage andwealth. well-heeled. To theChinesecarp (orkoi) relatives inthenether world in comfort and burn duringghost festivals andso keep their effigies of worldly goodstheChineseliving a ghost ship,referencing themany paper here. Myinstallation can be read simplyas the boat that symbolically bringsnew peoples Greg writes, “Myboat in Anglo-Saxon countries. Australia’s rejection ofpeoplefrom non- species inAustralian waterways to refer to Migration ofOriental Carp performance. Hisinstallation forms that traverse installation, sculpture and his identity asaChineseAustralian working in symbolism to investigate the complexities of Greg Leongoften usescross-cultural Artist Statement (2018) Gallery and paint |Installation at Burnie Regional Art copper wire armature, metal rods, varnish, glue, Rowboat withwooden grid,josspaper, wrapped 2018 Oriental Carp The Tasmanian Migrationof Greg Leong Partnershipping uses a ‘pest’ usesa‘pest’ The Tasmanian

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116 Anne Lord Anne Artworks| and Stories Artists’ same year that she’d won theballot,shemet a terms ofworking theland. Intheearlypartofthat she hadnoidea aboutwhat she was upfor in understood the ropes abouthow to beapublican, grandmother was familiar with Hughendenand travelled west from Townsville. Butwhilemy There was adecent sociallife andmany people Hughenden was alively placeintheearly1900s. passed away before that was possible. live ontheproperty after leaving thepub butshe her own. Hermotherwas excited andhopedto that Margaret Lyne would leave to set upalife of father was analcoholic. Butstill, it was accepted Gillespie, was dependent onthegirls’helpastheir family Hotel in Hughenden. Their mother Margaret worked alongsideherthree sisters helpingrunthe My grandmother Margaret Lyne neeGillespie and Lord partners. Lordmother Mary andfather Robert Lord asLyne the title stayed inhername.It was sold to my was still unmarriedwhenshe won theballot,and awarded to themfor purchase. Mygrandmother the ballotwhere apportionedareas ofland were lines,andthenpeoplecould applyforboundary the government sent outsurveyors to draw up of thissize to work oniteffectively. Prior tothis, tropics andyou really needtwo ormore blocks such acreage. It’s very sparse country inthedry run enoughstock for thesurvival offamilies on even that size oflandproved to beunviable to And whilethat soundslike abigstretch ofcountry, a twenty-two thousand-acre allotment ofland. May 2,1917my grandmother won theballotfor purchasing landfor grazing. At twelve noonon run ballotsfor peoplewhowere interested in was acquired through the1900songovernment- Townsville onagrazing property called Kilterry. It I grew upsixhundred andforty kilometres west of LORD ANNE

sheep, butnow itismainlycattle—everyone When Iwas growing up,there were mostly merino terms ofwhat’s called a99-year lease. to take over looking after theplace withinthe eldest brother’s sonis now inSuccessionPlanning been associated withasenseofhome,andmy The property called Kilterry hasfor mealways children, andthere was nolonelinessinourfamily. suffer thesameloneliness.Inendshehadsix children ofherown sothat noneofthemwould being terribly lonely. Shehopedto have eight Kilterry asanonlychild,andalso remembered Lord,My motherMary neeLyne, grew upon she would play thepiano. and ofhow shecherishedsocialmeetings where Margaret Lyne always spoke ofbeingvery lonely, set outby thegovernment. Mygrandmother that property according to conditions ofsale have beenavery simplestart, butthey worked small shelter for themto live ininitially. It would supplies to fence thenew property andbuilda had riddento Kilterry withapackhorse and In themonths priorto that day, my grandfather these stops. horse-drawn coaches, tired horses were rested at Hotels where peoplestopped overnight. For the going. There were someCobbandCoCoach Cobb andCo.roads were very rough andslow ceremony they drove outto Kilterry. Theexisting wedding present. Onthesameday asthewedding mother andsisters gave themanew car asa the November ofthat year, andmy grandmother’s Saego PlainsnearHughenden.They marriedin to go andlive onKilterry, sohesoldhisproperty War andhadmoney to buyland.They decided from Tasmania. Hehadreturned from theBoer man called Percy Burton Phillipson Lyne whocame of theAirstarted. Initially SchooloftheAir(SOA) instructions yourself. Inthelate 1950sthe School you’d reached Grade 6you’d befollowing the and following theinstructions. By thetime would make sure you were understanding of mailevery week oftheterm, andthegoverness check ourwork. ThePCSwould sendout packets and sometimes a governess and would supervise Sometimes Mum,sometimes the overseer’s wife in Brisbane.Thelessonswere conducted at home. Correspondencethe Primary School(PCS)based We undertook schooleducation primary through or sendmailbackto thetrain station. the riverbanks to take provisions to the homestead opposite sideoftheflooding Flinders River met on local railway sidingandfrom theproperties onthe the river onlittleboats. Cars ortrucks from the of theyear andprovisions would beferried across the river duringthewet seasonfor several months it. WhenMumwas growing upyou couldn’t cross andyouboggy can’t drive a normalcar through Basin (underground aquifers). Ifitrains thesoilis can live there dueto thewater from theArtesian stretches outover flat plains. People and stock grasslands; it’s called black-soil country andit endless-seeming country that comes from natural I’d produced outthere. Ialways love that kindof with huge amounts ofdrawings andpaintings I got, andI’d always come backto my studio TAFE at Townsville I’d go backthere every chance home any more. Duringthe1980sonbreaks from it home—even thoughtechnically it’s notmy country. Istill love itandI’llalways want to call often seenwhenridingordrivingthrough the many kangaroos runningthrough thegrasslands, especially alongthecreek by thehouse.There are remember lotsofbird life around thehomestead, recognises it’s notsuitable country for sheep.Ican Brisbane Airport andtook usupto school. where we changed planes.Friendsmet usat the Creek airport with a2hourstop-over inTownsville time took awholeday from theproperty to Julia that oneof thekidswould besick. Thetravel ride andevery time we landed you could besure run oftheregional towns. Itwas avery abumpy doing many stops ontheTownsville/ Mount Isa Fokker Friendshipthat flew on kangaroo hops school andbackfor theholidays ontheoldTAA We’d have to flydown to Brisbane for boarding painter. teaching was instrumental inmy wanting to bea civilisations andcultures; styles andmethods. Her how shetaught artandtheway sheconnected and later, Betty Churcher. I can still remember education—one of the teachers was Andrew Sibley so inspiringandwe hadareally wonderful art hung throughout oftheschool. Theworks were During the1960s,Dr. Behanartcollection was But there were benefits to boarding school. took abitoftimeadjusting. back again”. Mysister loved itdown there butI advised me“ifyou runaway we’ll bringyou right see mewhenhewas inBrisbaneonbusinessand seemed adventurous to mebutDadcame outto one ofoursecond cousins hadtriedto runaway. It very homesick for thecountry andI’d heard that (Convent oftheSacred Heart inthosedays). Iwas to enroll asaboarder at StuartholmeCollege, For secondary schoolIwas sent down to Brisbane children livingontheproperties. out, corrected inBrisbaneandmailedbackto formal andyour work would becarefully mailed CorrespondencePrimary School(PCS) was allvery was onlyavailable to usfor aboutanhour aweek.

Artists’ Stories and Artworks| Anne Lord 117 118 cities”. experience itincapital fromhowdifferent you sense oftime that’s creating! There’sa you want to bedoing, and askyourself what the timeto ponder place whereyou have lifestyle here.It’sa that comewiththe qualities the laid-back Many like gardensand here like thetropics. “People wholive up

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120 Anne Lord Anne Artworks| and Stories Artists’ and 2013.During that timethere were several in thecitycentre. Itaught artbetween 1980 art. TAFE was housedinabeautifuloldbuilding produce adecent amount ofwork while teaching gave usastudio day aweek so Iwas really able to things improved agreat deal.Inthe1980sTAFE work asanartist, butlater I got abetter studioand and itwas abitofset-back to theprogress ofmy that wasn’t allthat great whenIwas first teaching Sydney Ifelt enormouslyrelieved. Ihadastudio TAFE. Ihad become sotired ofbeingpoorin meet, Iwas offered apart-time job teaching at after taking three part-time jobs tomake ends Within thefirst year of my return to Townsville, producing andteaching visualart. where Igrew upandIcould still beinvolved with home, itwas theclosest professional centre to kilometres from theplacewhere Ireally felt at though Townsville was over sixhundred andthirty iswhere Iwant toAnd Isaid“That be…”Andeven up there? Why would you even go backupthere?” work. Heasked, “Why would you dothat? What’s would go backto Townsville, northQueenslandto would donext. Heseemedamazed whenIsaid Another lecturer asked inourfinal year what we when Ireturned home,orat least to Townsville. was going to needall thoseskillsandinformation many studio subjectsbutmy attitude wasthat I well. Oneoftheteachers told meIwas doingtoo subjects: fineartprinting andphotography as I majored inpainting and enrolled inminor COFA—the College ofFineArts,UNSW, Sydney. Education and after I’d left, it transformed into early years itchanged to aCollege ofAdvanced be theconvict-built Darlinghurst jail.After those moved onto that wonderful complex that usedto the campus at Kogarah. Insecond year we all College butIstarted at thesuburbanbranch of days Ienrolled at what was East Sydney Technical should go to artschoolinSydney soIdid.Inthose I was oneofhisstar pupils.Hesuggested that I Flying ArtsSchool.Ijust loved itandhetold me the towns. Later Eastaus became theAustralian could follow between hisstopovers, flyinginto his wife Helenproduced booklets that students to fly to teach artclassesinthe regions. Heand Art School,aventure that he’d initiated. Helearnt there, Moriartyflew up Mervyn to start Eastaus staying three years. Duringthesecond year Iwas of agap year to return home.But Iendedup After highschoolIdecided to take theequivalent come. Ecological issuesare key. history could bearsigns andcluesofwhat was to of thesesloth-like hybrid creatures from pre- then, thefuture was already cast—the emergence I’m makingupastory that suggests that even back where we don’tknow what thefuture holds—and From anecological perspective we’re at apoint out oftheprimalooze. might belike whensomecreatures initially came to thetimeof like going backbefore fauna developed skeletons, Kilterry. ButIwant to imaginewhat itmight be There are many that have beenpicked upon fossils around Richmond,Winton andJuliaCreek. Queensland. Locals andscientists keep finding inland seaorwater-mass inprehistoric North the creatures that might have come outofthe I’m currently developing isare-imagination of to tropics thedry where Igrew up.Theartwork documented. IguessI’llalways have aconnection Kilterry Artesian Borehead that hasbeenwell building asite-work ontheground inclay at the North Queensland.Iproduced a parallel project give methesamesenseofconnection Ihave with and productive there, livinginBrisbanedidn’t an off-site structure. AlthoughI was motivated ROT, my project was includedinIMAprogram as big cities(including Townsville) and waste. Titled centred around arecycling project to dowith of Art,GriffithUniversity. My research focus was Masters, VisualArtsat theQueenslandCollege I lived inBrisbanewhenIwas undertaking my terms ofstudio time. I do, andIhave to make sure Idisciplinemyself in a garden—art andgardening are abigpartofwhat to dofulltimeart work—I alsohave more time for city. It feels good to be back in my own studio, able Mundingburra, abouteight kilometres from the I now live withmy husbandinthesuburb PhD students before Iwas given aredundancy. degrees. Iwas Honours, supervising Masters and formal lectures andstudents enrolling inhigher studio day for artist/educators. It was focused on academic work andlecturingdidnotprovide a was offered asadegree. Theuniversity system of amalgamated into auniversity, theTAFE Diploma and thenafter that, whentheinstitution was school was pushedoutinto thesuburbs at Pimlico kind ofteaching we were ableto do.The TAFE art transitions to theinstitution and,as a result, tothe prima materia—to imaginewhat it because of thespacewe create. think I’llever lose.Thechallenges are worthwhile connection to North-West Queenslandthat Idon’t that’s inTownsville buteven so, there’s still that space. Mystudio exists across both.Nowadays build upthesenseofapersonal homeandgarden cities. I’ve always really valued theopportunity to different from how you experience itin capital creating!be doing, There’s asenseoftimethat’s time to ponderandask yourself what you want to the lifestyle here. It’s aplace where you have the gardens andthelaid-back qualitiesthat come with People wholive uphere like thetropics. Many like benefits are there? these challenges worthwhile? Andwhat kindof And where dotheotherchallenges lie?But are presented to audiences. and infrastructure for theamount ofwork to be art work, butnotenoughprofessional support visual artists in Townsville, many peoplecreating but they alsohave to work at it.There are many and celebration ofsmallplacesinother countries, frustrating at times—I have seenthe development sense oflocality, perhaps through creativity. It’s different, as well assimilar, andhow we grow our sense ofthepossibilitieswhat makes us and allthat involves, allows usto shiftour own by creative thinkers andartists? Creative practice, it’s through theway peopleandplace are depicted do we learn to seeourown senseofplaceunless production oftheartists that live inthe area. How print to putontheirwall rather thansupportthe go into achain-store to buyareproduction or their own region offers. Inacity, people might from andemerge from theopenpossibilitiesthat For many artists, cultural products are developed culture andthat would make adifference. of government should dothesamefor visualarts money backinto thecommunity. Thethree tiers Stadium isencouragement for peopleto invest the commitment to buildingthenew Cowboys capital andinfrastructure funding.For example, could dowithaninjection ofartsupport,human hard to make saleshere. Ithinkthecommunity There are just afew commercial galleries, butit’s sustain ourcommunity ofartists andaudiences. we don’thave thekindofsupportwe needto Queensland isnotyet aseparate state. Thus Townsville isnotacapital city andnorth What might make itdifficult? size ofTownsville hasthat kindoflow-level water there’s just nowater security. What large citythe and there hasbeenlittle-follow up rain since,so in oneweek. Butnoonecan predict theweather a monsoonstorm filledit to eighty-five percent Dam hasbeendown around fifteen percent—then problem. For three years theTownsville Ross River is that Townsville hasamassive water supply of Townsville CBD;butone ofthehuge problems suburban developments, north,west andsouth Well ifyou lookaround, you can seeallthese How doesitfeel now? now—to bringbackasimilar event. for thefestival. That would beabigchallenge and peopletravelled from otherpartsofAustralia In the1980sthere was ayearly Pacific Arts Festival centre onthecoast for many peopleinthewest. tropics.the dry Townsville hasbeenabusiness connected to this region, northQueenslandand Well asI’ve said,I’ve always remained deeply in aplacelike this? Did you ever envision yourself livingandworking partly orwhollyby theTownsville CityCouncil. meeting rooms and coffee shop).They are funded complex that housesatheatre, swimming pool, inthe RiverwayPinnacles Gallery ArtCentre (a Tucker Regional alsosell artworks, Gallery asdoes there are sofew otheroutlets. Umbrella andPerc functioning asersatz commercial galleries because partly asARIs(Artist RunInitiatives); they arealso Hall andSylvia Ditchburn are Gallery operating interviews withartists. Otherspaceslike theDrill out bigadsfor theshows butwe are ableto run week. There’s nomoney initsoyou can’t take about 10years. Iopenitfor two afternoons a I’ve 48inTownsville beenrunningGallery for stage it’s connecting people to what’s happening. web site are devoted to thecreative arts. At this Mathiesen andNathan Toll. Themagazine and that’s beenlaunchedandsupported by Sarah press/2018/05/03/staying-in-character/) uphere a magazine called Huxley.Press (http://huxley. other thingsemerge outofthat feeling. There’s help give asensethat peopleare connected, and communities—they might provide thingsthat I don’tknow that artists actuallyshapeany community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic

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122 Anne Lord Anne Artworks| and Stories Artists’ to lay eggs. adayeggs from themature hens, withtwo about tempted to killthemandeat them—we get two pets andI’ve given themnamessoI’llnever be living costs. Ialsohave four hens—they’re my small houseblock,butitdoes helpcuteveryday people are doingthat—we can’t live offitinour my own vegetables, anditdoesseemthat more and southofTownsville. I’m currently growing result. Ofcourse, sugar cane isamajorcrop north system andproduces seasonalvegetables asa of us,Ayr isaregion that hasamajorirrigation Atherton Tablelands west ofCairns andjust south produce coming from Inghaminthenorth, is more expensive. Even so, there isalotmore produce that’s trucked infrom cities thebigger is cheaperbutontheotherhandalotof The housesare generally cheaper—getting around Is itcheaperto live intheregions? regions. then thingscan happeninimpressive ways inthe funding isavailable for regional artprojects: what’s happeninginthesmallerregions. When placespeopledon’tbothertoobigger muchabout maybe like biodiversity! Though, Ithinkthat in to seehow cultural differences are soimportant, connect peopleinsimilarsituations. Italsohelps other regional placesisimportant—it helps to I thinkthat any attempt to make connections to Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the develop to thesameextent inlarger capital cities. to happenwould never have beenallowed to know that somany ofthethingsthat are allowed that comes withlivinginaregional citywhere you security? It’s anexample ofthekindfrustration in the dry tropicsin thedry orcommunicate thisplace to Social media helps to connect what happens Apple; Amazon; Netflix; Google etc)? of themulti-national conglomerates (Facebook; media, international marketing and the onslaught importance ofplacehasbeendissolved by social relationships? …ordo you just thinkthat the How important are region-to-region contact and and August, theweather isjust perfect. time of year (May) and inwinter over June,July you have to andat this putupwithsomething, tropical regions are too hotmost oftheyear but reinterpreted itbackto us.People say that the painters andwriters whohave looked at placeand of heritage here inAustralia possibly through keep seeingsimilarities. We have adifferent sense country—I connect don’t to EuropeI as a placebut of connection to place you have for your own looking around, andthat strengthens thesense one day aweek butmost ofthetimeI was just based inParis andwent to alithography studio 1993 Itook eight months to travel overseas. Iwas the shockfactor isimpressive inthebigcentres. In the samebignamesare often presented, although international biennalesortriennales. Well perhaps to bequite abitofhomogeneity inthosebig place—it’s good to seenew work, butthere tends contemporary artseemssimilarfrom placeto it’s something Isearch for. Butonthewhole, of calmness, serenity andspiritualpurpose… favourite periods;Giotto’s paintings exude asense and earlyRenaissance painting are two of my in theartgalleries, orat artevents. Medieval spend most ofthetimewhenI go overseas, husband to Italy andin2015to Europe. Ialways Yes—it’s pretty essential. Last yearI went with my regions andcome backinagain? Do you thinkit’s important to ‘get from the out’ consider that abonus. I’ve connected to someoneaboutwhat Ibelieve, I If itdoesmanage to reach many audiencesand is delivered to audiences and how itisperceived. don’t have somuch control over how your work wanting to say but somethingyou isonething, work to fulfilits role. Beingacreative person and you needto get itoutthere to audiencesfor the for my work withinthat kindofframework, but the artscene,suchasitis,to say there isarole on into theirart.I’m probably too cynical about looks at thingsandinterprets them,that carries beliefs—if there’s integrity intheway anartist look at thingsandsothat hasalotto dowithyour assured—it’s something to dowiththeway you I can onlyhopeithasarole, asnothingis What istherole ofyour work? I return to Australia. travel overseas, itfeels like I’m coming homewhen Townsville where Ilive. WhenI’ve gone away to connection here inthecityandsuburbanarea of me placeisstill important—I’ve got asenseof connections that go beyond theobvious. For region relationships isanimportant way ofseeing The possibilityofbuildingany sortofregion-to- spanning monsoonweather anddrought. challenge to grow thingsinanenvironment and revealing, dueto thefact that itissucha wordpress.com/76 because successissojoyous wordpress.com/post/gardeningintownsville. a WordPress site Gardening inTownsville https:// people here andinotherregions. Similarly, Ihave my methods ofconnecting artin Townsville to gallery48thestrandtownsville.com/?s=48.com are and connected Facebook pages, suchashttps:// other communities. Websites: annelord.com.au

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124 Anne Lord Anne Artworks| and Stories Artists’ Photos: RachelCunningham (left and top-right) andAngela Little(bottom-right) temperature. of trees to climate andreduction of ground able to provide more data onthe relationship my commitment to growing trees andbeing drought. Connected withthesethoughts is attract more consistent rainfall andless climatehow thedry ofQueenslandmight around thesematters. I would like to see Project about theseproblems? the seaandlandrecover? What can we do the environment, aswell ascreatures of about theproblems we create? How will us buthow quicklycan we dosomething elements ofplastic have always beenwith used, somebio-degradable; somenot.The of plastic onthem:different types were My porcelain creatures have impressions might doto creatures andtheenvironment. starting to understand what plastic products temperature butinaddition we are onlyjust We have problems learninghow to dealwith seasons withmore severe weather patterns. future islinked to hotter as well aslonger dry temperature sincerecords started, the Queensland hasjust recorded thehottest Julia Creek, thesmalltownship innorth-west largely unknown past. Inthisregion where this from fossil records. Theselinkusto a inland seaandforests andferns. We know Ninety-eight millionyears ago itwas an shapes to portray visualsabouttheregion. inherent inlivingthings:Icreated basic Queensland. Movement andmigration are My personal history islinked to northwest Artist Statement (2019) Installation at Umbrella StudioContemporary Arts markers onpaper, nylon string andplastic | Wood, glazed porcelain clay, oncanvas, acrylic 2019 We areCreatures Anne Lord provides anopportunityfor discussion ThePartnershipping

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126 Gail Mabo Gail Artworks| and Stories Artists’ unhappy times; we were allgiven a strong sense childhood was filledwith more happy timesthan two sisters younger thanme.Onthewhole, my and two sisters olderthan meandabrother and I’m inthemiddleoffamily—I’ve got abrother a twenty-six seater coaster bus. family car, until the community fund-raised to get had itsown busDadwould drive thekidsin government fundingsources. Before theschool through theDepartment ofEducation andother had advertised it.Funding for theschool came Brisbane; they’d appliedfor thejobwhenDad The two non-Indigenous teachers came from also taught there. Mum was theartteacher. of theAunties andUnclesfrom theCommunity two official teachers—but Mum,Dadanda couple without falling through cracks. There were only order that they could enter into themainstream their own cultural traditions and communities in was that thekidsneeded to stand proud within into thegreater community. ButDad’s belief because families wanted theirchildren to integrate lots ofdisagreement erupted duringthe1970s Strait IslandandAboriginalcommunities—but The schooltook inIndigenous kidsfrom theTorres job at JamesCookUniversity asagroundsman. teacher at theschool,hemaintained afull-time driver, thegardener, theprincipalandcultural During that time,whilehe worked asthebus- School. he started aschoolcalled TheBlack Community various jobs withIndigenous organisations, then Dad worked at thewharves, andthentook on family home.Whenthey originallymoved here, had bought whenIwas sixmonths old—itwas our Weall. lived Cranbrookin in a home Mum and Dad Dad adopted three otherchildren, we were ten in I came from afamily ofseven, andwhenMum MABO GAIL you off. I competed in zones and represented the to throw something at themwhenthey browned how to runandthenyou also hadto know how Coming from afamily ofseven you had to know my strengths were intrack runningandjavelin. enough. Inmy younger years Iwas anathlete— of range ofmy younger andoldersiblingswas when Iwas young—just keeping myself going out I didn’thave somany dreams andaspirations classes whenthey were young. still speak fondly ofbeing taught by Dadinthose number ofoutputs—art,dance,story-telling. They maintain theirstrong cultural practices through a of thestudents that went there have continued to black power. WhenIthinkaboutitnow, somany fears that Indigenous kidswere going to betaught school was shutdown onthebasisofcommunity After twelve years ofrunningsuccessfully Dad’s her autobiography. she gives avividdescription ofthat bookImadein stories Dadtold usaboutMurray Island.SoIdid; to draw anddesignmy own bookbasedonthe books shewas givingus,sosheencouraged me couldn’t understand why Ididn’twant to read the school was Senator Margaret Reynolds. She My grade oneandtwo teacher inmainstream Dad hadpassedaway. who shewas, shedid.That started to happenafter during that time,sowhenit was hertime to tellus to come to terms withherown culture andorigins kids followed Dad’s cultural teachings. Mumhad Island intheTorres Strait shewas happy that we to teach ushisculture andbeliefs from Murray Dad was soclearinhisconvictions abouttheneed was SouthSeaIslandandAboriginalbutbecause his culture andbeliefs were strong. Mum’s culture of community andculture. Dad’s convictions with out ofclothes—I knew theparents wouldn’t beto graduated was learning abouthow to get paint course. Oneof the first tasks inthat role once I’d so Ienrolled inapre-school education teacher do whenmy youngest went into school primary western New SouthWales. Ineededsomething to After Ihad my first fourchildren I moved to seventeen onSunday. one—I have seven children. My triplets willbe pregnant withmy first sonCaleb.He’s now thirty- twenty-one. Istopped dancingwhenIbecame I dancedfrom theage offifteen through to who would return to teach thelocal communities. Aboriginal IslandandDanceTheatre inSydney coming up.Teachers were ex-dancers from the then you’d prepare for performances that were Blood DanceGroup. You’d train intheevening and dancing withalocal dancecompany called New At fifteen I started doing contemporary Indigenous to that inthat family. about thefamily, andwhere you stand inrelation about you, butinaTorres Strait household,it’s all to just focus onmyself. Asateenager everything is the training took me to aplacewhere Iwas able because ittook meoutofbeingpartthepack— was prepared to pay theprice.Iloved that running rule; Iknew what theconsequences were, andI stopped me.Iunderstood that Ihadbroken the the intensity ofDad’s own fear… butnoneofit at night. Theintensity came from oftheflogging deeply fearful for thoseofuswhomight disappear received death threats onthefamily andhewas of Dad’s came from floggings the fact that he’d But later Ilearnedthat thereason for theintensity because I’d arrive home after thesun went down. by thetimeI got homeIknew I’d cop aflogging an athlete was training—I’d finishtraining late, but state insprinting. Oneofthedarksidesbeing daily basis. compartmentalising my life, butIdealwithitona space? and“Where’s have thetime?”—I difficulty out anddealwith—Iaskmyself “Where’s the history right down to my grand-childrens’ to sort since Iwas 6months old.I’ve got MumandDad’s after having moved outoftheplaceI’ve lived in keep mebusy. I’m to alsotrying make anew home with juveniles who’ve come outofincarceration all family andchildren andthework I’m doingnow texts orseekingagreements orconsultations with to dance,to create imagery, to produce written able to take on.Iget somany emailswithrequests I have to regulate what Igive outandwhat Iam wear many hats—my wall iscovered withhats. At themoment I’m working inarange ofways—I racing. had showed mehow to go aboutit,Iwas offand paintacrylic onto canvas, butoncemy teacher Atit. first, I was frozen withtheprospect ofputting doodles andaddedcolour andIjust have funwith name doodledreaming started asadoodle—that’s why I’ve taken on the the first timeI started workingwithpaint. Myart after theactivities,soIhad tolearn; that was happy iftheirkids’clotheswere covered inpaint asabusiness.Itook my

Artists’ Stories and Artworks| Gail Mabo 127 128 come home”. arrive thereIknow I’ve Murray Island. WhenI I’mconnected is which that Idon’town, butto move on...Theplace bags before thenand your to pack choose you leave, oryou can when your timeisup this spacefor awhile— We’re onlyinhabiting water—across Country. to guidethemacross who usedthosemaps and to my forebears connection to my Dad— mapsarea My star come throughmy work. “My spiritualbeliefs

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130 Gail Mabo Gail Artworks| and Stories Artists’ learn that artjust oncanvas. isn’tacrylic Itcan take many forms. of mediums—Idothat because Iwant to show others whoare willingto listen and arena—I feel that I’m still learningwhoIamasavisualartist. I workacross anumber us together interms offindingoutwhat eachotherare doing.It’s nota competitive and accessto othercreatives, itenrichesourlives. Umbrella isaplacethat can gather diversity ofpeople. Given that it’s aplace where we can get accessto tools andspace moments. Umbrella isgood because it’s community based—anditshowcases the During theStrand Festival the strand isfloodedwithart,butthey’re onlyfleeting are working onwalls around town andthere’s muchmore publicworks incar parks. They have, to apoint. There’s anincreasing pushfor artto beseen—now graffiti artists extent? designers, artsworkers, volunteers) have shapedthelocal community? To what Do you thinkthat galleries andtheartistic communities aroundthem(theartists, high humidity—Townsville isnotashighhumidityCairns.Iprefer here. Depends onwhether you prefer andcrunchy dry to green andlush.Green andlushhas what kindofbenefits are there? And where dotheotherchallenges lie?Butare thesechallenges worthwhile? And how thistown develops. think—at theendofday, artshouldplay amuchgreater role inthedirection of of asay inthedevelopment oftheplace—to change thedynamicsofhow people At themoment Townsville ismore sportbased,butwe needto have artists have more What might make itdifficult? my grandmother’s sideIhave aconnection to Palm Island. art we can show connection to Country. Mymother’s connection is toInghamandon there hasto beanacknowledgment that Indigenous People were here first…. Through in. Butwhat strikes measakey difference isthat underneath allthesesurface changes they change andmove ontoo—they change like thesanddoeswhentide comes like shiftingsands—differentit’s people comein, move out; thesamewithopinions— is home—that’s where Ifeel Ishouldbe.Mychildren are still in Townsville. Placesare generates astrong andthefeeling poolofmemory ofbelonging.For meMurray Island here—childhood memoriesthat make upwhoyou are asanindividual.For methat with it—Idon’tdependonGoogleMaps.Lotsofmemoriesare connected to places but Imight not,either. Ilike itbecause Iknow exactly where everything is—I’m familiar gravitated backhere. Now that I’ve donemy childrearing, Imight move away again... Being bornhere isoneofthereasons I’m still here—I moved away for a while,butI In what way istheplaceyou’re livingdifferent to other regions you’ve experienced) come home. own, butto whichI’m connected isMurray Island.When Iarrive there Iknow I’ve But aplacedoesn’tneedto own you either. Unlessyou let it.Theplacethat Idon’t bags before thenandmove on. space for awhile—whenyour timeisup, you leave, or you can choose to pack your those maps to guidethemacross water—across Country. We’re onlyinhabitingthis my work. Mystar maps are aconnection to my Dad—and to my forebears who used learn alittlebitmore aboutthebeliefs ofa person. Myspiritualbeliefs come through Like allartists, to engage in conversation—to create discussion—to allow people to What istherole ofyour work? Place iswhere you feel comfortable—where you feel at homeandwhere you belong. Place matters. multi-national conglomerates (Facebook; Apple;Amazon; Netflix; Google etc.)? has beendissolved by socialmedia,international marketing andtheonslaught ofthe Do you thinkplacestill matters…or do youjust thinkthat theimportance ofplace a positive outcome. creatives doing collaborative work,theenergy is goodwhen we’re all working towards ties and connections towhat Ineed todo.Ithas to feelright tome.When I’m with galleries, butit’s more important for meto follow my own path—my own ancestral works, sobeit.Butthat doesn’treally worry me.IfI’m inacapital city, I’llvisitart Art’s anindividualthing—ifsomeartists thinkthey have to be stimulated byother Do you thinkit’s important to ‘get from theregions andcome out’ backinagain? We don’twant to get involved. too afraid oflitigation—so therefore theblinds are pulled down. Weturnablind eye. mucked up,they’d pullyou up.Butnowadays we’ve allbecome too Americanised— neighbourhood was aneighbourhoodwhere peopleknew whoyou were, andifyou When Iwas growing upthere was more appreciation ofpeopleasindividuals—a How doesitfeel now? each ofthemto return abetter person. don’t want to know abouttheirmistakes whenthey go away—I tell themIjust want baggage ofthings—themore you make mistakes, themore you learn.Itell my kidsI But what doestrouble do?Itteaches you to beabetter person. We all come witha of my family live here. Andwhat dofamily do?They to try keep you outoftrouble. When Iwas growing upIwanted to get outofhere. Why? Because too many members Did you ever envision yourself livingandworking inaplacelike this?

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132 Gail Mabo Gail Artworks| and Stories Artists’ Photos: RachelCunningham (left), Colin Langridge (top-right andbottom-right) always withus—whoalways guideus”. shadows are like theancestral spiritsthat are shadows itcasts. “For me”says Gail,“these powerful presence isextended through the Although thisinstallation appears minimal,its plant, whento hunt andwhento move on”. is acelestial calendar that tells uswhen to sits. “For we Torres Strait Islandpeople, constellation withinwhichtheSouthernCross journey”. Tagai sky—the onewe follow to leadusonour “For us”, shesays, “Tagai forgotten”. travelling—guided by thosewhotimehas ghost ship”,“The shesays, “isonethat keeps kind ofskeleton sailonaghost ship. sail. Therefore, thewoven ropes represent a a structure that would otherwise have beena light ropes that, for her, represent thelines of then began aprocess ofweaving astream of whispering through from underneath. She over thetext to leave theoriginalwords Tasmania. Gailchoseto literally ‘whitewash’ entries whenhetravelled to Hawaii and in handwritten script detailing Cook’s diary Greg Lehman.Lehmanhadcovered theboat produced by Tasmanian Aboriginalartist chose to useaboat formerly usedinartwork For herwork Journey (Tagai) Artist Statement (2020) (2020),andBurnieRegionalArt Gallery ArtGallery (2019), Lismore Regional (2020),Riddoch Gallery Installation at Umbrella StudioContemporary Arts Whitewashed boat, rope, andshadows | 2019 Journey (Tagai) Gail Mabo is alsothenamefor the is thespiritin , GailMabo Tagai

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134 Aris Prabawa Aris Artworks| and Stories Artists’ artist who was partofthe Aris Prabawa arrived inAustralia in2002.Asan PRABAWA ARIS of Indianpopular musicwithastrong senseof play guitar. Jazz,local pop and influence, andduringhighschoolhelearned to Throughout thistime,music was alsoa strong his own hometown. some ofthemwere already living alongsidehimin to study inthe artschoolwiththe‘greats’, when back, Arisreflects onthe fact that hisdream was contribution to Indonesianmodernism.Looking he was unaware oftheimportance ofDullah’s that was partofAris’local beat. Yet at thetime a contemporary ofAffandi, ran anartshop,aplace European ‘greats’. InSolo, anartist named Dullah, artist heroes like Affandi andRadinSalehas wellas modernists that includedthelikes ofIndonesian increasingly aware oftheworks ofIndonesian Throughout hishighschoolyears, Arisbecame Mr. working withMissPat. Squiggle, muchlikeoff theirsquiggles, theAustralian icon, program, Tino Sidinworked withchildren to finish influence onhisdevelopment. Aspartofthis local comic bookartist TinoSidin was a strong children’s television serieshosted anddriven by encouraged by hisuncle.Whenhewas a young, was always interested indrawing, guidedand is theyoungest offive brothers, andasachild Indonesian Institute ofArtin Yogyakarta. Aris began theprocess ofapplyingfor adegree at the draughtsman anddesigner. Duringthat time,he 1994 to work inascreen-printing businessasa Aris was borninSolo, andmoved to Jogjain metres) inoneofthemainstreets. an enormouspainted banner(approx. 8x9 at theAdelaideArtsFestival, where they erected was involved withthegroup’s exhibition that year Taring Padi dang dut group, he

—a form punk bandcalled the course. Duringthat time,Arishad formed a but heleft after three years before completing also enrolled inpainting andsculpture classes, At artschool,hemajored inprintmaking andhe education. cultures—were earlyinfluences inhismusical percussion that runsthrough themusic ofmany contributed to his decisionto leave thecourse, sense ofresponsibility to thework heproduced his own professional exhibitions at this stage, his they deserved. Althoughhewas already holding visual artstudio subjectstheattention hethought and ofthebandmadeitimpossible to give his business, andgradually, thedemandsofwork employment asdesignerwiththeprintmaking continued to supporthimself through his Throughout hiscandidature, Arishadalso connecting spirit. community together inasenseofsupportive for provocations’ sake, butasa way ofjoiningthe to speakoutfrom, notinterms ofprovocation a multiplicityof street actions.They usedthe stage collectives that formed around it were involved in energy ofthesetimes,where thebandand the Suharto regime. Arisrecalls thefront-line the violenceandcorruption that characterised encouraged to speakupandoutagainst broader agenda where audiencemembers were music; thethree-piece bandformed thecore ofa The performances were notjust aboutplaying corruption, militarism and violence. the pro-democracy movement protesting against was becoming increasingly identified aspartof that surrounded theartschool,but There was astrong punk scene inthecommunities friends. Thebandsteadily grew inpopularity. Black Boots with three artschool Black Boots with political But we struggle. weren’t like that hadargued artists should concern themselves 1950s and60s, thePeople’s Cultural Organisation us withthecommunist LEKRAmovement from the divided sceneinJogja,where sceptics compared that artshould beinvolved inpolitics.It was a “We were also attacked by artists whodidn’tagree detractors. Hesays, But asArisdescribes,themovement hadits collective energy to make demands for change. collaboratively by massive woodcuts; driven by the army. Many ofthestreet posters were produced as weapons against theviolenceofpoliceand huge street puppets that were at timesalsoused evacuated buildingsto make massive banners and The group formed organically—they usedthe street action. commitment to socialchange through artand and activists came together through ashared artists, butwriters, poets, musicians.performers Taring Padi such acontribution to the reformation movement. Suharto through theirartandactivismthat made contribute to thedemocracy movement against audience members decidedthat they wanted to squatting artschool students andtheirfriends Padi of squatting that lasted afull five years. They occupiedtherooms andbegan aprocess and collaboration, gathered together to protest. role asagathering point for communication about thehistory ofthebuildinganditscentral performers andsupporters whocared somuch and alumnimusiciansinterdisciplinary to anotherlocation within Yogyakarta, students announced that itwas moving theArtSchool him to continue. In1998,whenthe government even thoughhislecturers were encouraging was bornduringthat time,whenagroup of was mostly comprised ofvisual Taring “I was anactive memberof in relation to their own problems”. mediums through whichpeoplecould raise issues where we usedartandmusicto create positive a range ofgroups includingfarming communities by collaboration and consultation; we worked with skills ofprotest through consultation. It was driven making skillsandalsoteaching themthe collective community interms ofteaching technical art- rights. We were successful in bringing artinto the that—we just wanted to speakupabout human Australia in2016”. in Indonesia;we have three albums, andtoured twenty years. It’s thelongest runningpunkband for my band also played solowhileIcontinued to write songs I continued to make artand work on my music.I “During that timeI worked ina range ofjobs while moved together to theNorthernRivers”. stay inAustralia to explore thepossibilities,so we went homeafter two months Idecided would Southern Cross University, andwhen my two pals exists. Jadehadbegunacourse innaturopathy at stay for anentire year—something that nolonger At thetimeIhadacultural visathat enabled me to invited meto live andwork withherinAustralia. squat, andover thecourse ofthat year Jade language inJogja in2001.We met duringthe partner Jade,whohadbeenstudying artand artists from Taring Padi Iarrived“When inAdelaidewiththeothertwo owned theland),Iwas already inAustralia”. (who owned thebuilding)andSultan (who they finally were kicked out by the government art buildingslasted five years, but by 2003,when four years; theentire squatting processintheold Black Boots , Ihadalready met my , whichisstill playing after Taring Padi for around

Artists’ Stories and Artworks| Aris Prabawa 135 136 becoming”. am andwho Iam out aboutwhere I exploring andspeaking way of protesting, asapositive I useart for other. each support through theirsenseof become stronger of newcomers who ofacommunity part and Ifeel like Iam “I live herepeacefully,

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138 Aris Prabawa Aris Artworks| and Stories Artists’ who Iambecoming”. way ofprotesting, exploring andspeaking out aboutwhere Iamand through theirsenseofsupportfor eachother. Iuseartasapositive like Iampartofacommunity ofnewcomers whobecome stronger abound here, they don’tscare me.Ilive here peacefully, andIfeel local cultures. Even thoughracism andsuspicionsofsecuritymight “It’s anexpression ofmy own life here asIget more knowledge of capable ofwelcoming andsupportingthosewhoare coming here. feeling ofbeingwelcomed by acommunity—a landwithabigheart from hispersonal experiences oflivinginanew place.It’s aboutthe For thisexhibition Aris’ work aboutnewcomers to a country draws says. in thecity, butwhenIgo into placesofnature Ifeel connected” he sense ofconnection he feels inJogja.“I’m not comfortable living energies that keep thisplacealive. It’s nottoo different from the Australians here, hewas ableto better understand thespiritsand particular placeshelives. Andwhenhe connected withAboriginal Indonesia, heisdrawn to theidentification of local spiritsinthe fundamental core ofhow we relate to theworld around us.In communicate, itisthenature ofparticularlocales that lie at the Aris believes that althoughmediamakes adifference to how we both Lismore andJogjakarta, where hisspiritualenergy lies. in differing directions. Aris says that now hissenseof‘home’liesin Padi working ondeveloping anotheralbumwithhisband.Hequit his Indonesianfamily, hisbandandfriends,heiscurrently an annualbasis.Whenhereturns home,hemakes contact with and Ariscontinues to move between Lismore andJogjakarta on Aris andJadenow have two children—Django (11)andLoretta (7) the scale andimpactofthework, even after allthese years”. original wall, andhow even Director theGallery was surprisedabout from behindtheboard that hadbeenlaidover thetop ofthe mural ofthework he’d produced allthoseyears ago was revealed particular pleasure how somany people were surprisedwhenthe spirit meant that thework itselfbecame stronger. Herecalls with to stop thespiritofthosedays—of how fund-raising andcollective phases ofhislife. Heremembers how thelackoffundingdidnothing provided thememoriesthat bore thescars ofsomany aspectsand It was awonderful thingfor Aristo return to abuildingthat had works. Apreview videooftheexhibition is available on Youtube. works from over aperiodoftwenty years, atotal ofeighty-eight exhibition, andso together they decidedona retrospective including arts festival inBali. For many years Herihadbeensuggesting asolo annual festival inJogjakarta, andthecreator ofArtBali,anannual arrived ontheinvitation ofHeri Pemad, theDirector the ofArtjog, years ofachaotic family birthday duringtheSuharto Regime. Aris still hasaninkmural heproduced in1999duringthesquatting iteration astheJogjakarta National Museum.Oneofthe rooms In 2018 Aris returned to his former squat and art school in its current five years ago whenhe felt hisideasandactivities were moving Taring

Artists’ Stories and Artworks| Aris Prabawa 139 140 Photos: Vanghoua Anthony Vue (top-right andbottom-right) andBrett Adlington (left) being anon-white newcomer to thisplace. hull oftheboat represent thisdarker aspect of here inAustralia. Thefigures lurkinginthe and racism from policeandborder security I have however alsoexperienced suspicion children have been born. roots that anchormeto thisplacewhere my they represent shelter, protection, andthe me by my local community here in Lismore; the great kindnessandgenerosity shown to reunification. The native trees represent they are moving for work, orfor family because they are fleeingviolence, orbecause to joinmy Australian partner;for others itis place for avariety ofreasons. For meitwas represent themany peoplewhocome to this being anewcomer inthisland.Thefigures This artwork reflects upon my experience of animals. and theabundanceofbird life andother natural beautyoftheNorthernRivers area flood!). I feel nourishedandinspired by the when my homewas inundated by the2017 Wilsons River reminds meofthis(especially regularly flooded—living inLismore by In Java Igrew upby abigbrown river that colonial history. Australia andtheongoing impactsofits only more abouthislife butalsomore about and theprocess helpedmeunderstand not collaborated onanartwork together in2004 come to Lismore from faraway places.We recognising ourcommon experience ofhaving stories, drinkingtea, enjoying silences,and were comfortable sitting around sharing resonated withmy Javanese culture—we felt at easewithThomasashisway ofbeing of doors down from my houseintown. I originally from CapeYork, wholived acouple when Imet Thomas,anAnguthimriman My senseofconnection developed further of punks, activists, artists, andmusicians. In Lismore Ifound afamiliar community of connection to place. Lismore in2003that Istarted to feel asense Indonesia. Itwasn’t until I came to live in In 2002Imoved to Australia from Java, Artist Statement Burnie Regional (2020) ArtGallery (2020),and (2019),RiddochArtGallery Gallery Mixed media|Installation at Lismore Regional 2019 Shadow onBigHeart Aris Prabawa

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142 Brian Robinson Brian Artworks| and Stories Artists’ time inBrisbane working as atrustee at QAGOMA a range ofprojects—and I’ve spent bigperiodsof Noumea, theSolomonIslands, New Zealand for hopping through thePacific—over to placeslike Over thelast eight to ten years I’m often island- around thecountry andthroughout thePacific. sometimes even several months inotherlocations I travel quite abitnow andspendweeks and continue to draw from. slowly started to buildthevisualvocabulary I art, to Renaissance artandthat kindofknowledge on allkindsofsubjectsfrom graffiti toprimitive lunchtime andspendhours lookingthrough books regional gallery. I’d disappearinto thelibrary at was really driven by mewhenIwas later at the the historical understanding Idraw from now majority of the art classes were practically based— to fifteen femalesandI was theonlymale.The the subject.Inyear 12there were abouttwelve art classesIwas oneofthefew malestaking professional career. Inmy andhighschool primary was no-oneIknew whowas really doingitasa profession—I knew peoplewhodabbledbutthere I didn’tconnect artwiththeideaofanongoing that interested meandaway Iwent. Growing up out theclosest magazine orcomic withimages kitchen table drawing for hours onend.I’d pull bits andpiecesoflandscape—or I’d sitat the around theislandwithasketchbook anddraw artistically inclined from anearly age—I’d go I was growing uponThursday Island,Iwas always Diploma ofVisualArtsat theTAFE college. While 1992. Imoved here to undertake theAssociate moved to Cairnsafter finishinghighschoolin I was bornandbred onThursday Islandand experienced) (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? ROBINSON BRIAN Torres Strait—which Istill thinkof at home. a fringe dweller inbetween themetropolitans and of my work. SoIguess I’m at themoment abitof shells—the traditional materials that Iuseaspart woven cocoanut mats, cassowary feathers, cowrie don’t have easy access to thingslike, for example, Because I’m notlivingintheIslandsany more, I Where dotheotherchallenges lie? easily flat-packed. I’m working towards sculptural work that’s more Print basedwork iseasy to move around, butnow a childifyou needto) ishighontheprioritieslist. rapport withlocal freight companies over (giving they come every couple ofmonths, andbuilding art shuttlerunsare coming through the region— planning interms ofknowing whendedicated moving stuff around the country requires careful artwork. I don’t really create a lot of small work, so access opportunities for thesaleandpromotion of a majorproblem, andtheneed to get away to southern suburbs inWhiterock, butfreight is I’m aboutten minutes from thecity—oneof What might make itdifficult? creation ofartwork. connection is still what I’m drawing from forthe in theocean,andthiskindoffamiliarity and spent my divingandhunting childhoodswimming, feels theneedto stay connected to environment. I front ofthehouse—soit’s perfect for anyone who is right at thebackdoorandreef isright in working special—at themoment therainforest environment iswhat makes thisplacewhere I’m But for methedirect connection with thenatural Art). ofModern andGallery (Queensland ArtGallery Director, Exhibitions Manager until 2010.I worked Curator, thenmoved to thepositionofDeputy fourteen years working asExhibitionsOfficer, then 1997 underAlice-AnneBoylan. Ispent thenext an intern curator at theCairnsRegional in Gallery work andarange of odd-jobs before starting as from artschoolIdid ayear ortwo ofconsultancy go from artschoolandlet things unfold …and have any preconceived ideas—Ijust thought I’d the mediayour world starts to broaden. Ididn’t experiencing otherworlds through television and access offthat island was by dingy. Butas you start no world outsidetheTorres Strait andtheonly As ayoung fella itseemedasthoughthere was in aplacelike this? Did you ever envision yourself livingandworking elsewhere. in contemporary developments happening out, andbringingnew stuff to sparkinterest region through getting touring exhibitions have aninfluence over artistic practiceinthe region for anumberofdecades. Thegalleries of artsworkers whohave beendrawn to the I thinkthey have, andthere are ahighnumber community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkyour galleries andtheartistic only ashorttwo-hour planetripto get backhome. access to almost allthematerials Ineed,andit’s of themainportsinto thecountry Ican get ready these stories inotherways. AndasCairnsisone now I’m usingcontemporary materials to express bring meaccessto traditions andmaterials but Yes Ithinkso—going backto theIslandwould kind ofbenefits are there? But are thesechallenges worthwhile? Andwhat is opento question. authentic experience. Whether that’s trueornot between peopleandplacecan result inamore sense that theart that comes from thoselinks Aboriginality haswithplace—and there’s alsothe a lotofwork that connects backto the links especially interms ofIndigenous art.There’s really creative work beingproduced inthe regions, produced intheregions. Ithinkthere’s alotof in metropolitan centres lookingat what’s being More recently there’s definitely beenanincrease Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the fabrication companies. of weather conditions so for that I work with Safety requirements anditisexposed to arange the outdoor stuff requires strict Healthand art was produced completely inmy studio, but is fabricated elsewhere. Lotsoftheearlypublic And thenthere’s thepublicart,muchofwhich sculpture—both freestanding andwall-based. printer to dothefinalprints. I’m alsoproducing etch theplate orcutthelinoandgive itto alocal lino printmaking that Iwork oninmy studio. I I’m currently producing alotofrelief, intaglio and How doesit feel now? canoe-shaped vessels. featuring sixlarge wooden shieldforms basedon Convention Centre—it was a wall-based work public artcommission was in1998at theCairns especially withthedemandsfor publicart.Myfirst years after leaving the hasbeenfullon— gallery has beenconsumed by art,butthelast eight since leaving TAFE (Tertiary andFurther Education) any leave Itook from thegallery. Myentire life on my own artat night, onweekends andduring

Artists’ Stories and Artworks| Brian Robinson 143 144 creation of artwork”. creation of I’m drawing fromfor the what connection is still kind offamiliarity and the ocean,and this diving andhuntingin swimming, childhood the house...Ispentmy reef isrightinfrontof door andthe the back the rainforest isrightat special—at themoment where I’mworking what makes thisplace natural environment is connection withthe “But for methedirect

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146 Brian Robinson Brian Artworks| and Stories Artists’ to beahermit. productions, Ilike to pullinto my shellagain—I like at exhibition openings or to oversee publicart I get backto thestudio after beingoutandabout know thoseavenues andframeworks exist. When work—I’m quite aprivate person, but it’s good to away from what I’m here to do, whichiscreate media savvy, andinfact Iavoid it,because ittakes relationships for alotofpeople.ButI’m notsocial be agood way ofbuildingonthosecontacts and and contacts more accessible,anditseemsto for. Socialmediamakes distant relationships always happenasefficiently as youmight wish frameworks acrossthe country, it doesn’t although I thinkit’s definitely important to buildthose relationships? How important are region-to-region contact and your visualstorage bank. able to have locally—it allbecomes investment for have experiences that you wouldn’t be otherwise I thinkit’s good to experience otherplacesand back inagain? Do you thinkit’s important to ‘get andcome out’ dugong that we allcrave. crayfish andalsoincludespecialtieslike turtleand the Torres Strait; they’re usuallyfull offishand sent down from family members wholive in markets. Every sooften I get anEskythat’s been whole host oftrawlers that sellat thelocal fish place isdotted with farms. Andthen you have a tropical fruits,potatoes, arange ofstuff—the markets that are stacked withlocal produce— towns around Cairnsthat runalotofunique in Cairnsaswell asinarange ofsmallerregional thriving local produce market every weekend both trucking increases prices.However there’s a metropolitan areas to theregions andthat transport theirproducts come from the Generally not—alotofthelarge food chains Is itcheaperto live intheregions? lessons that were partofthat entire cultural story. patterns andclusters andlanguage and thedance connections withtheseaandcurrents, of star creation and myths tales basedonour very strong Torres Strait where Ilistened dailyto elders recite attending Catholic masswithina community inthe Noah’s Ark that camespent along with a childhood of theBible—bigepicslike AdamandEve and All thesestories were woven through thestories Phantom comics, sci-fi, Steven Kingand Dr. Seuss. time. AsachildI read Jules Verne, Marvel comics, pretty muchjust telling my own story—of my own connections withaspectsofarthistory. IguessI’m other mythologies andhow they have parallel Strait butalsofrom personal thoughts andfrom of different stories—not onlyfrom the Torres individual works are layered with awholehost a range ofstory-telling genres... sometimes basis for alotofthework Icreate comes from story telling witha slight twist… the underlying I guessseeitasanextension ofIndigenous What doyou seeastherole ofyour work? take thebook. so influenced by popularculture. ButintheendI’d because ofthekindwork Icreate—a lotofitis by that kindofstatement coming from me, thinking that somany peoplemight besurprised movie would. Althoughinsaying that I’m already take you far deeperinto that experience thana reading abookandwatching amovie—a bookwill in narrative. It’s abitlike thedifference between I grew upwith.I’m astory teller—I’m interested family andplace—thosecultural experiences that think I’d always needto re-charge withhomeand can seemyself dragging my stuff elsewhere, butI to make artIcan seethat itwould bepossible—I there are different. IfIhad to move elsewhere thing is,theexperiences whenyou’re actually onslaught ofmediaimages ofelsewhere? The access placesintheworld soeasilythrough the Hmmm... isplacesoimportant whenyou can Amazon; Netflix; Google etc.)? national conglomerates (Facebook; Apple; marketing andtheonslaught ofthemulti- been dissolved by socialmedia,international just thinkthat theimportance ofplacehas Do you thinkplacestill matters …ordo you

Artists’ Stories and Artworks| Brian Robinson 147 148 Photos: RachelCunningham (top) andAngela Little (bottom) Saibai andBoigu. goods from thelocal Islandstores particularlyon money. Thismoney isthenusedto purchase drums, feathers andbaskets, whichthey sellfor continues today. They bringwiththemmats, Trade between coastal Papuan villages still painting anddecoration andhardwood spears. the AboriginalsofCapeYork came red ochre for were obtained from Papua New Guinea.From and bird ofparadise, boartusks andcanoes Items suchasarrows, feathers from thecassowary great extent seafood was traded for garden foods. islands where gardening was notcarried outto a was animportant item ofexchange; onthose volcanic Eastern Islandswas alsotraded. Seafood and axes. Stone from someoftheWestern and pendants, necklaces,breastplates, water carriers trade goods. Thesewere madeinto ornaments, including turtle-shellwere usedby Islanders as skull. Aswell asskulls, shellsofallshapesandsizes One oftheIslanders’ majortrading items was the New Guinea]orZey DagamDaudai originated ineither middlemen inthemovement oftrade goods that the Torres Strait. TheIslanders were the Trading was alsoextensively practiced throughout Canaan, Greece, Egypt, and Africa. glass, ivory, gold, spicesaswell astreasures from of exotic cargo suchas raw copper, ceramic jars, 15–16 metres inlength were carrying 20tonnes centuries BCsmallMediterranean cargo ships 1st millenniumBC, andduringthe 14thand15th practice to bewidespread by thebeginningof evidence of history andarchaeology shows the mention the carriage ofitems for trade—the The earliest records ofwaterborne activity navigation and canoe buildingflourished. that ofthePacific, itisnotsurprisingthat skillsof the importance oftrade insuchadiverse area as to thesurvival of one’s wholeway oflife. Given others, to make matches—indeed, to contribute amongst one’s own people,to forge allianceswith goods—it isalsoanopportunity to gain kudos greater significance thanthesimple exchange of and trading objects.Trade inany culture hasmuch ocean as a source not only of food but also of tools seaboard andmainlandpeoplesdependent onthe The vast Pacific Oceanispopulated withmany Artist Statement Umbrella StudioContemporary Arts(2019) cane, feathers, shells,andtwine|Installation at enamel spray paint, beads,plastic skulls, dowel, Wood andfibreglass punt, palight plastic, timber, 2019 Barter andTrade -Exotic cargo Brian Robinson Naigai DagamDaudai [Australia]. [Papua

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150 Obery Sambo Obery Artworks| and Stories Artists’ not onlymy own cultural practices, but alsothose future I’llbeableto establish avenue to showcase marketing andpromotion andhopethat inthe skills. I’m currently intheprocess ofdoingmy own replacement armthrough whichto showcase our down to badmanagement, butthere’s beenno Cultural Centre isnolonger inoperation. Itclosed expressions across to broader audiences,asthe get thepromotion andmarketing ofourcultural Currently, asaTSI artist livinghere it’s hardvery to What might make itdifficultlivinghere? there. Murray Island,whoteaches at school theprimary my MumandDad—my Dadisacultural elderon schooled inallthosecultural expressions through ceremonial dancingandperformance. I’d been Centre asked mewhether Icould alsoperform Centre. Itwas duringthat timethat theCultural me how to make, andsellingthemintheCultural and traditional objectsthat my Dadhad taught Cultural Centre, soIstarted makingsmallcarvings When we first moved here I found outthere was a Torres Strait IslandCommunityhere inTownsville. Light—is very important to us,andthere’s abig also beschooled.Ourreligion—The Comingofthe raise ourchildren inachurch environment and We madethemove to Townsville sowe could moved to Townsville in1995. we went to live onMurray Island,andthenwe Thursday where Imet my present wife. Together and FurtherEducation) training; thenI returned to Adelaide for two orthree years for TAFE (Tertiary until I was twenty-one. Ilater left to move to I was bornonThursday Islandand lived inMackay experienced) metropolitan area/to otherregions you’ve What makes where you live different? (to a SAMBO OBERY into thepublic’s view. there’s nolocal framework for bringingtheirwork think aboutouridentity. And yet, at themoment, have significantly changed the way allAustralians other TSI andAboriginalartists inthe community, community ofAyre. Theseartists, alongwith who’s aTSI artist whohada inthesmall gallery Gail whoisalsoanartist, alsothere isAicey Zaro a resident ofTownsville—and hisdaughter Auntie We have leadingfigures like Eddie Mabowho was community? To what extent? arts workers, volunteers) have shaped thelocal communities around them(theartists, designers, Do you think your galleries andtheartistic get lost. celebrate andpractice thosetraditions before they are andwe urgently passing, needavenue to Island community isthat somany oftheelders The really crucialthingfor my Torres Strait cultures. Aboriginal, Torres Strait Island and a range of other cultures onoffer in Townsville—Australian happen, andyet there’s awealth ofdiverse even astage onthebeachwhere thiscould performances andentertainment. There’s not place, orasashowcase for traditional foods, potential venue for markets, orasameeting nothing iscurrently madeofthelocation asa We have abeautiful strand in Townsville, but these challenges worthwhile? Where dotheotherchallenges lie?…andare Queensland—not Cairns. visitors. After all, Townsville ISthe capital ofNorth work notonlyto Australia, butalsoto overseas for this,asthere’s novenue to showcase our of otherTSI artists. Townsville isanideallocation damper andscones. Buyingaffordable vegetables we supplemented with rice andsometimes with go fishing. We extended meals into fishsoupthat feed my family andwhenthegoing gets tough, I responsible. I’ve worked at anumberofjobs to children under the age offourteen for whomIwas in thefamily Ihad anextended family ofeleven As aresult ofprevious marriages andadeath that stops outsidemy house,sothat allhelps. Mundingburra—I have local shops andabus My location in Townsville iscentral—in Is itcheaperto live intheregions? develop into strong contemporary expressions. example ofhow ourculture hascontinued to appropriate that my work is there too, asan anthropological collecting trips, soit’s particularly our artefacts were taken duringthe1800sthrough United Kingdom. Thisiswhere agreat many of the Cambridge Anthropological College inthe representation isthe collection of my work by touring exhibitions. Apinnacle to thisinternational Canberra aswell ashaving beenpartofoverseas Art) andtheNational ofAustralia Gallery in ofModern andGallery (Queensland ArtGallery purchased by majorcollections like theQAGOMA I’ve beenfortunate that my artwork hasbeen traditional dance,songsand story-telling. And North Queenslandaswell asinterstate, through to allkindsofcultural expressions throughout I’ve beenluckyenoughto have beenexposed Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the need to doitsoon. the meansto supportitthat’s crucial.Andwe but it’s aboutsearching for that hopeandfinding Right now, it feels like there’s hopefor theregion, enterprises. multi-cultural communities asa core partofthese my family andmy local AboriginalandTSI and with thebroader community—and to involve area ofpractice andthrough holding workshops to teach TSI culture aswell ascontinuing my own Yes Idid—itwas always my dream andpassion in aplacelike this?Andhow doesitfeel now? Did you ever envision yourself livingandworking Bindal andWulgurukaba tribes. traditional owners oftheland—theBirrigubba, Mt. Isaandupto theCairnsarea. They are the from theMackay area allthe way west asfar as they exhibit includeDreamtime stories that extend suburb ofGulliver into agallery space.Theworks one oftheoldQueenslanderstyle homesinthe they’ve currently converted aspaceunderneath Townsville—they don’thave acentre either, so There isanAustralian Aboriginalartist group in matter. labour—in thearea. Place—andhistory—always tied to thehistory ofblackbirding—or indentured Townsville was named—amanwhosenameis there’s amonument to Robert Towns, after whom unique. Ontheotherhand,incentre ofcity as celebrations ofwhat hasmade thisplaceso should definitely bemarkers ofthisonthe strand culture—is indanger ofbeingforgotten. There as oneoftheTSI and Aboriginalheartlandsof point where thereal importance ofTownsville— to issueslike infrastructure andbuildingto the every three orfour years, allthefocus hasmoved after him—butwiththeelectionsof new Councils of Grandad Eddie Mabo—thelibrary isnamed important for marketing, because thisisthehome In away place—thisparticularplace—is very Amazon; Netflix; Google etc)? national conglomerates (Facebook; Apple; marketing andtheonslaught ofthemulti- been dissolved by socialmedia,international just thinkthat theimportance ofplacehas Do you thinkplacestill matters…or do you families. are always schooledincultural matters by their and make sure that allthegenerations ofchildren continue to hold, regular festivals andcelebrations through region-to-region networks. We held,and industry. From that point on,TSI culture grew were partofthecane industry andtherailway moved insearch ofwork to regional locations that invention ofplastic buttons. As a result,people when thepearlingindustry closeddown after the regional areas were inhabited by TSI communities Very important—because somany ofthese relationships? How important are region-to-region contacts and right ways. better ourmeansof exposing ourculture inthe ideas ofhow to have ourvoices heard andhow to in theoutsideworld—to come upwithbetter to gain amore informed ideaofwhat’s happening The reason Ilike to travel andcome backagain is back inagain? Do you thinkit’s important to ‘get andcome out’ culture. grandchildren I’m ableto teach intheways ofTSI in highschool,andat themoment Ihave nine of theirown; onlyfour ofthemare currently those children are grown adultswithchildren grow cassava andbananatrees. Now most of was often alittlemore difficult,although wedo

Artists’ Stories and Artworks| Obery Sambo 151 152 matter”. and history—always in thearea. Place— indentured labour— blackbirding—or of to thehistory whose nameistied was named—aman whom Townsville Towns,to Robert after there’s amonument the centreofcity the otherhand,in place sounique.On what hasmadethis as celebrationsof of thisontheStrand definitely bemarkers should “There

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154 Obery Sambo Obery Artworks| and Stories Artists’ Photos: Sambo Obery another man’s property. Malo doesnoallowhisfeet to trespass on Malo doesnottrespass Meaning: MALO TETERMAUKI MAUKI MALO TAG MAUKI MAUKI MALO’s Law says, consent onanotherman’s property, honour sothat there isnotrespassing without Law giver) ofMer. That isto respect and in parallel to thelaws ofMaloBomai(God/ The spiritshave apartnership role that works death. trespasser’s bonesat almost to the point of canopy, withtheintent ofbreaking the throwing him/herto theroof oftheforest tornado that would carry upthetrespasser, have control ofthewindto execute amini terrible beating almost to death. Thesespirits at thehandoftrespasser, whichincludes Once confronted by thisIb,terrible fate lies taboo from foreigners to trespass. Its role isguarding particularareas that are spirits alongwithotherlive. Izib isalocation intheIslandwhere these Island). the thickrainforest (sau)areas ofMer(Murray The IbisaLamar(spirit)that survives itselfin on theIsland. ownership ofcertain particulartribalgroups protecting landsandboundaries, respecting This maskrelates to partnershipping roles of Artist Statement Mixed media 2020 Ib Nog(IzibGe) Sambo Obery

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156 Damien Shen Damien Artworks| and Stories Artists’ with Robert Hague with Robert decision to buildup a bodyofwork andtour it get sometraction for my practice. I’d madethe place, andpartlydueto my initialenthusiasm to was alarge seriesofwork around genealogy and due to theuniversal themeofmy first project that South Australia fairly quickly. Ithinkitwas partly Fortunately, interest inmy work developed across experience to bringtheirstory to life. one ofmy key aimswas to create avisual/audio their experiences growing upon the missionand born onthemission.Iinterviewed themabout mother andhersisters andbrothers whowere project was aseriesofportraits basedonmy about five andahalf years ago. My firstvery I onlymadethedecisionto begin anartspractice metropolitan area. the area, eventually settling into theAdelaide the missionbutfamily later moved away from family ofeleven kids.Halfofthemwere bornon southeast ofAdelaide.Mumcame from alarge Fleurieu Peninsula andabout eighty kilometres of southern,Central Australia to thewestern Ngarrindjeri landsextend from theCoorong Ngarrindjeri inventor, preacher andwriter. The the fifty-dollar note behind David Unaipon,a from themissionisfeatured onthebackof South Australia. Itjust happensthat thechurch on theeastern shoreline ofLake Alexandrina in Aboriginal mission,nowcalled Raukkan, located My motherwas bornat Point McLeay, onthe in Australia whenmy sister andIwere born. boarding school.Mygrandparents thenjoinedhim Australia inthe mid-1960sto attend anAdelaide was borninHongKong andsubsequently sent to of theChineseCommunist revolution. My father after they fled from mainlandChina atthetime My Chinesegrandparents lived inHongKong SHEN DAMIEN museums to bestudied. That particular work, remains that were sent to a numberofEuropean it to thedarkhistory ofthe stolen Ngarrindjeri the sixteenth century, at the same time connecting physician, Andreas Vesalius, whowas working in an anatomical study by theFlemishanatomist and residency: Iproduced anetching that referenced was anotherreally important outcome from that I felt Iwas inthemiddleofit,soto speak.There whom Ifelt acloseaffinity—and allofasudden, Dale Harding, Brenda Croft—a lotofartists with the country. Imet Tony Albert,Ryan Presley, brought together Aboriginalartists from allaround the College ofFineArts,Sydney. That residency to dotheCicada Press Printmaking Residency at there was akey turningpoint where Iwas invited hard andkeep motoring along.However, Ithink opportunity ledto anotherand Iwould just work building my practice. Soasthings went on,one years, just focus exhibiting onmaking, and business planinmy mind:don’tsellfor three Ihadavery basic,unwrittenIn thebeginning, dialogue. and theway they’re keen to participate inthe way they bringthelocal community to thework have asoftspot for the regional galleries andthe drawing workshops worked really well—I really exhibition andthenengaging the community via of thecommunities. The combination of having an part ofthetour Iran drawing workshops inmost Port Pirie,Kapunda, Goolwa andMurray Bridge. As Festival Centre, Adelaide Town hall, Port Augusta, destinations including Tandanya, theAdelaide on theroad andtouring. Itwent to arange of most ofthemaccepted, andthework was soon of Regional Directors Gallery withaproposal; in acommercial gallery. Iwrote to theassociation around theregions rather thanputitupfor sale you want to call themthat, are more to dowith techniques when Iwas achild.The challenges, if me aboutbasickindsofapproaches and planning influence asanentrepreneur. Heused to talk to all thishasbeensteered by my grandfather’s art. To alarge extent my modusoperandi in consider themakingandbusinessaspectsof consider multipleanglesofapproach whenI per se—I’m reasonably optimistic and tend to I don’ttend to thinkofthingsas‘challenges’ Where dotheotherchallenges lie? I guess. up feeling like akindofFIFO (FlyIn/FlyOut)artist not completely beingableto integrate—you end big metropolitan centres, that leadsto asenseof between you andthosewholive and work inthe being said,there’s still that senseofadistance to pluginto thelocal artscommunity. But,that certain events inmetropolitan towns ifIwant my dealeris.Ithinkit’s important to turnupto one hourplaneflight from Melbournewhere that makes thingsabiteasier—plusI’m onlya and dailylivingcosts are lower inAdelaide,and I participate inare interstate. Property, transport South Australian artist, asmost ofthe exhibitions consider myself anAustralian artist rather thana In terms of‘art world’ considerations, Inow experienced). What might make itdifficult? (to ametropolitan area/to otherregions you’ve What makes where you live andwork different? national prizes. Many doors have opensincethen. the emerging category oftheBlake Prize, both went onto wintheProspect Portraiture Prize and titled ‘On the Fabric oftheNgarrindjeri Body’, career andestablished artists. emerging artsindustry aswell asshowcasing mid- is important too—it drives theconfidence of the festival’s contribution atthelocal grass roots level Living Artists) festival isheld every year, andthis to thelocal scene.TheSALA (SouthAustralian their work outsideAustralia andalsocontribute of artists whohave established reputations for link-up ofregional galleries. There’s alsoagroup established commercial galleries andastrong artists, from ARI’s (artist-run initiatives) to flourishing. There are tiers ofsupport forlocal I thinkAdelaide’s creative sceneis strong and community? To what extent? arts workers, volunteers) have shaped thelocal communities around them(theartists, designers, Do you thinkyour galleries andtheartistic going ok.Thisisimportant to me. happy whentheart/work/life trifecta balanceis I feel happy whenI’m makingartandmy family is kind ofbenefits are there? But are thesechallenges worthwhile? Andwhat through collaboration withotherartists. ability—and that can bedoneeitherby myself or consists ofexecuting theidea to thebest of my conceptual development. Thefinal ten percent I spendroughly ninety percent ofmy timeonthe very carefully. Mytimeinthe studio islimited, so time and resources is to think everything through day. Theonlyway Ican dealwiththesqueeze on life stage ishow doesonefit everything into a kit andcaboodle—and thebiggest partofthat young family, amortgage, aday job—thewhole life-stage priorities;I’m in my early40switha

Artists’ Stories and Artworks| Damien Shen 157 158 ground...” place andbeing onthe physically inthat tosubstitute being to them.There’sno sincere reference way,an honest without kind ofthingsIdo,in about the couldn’t talk iscrucial—I my history location orplaceof “For my practice,the

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160 Damien Shen Damien Artworks| and Stories Artists’ understanding oftheirroots andwhere theirancestors came from. experience andIplanto keep going backthere withmy children sothey have agood while Uncletook usthrough theprocesses andstories. MysonTakoda really loved the Moogy (MajorSumner),andwe allcollected thereeds andsapfor spear-making other weekend we went down to Ngarrindjeri Country, neartheCoorong, withUncle refreshing andre-charging andit’s important for meto take my family there too. The It’s important for me to go backinto theregion where allmy history comes from—it’s in Australia. major cities.It’s certainly cheaper to live inAdelaidethanmany oftheothermajorcities I live inAdelaide.Iguessyou could almost call itaregion incomparison to theother back inagain? Is itcheaperto live intheregions? Doyou thinkit’s important to ‘get andcome out’ given aplatform from which to speakofthesethings. to share my local stories andhistory. Through thegrowing interest inmy work I’ve been Australian artist rather thana‘local’ artist assuch,butI have theprivilege ofbeingable As Imentioned before, I’m considering my artmakingmore in terms ofbeingan art inAustralia? What placehave relationship does‘your’ to the general sceneinmetropolitan-focused online interpretations, because everyone curates their own presence online. get to understand orknow where that otherperson iscoming from whenyou onlyget the smaller, butintheendyou have to askyourself abouttheextent to whichyou can really meet peopleinexhibitions and you get a sense of connection that makes the nation feel help insomeways interms ofmakingeverything seemcloser—andsometimes you substitute to beingphysically in that placeandbeingontheground—social media can kind ofthingsIdo, inanhonest way, withoutsincere reference to them.There’s no For my practice, thelocation orplaceof myhistory iscrucial—I couldn’t talkaboutthe national conglomerates (Facebook; Apple;Amazon; Netflix; Google etc.)? dissolved by socialmedia,international marketing and theonslaught ofthemulti- Is placestill important? …ordo you just thinkthat theimportance ofplacehasbeen exposure ontheeast coast. to get exposure inAdelaide,muchthesameasit’s difficult forAdelaideartists to get are alotoflogistical benefits to havingIt’s regional networks. noteasy for regionalartists important interms ofthesupportandopportunitiesthey can give eachother—andthere communities inthe regions are reasonably small—sothoseinter-regional contacts are From my experience withengaging regions through exhibitions and workshops, thearts How important are region-to-region contact andrelationships?

Artists’ Stories and Artworks| Damien Shen 161 162 Photos: DamienShen globalised world. and how important isconnection to placeina removing boundariesbetween life andart diverse heritages, critical approaches, Partnershipping Project key concepts underlinedthroughout The ongoing collaboration speaks to the to describemuchofwhat matters. Indigenous people:alookat how sciencefails reminiscent ofthe19thcentury collection of an autobiographical lensandispresented of scienceinthecontext ofrace through often cruelandindifferent methodology This collaboration sets out to scrutinisethe are madeofsomuch more thanskinordata. family that tiesourlives together, orhow we but itwilltell nothingofthefriendshipand hair andblooditmay measure ourhearts body partcollection. Itmight compare our differences through scanning and sampling, English stock. Sciencemight to try distil these other aNew Zealand migrant ofIrishand of Ngarrindjeri andChinesebloodlines,the you can get: oneaSouthAustralian man backgrounds, we are aboutasdifferent as little inourDNAor geographical andcultural We, DamienShenandRobert Hague,share Artist Statement (2020) andBurnieRegional (2020) ArtGallery and hair|Installation at RiddochArtGallery soundscape, contemporary tintype photographs, DNA data sets, includingancestral analysis; heart heads; large backlitx-ray images oftheirskulls; Direct life casts ofthesubjects’hands, feet and 2020 Where We Meet Hague with Robert Damien Shen of collaboration, The

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164 Hiromi Tango Hiromi Artworks| and Stories Artists’ my mother’s terrified but silent response asshe the temperature ofthe tea andIcan remember to my father. Myfather was very particularabout two-year-old carrying hotcups ofJapanesetea him. Ihave memoriesof myself aslittleHiromi—a me andto ground me,but Iwouldn’t listen to wasn’t appealingto meat all.Hetried to chastise a subservient Japanesefemale, even though this me thesocialskillsandbehavior to necessary be physically resilient. Hewas alsovery keen to teach making sure hischildren were sociallyaswell as age ofthree; my father was very particular about and Itoo was trained by him to drinksake by the drinking was anessential partofthat hospitality, popular memberofthelocal community. Lotsof locally renowned for hishospitality andwas avery gregarious,outgoing, charmingperson—he was have avoice. Myfather, ontheotherhand,was an the regional areas ofwomen are expected to not my motherassilent. Shedidn’thave avoice—in When Ithinkbackonmy childhoodIremember it—it was avery satisfying experience. the town andthenwe’d cook that food andeat and pickfruitsfood from thearea surround or hikinginthelocal mountains. We’d climbtrees deal oftimeoutdoors—we’d go fishing regularly, environment. AsachildIwould spendagreat an inlandsea.Igrew upinabeautifulnatural Imabari isalittlefishing town surrounded by couple ofhundred employees. organisation for theisland—onethat employs a brother later developed that company to amajor local community. Sincethose earlybeginnings,my an insurance real estate company that served the mother was ahousewife andourfather created years, eight months younger thanme.Our on Shikoku IslandinJapan.Mybrother isthree I was borninImabariCityEhimePrefecture TANGO HIROMI and connections beyond my immediate family. of connecting withotherpartsofthe community to come into contact with humanityandfor ways Rotary; inaway Iguesswas searching for away stayed with me. I dedicated six years of my work to during thesetimes,andlots ofthoselessonshave processes required to take care of local community activities demanded;Ilearned alotaboutthe fond memoriesoftheleadership thosekindsof lots ofcommunity-assistance activities. I have with peopledisabilities,pickinguprubbish— time twiceamonth andon weekends working Rotary sinceIwas twelve, involved involunteering does inregional Japan.Ihadbeenamemberof School—I went to alocal publicschool—everyone Years 7,8and 9inJapanare spent inJuniorHigh dedication—to devoting that time. I was rewarded for my dedication—my stubborn respond—you got almost immediate results and of tending andwatering andwatching things and cuttings.I was fascinated withthe process watermelons, tomatoes, sunflowers from seeds grew chrysanthemums from cuttings,cucumbers, that garden. Butitmadetotal senseto me—we that precious schoolholiday time to nurturing holidays. Myparents thought Iwas crazy giving each oftheforty days ofthesummerschool early inthemorningandlate intheevening over unhappy at thefact that Ihadto water thegarden position, andIdidit for six years. Myparents were during thesummerholidays. Ivolunteered for the the caretaker oftheschoolcommunity garden years, butIhave afond ofworking memory as I don’tremember muchaboutmy school primary safe placeto grow upin. I remember my homeasbeinganotparticularly about herlittlegirlburning myself. Inthissense, watched metaking thistea to him;soworried Shodo University. ButIfelt like amachine—not scholarship at theage of eighteen to besent to to learn underhim,andIalso was awarded a shodo artists oftheisland—Iknew I was fortunate I was underthementorship ofonethebest the artsoftea ceremony andfloral arrangement. was my grandmother’s wish.Ihadto alsopractice also practicing JapaneseCalligraphy (shodo);that Between theages ofeight andnineteen, Iwas default, Ibecame quite good at it. for me,anditHURT, butintheend,through Japan you can’t beaquitter. It was all too stressful to seewhenitwould beallover. Ihated it. Butin of JuniorHighSchoolIwas lookingat thecalendar we’d dotwo hours training aday. For three years Training for kendo was tough. Insummer-time up. weeping allthe time.He wanted me to toughen discipline. Hethought Iwas a marshmallow, of martialartsmight alsobe good for my self- at all,soheregretfully agreed that other forms it would helpmebutIwasn’t interested init martial arts,butI really didn’tlike it.Hethought for meto become accomplished at that form of My father was ajudoathlete, andhewas keen began to undertake thestrict training regimes. nominated meto theJapaneseKendo ClubandI represent theschoolinaparticularactivity;they demonstrates to compassion andservice Rotary selected onestudent ayear who of thespread oftheworld beyond my home-town. corresponded to herstudents. Itgave measense linked theworld through overseas pen-palswho unusual at thetime.I really liked the way she to children inherclassesEnglish,whichwas teacher inJuniorHigh,whowas always speaking I can clearlyremember MissTange, anEnglish We were offered classes inanthropology, social first timein mylife Iactuallyenjoyed mylearning. around five students for eachclass,and for the three languages. Theclasses were small—only Germany andothercountries. We hadto study international professors from France, China, It was anincredible experience—we hadmany was thesecond to graduate from thedepartment. a new course called HumanityofCulture ofArts.I In theJapaneseWomen’s University Iundertook Tokyo. oldest andlargest private university for women in able to enter JapanWomen’s University—the result ofthesuccessteam because Iwas in it,buttheend,itreally worked for me asa believed insport—Iwas never really interested choose any university we wanted to. Inever results ofourteam meant that any ofuscould members oftheJapaneseteam. Theexceptional coach was very serious—he was oneofthe fingers from theintensity ofthetraining. Our competition. I still have marks on myarmand that we qualified to thelevel ofanall-Japan Japanese archery–kyudo. Ourteam was sogood of Japanesearts;sowhenIquitkendo Ichose insistent that Icontinue to train insome form By SeniorHighSchoolmy father was still quite demanding. shodo andthearchery practice was incredibly managed itall—thestressful ongoing practice of of theregion. Lookingback,Ican’t seehow I years. Mysenseiwanted meto bethebest artist for aboutthree hours aweek for aboutthree training inartiswithshodo—Itrained every day I guessyou could say that inaway my onlyformal masters. an artist—it was allabout copying the work ofthe

Artists’ Stories and Artworks| Hiromi Tango 165 166 making”. inthe immersed am, andI’m completely sohere I contained, myself couldn’tbe the urgeto make art wife’, asan‘artist’s art begun my journey with though Imay have me hasexploded. Even voiceless inside person likealmost theonce- flow of exhibitions; it’s I’ve beeninvolved ina “Since moving here

167 168 to have avoice through which Ican directly society, andI‘ve always maintained apassion I thinkI’ve always wanted to contribute backto I’m engaged innow. become connected through thekindofartworks and biology, andwhenIlook backnow, ithasall levels butIwas alsogood ofschooling, at science and Iwas winning painting awards throughout all wood, Ihidinthecupboard andcried.Iloved art of thewoodcraft projects by cutting through the with doingwell: whenImadeamistake onone focused ondoingthingswell. Iwas obsessed could continue them at home.I was completely I’d take projects homefrom theclasssothat I crayons andpaint. Throughout school primary house. Hewas always supportingus,buying brother andIwere allowed to draw allover the children dowhatever they wanted to do, somy My father was agreat father interms ofletting Technically I’ve speaking, always beenanartist. range ofotherinternational destinations. Germany, theYokohama Triennale inJapananda places like Hanoi,Vietnam, New York, Korea, other residencies andexhibitions followed in residency—which was his first artistic residency, and international artprojects. After the Tokyo time Craig was involved inanumberofnational in Brisbanefor thefirst few years andduringthat Australia, Ifollowed to joinhimin1998.We lived an artist residency in Tokyo. Whenhe returned to Walsh—when Iwas twenty-one whilehewas on Council asvolunteer. Imet my husband—Craig While Iwas inuniversity Iworked for theAustralia in Japan—shewas akindofinspiration to me. experienced profound discrimination asa woman empathise withheranger at hersituation. Shehad with hersituation and could understand and I didn’tactuallylike her, butIwas empathetic female whowas actuallyexpressing heranger. But for thefirst timein mylife I cameacross a years; herview was dark,pessimistic andangry. was sostrict. She’d studied inAmerica for many female exponents ofNoh,Professor Kondo. She Noh, where Istudied underoneofthevery rare One particularsubjectIenjoyed was the study of personality didn’tquite fitin. order ofJapaneseculture, andthat somehow my early childhoodIhadalways questioned the if even complaining was forbidden. Iguessfrom I couldn’t fitin to society there; it was almost as become independent andmove overseas. Ifelt qualified Japaneselanguage teacher inorder to about equalrights for women. Istudied to bea under anAmerican professor. We alsolearned was here that Ilearnedto speakandwrite English I’d ‘cheated’ getting inonasportsscholarship! It of theneedto dowell …especiallyasIfelt that representing my highschool,I was very aware subjects over that four years, andbecause Iwas learning—but incredible. Iselected ninety-five literature, comparative culture—all general linguistics, music,architecture andarts,English immersed inthemaking. contained, sohere Iam,andI’m completely wife’, theurge to make artmyself couldn’t be may have begunmy journey withartasan‘artist’s person insidemehasexploded. Even thoughI of exhibitions; it’s almost like theonce-voiceless Since moving here I’ve beeninvolved inaflow the natural environment to ourchildren. was important to beableto handexperiences in important to uswhenwe were growing upandit every day—so many ofthoseexperiences were regularly fishfrom alittleboat, and wesee water airport andto Brisbanemakes itaspecialspot.We accessibility oftheregion to thehinterland, the fell inlove withtheTweed river—that andthe most in terms of the natural environment: we both because itoffered agreat dealofwhat we value nature. We choseto buyahouseinTweed Heads was anumberoneprioritythat we hadaccessto both shared alotofsimilarexperiences andit environments—Craig grew upinLismore andwe to anairport.BothCraig andIgrew upinregional environment was important, andalsoproximity but we knew that theneedto beinanatural family support.We’d lived inSydney for awhile, With anew family, itwas alsoimportant to have equilibrium. how important proximity to water was to mental remember lookingoutat thewater andrealising communities, after challenging a long, very day, I of that cycle oftravelling andworking with in arange ofcaravan parks. Towards theend Australia creating installations while we stayed Between 2010and2012we travelled around that thiswas thebeginningofmy artist’s career. very sure aboutmy choice—Iguessyou could say how difficultthe path was,butI repliedthat I was artist andheshook hisheadandtried to explain immersed—I loved it.Itold Craig Iwanted to bean Gold Coast Regional Gallery. Iwas completely me to bepartofhismentorship workshop at the first exhibition wasin2005when Craig invited working withCraig, otheravenues opened.My But whenImet artists, andespeciallythrough wasn’t very attractive tome. enter oneofTokyo’s best universities for art—that she’d hadto study two fullyears even just to process; my cousin was avery good artist but institution inJapanbecause it wassucha formal I could pursue artthrough aformal training are fulfilledthrough artmaking.Ididn’tthink communicate—both oftheseneeds(ordesires)

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170 Hiromi Tango Hiromi Artworks| and Stories Artists’ Photos: Brett Adlington (top) and Vanghoua Anthony Vue (bottom-left and bottom-right) My spiritcan rest At last findingsafe harbour Friendly shores beckon Hoping to findhome A boat adriftinthe waves U-ki-fu-ne heart Artist Statement Regional (2019) Gallery recycled andnew textile |Installation atLismore Digital photographs, family heirloom silkkimono, 2019 Roots Hiromi Tango

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172 Vanghoua Anthony Vue Anthony Vanghoua Artworks| and Stories Artists’ much abouther timebefore and after the war. On theother hand, my motherhasn’tspoken groups ofrefugees. Laos andThailand,acting as aguide for new to riskhislife by going backandforth between Chom. Like a few others inthecamp, hecontinued located inThailand’s northeastern district ofPak to make hisway into BanVinaiRefugee Camp, and thenswam across theMekong River inorder across thecountry to get to theborder ofLaos the country. Infear ofhislife, my father trekked 1975, theHmongwhohadsidedwithCIAfled Pathet Laogained government control ofLaosin communists whoraided theirvillage. After the 12-13 after hisparents were killed by Vietnamese my father was recruited whenhewas around my grandfather were partoftheCIA-backed force; formed duringFrench colonisation. My father and Communists), whichstemmed from divisions also HmongwhosidedwiththePathet Lao (Lao communists duringtheconflicts. There were the Hmongto resist bothLaoandVietnamese family andtheirgovernment, recruiting among CIA continued thesupportof Royal Lao stay inpower. After theFrench left, theAmerican government hadsupported theRoyal Laofamily to During theFrench colonisation ofLaos,theFrench Laos andVietnam. in that refugee camp after theinterrelated wars in southern Chinaandbeyond. They met eachother peoples are found throughout SouthEast Asia, group withnocountry oftheirown. Hmong mother andfather are aminoritycultural Hmong, of theirrefugee status for over adecade. My where they’d beenwaiting for Australia’s approval arrived there from arefugee camp inThailand We onlylived there for ayear. Myparents had I was borninSydney, theseventh ofeight children. ANTHONY VUE VANGHOUA tree. status to theever-spreading branches ofthefamily changed theirnameinorder to claimrelationship to somesources, anumberofthosefamilies had basis ofextended family connections. According Hmong refugees gradually grew innumberonthe would die.Slowly, year by year, thecommunity of country, Hmongcultural traditions and language that unlessmore Hmongwere allowed into the grounds, arguing to theAustralian government families. They fought theargument oncultural began theslow process ofsponsoringHmong After the war, that smallgroup ofeight people students sponsored privately andby thechurch. students to study inAustralia, withtwo other 1975, theColomboPlanhadsponsored sixHmong community whowere already inAustralia. Priorto members ofasmallgroup from theHmong buthelparrivedthe plight from oftheHmong, government was notinterested inrecognising difficult inallkindsofother ways. TheAustralian from theThairefugee camp to Australia—was The next legofthefamily’s journey—getting buy necessities for the family. Whatever was to necessary obtain somemoney to and even working asafamily planningconsultant. schools, helpingtheThai’s withconstruction work, that time.Fixingshoes, teaching at themakeshift did alotofoddjobsto get thefamily by during four oldest sisters andmy oldest brother. Dad In therefugee camp my parents gave birthto my USA soonafter arriving. family memberwhosurvived, immigrated to the but itwas withrelatives. Herbrother, heronly entirely sure how shearrived inthe refugee camp, which shetalks aboutwithalotofsorrow. I’m not I know that shewas orphanedat ayoung age, that I’d continue to develop paintings that drew guess I’d hadavague ideainthebackofmy head many forms. Before Ientered theartcollege, I art, or‘cultural traditions’ was always was touristy kitschart.Butofcourse, Hmong been aware ofwhileIwas growing upinCairns of ahighschoolactivityand theonlyotherartI’d visited theCairnsRegional onceaspart Gallery was my real entry point to visualculture. I’d only characters repeatedly, soIguesspopularculture and DigimonIwatched onTV—Idrew allthe Japanese cartoons like Dragonball Z,Pokémon While Iwas growing upIwas interested inthe Queensland College ofArtat Griffith University. Cairns Imoved down to Brisbaneto enrol inthe Straight after my highschooleducation in Cairns southernsuburbofEdmonton. were ableto afford ahouseonsmallplotinthe great, sowe rented until 2004 when my parents mountain after mountain pass.Income wasn’t were spent staring outthecar window, watching FNQ insearch for produce to sell.Longhours members, andofthedrives to farms around weekly drives to Innisfail to visitothercommunity my fondest memoriesgrowing upare ofthe farms around thesurrounding towns. Someof vegetables they’d grown inbackyards andfrom in Cairns,where many continue to sellfruitand across FNQstarted smallstores at Rusty’s Market Hmong peoplewhohadsettled inpockets all of trade areas. Over time, my parents andother to Cairnswhere hetook uppositionsina range of jobs inresidential construction. We moved construction work, he was able to finda range the children. WithDad’s previous experience in while learningEnglish,andMumlooked after of years there, Dadfocused onmakingaliving youngest sister was born.For thefirst couple promise ofbananafarming. WhileinInnisfail my We moved upto Innisfail first, lured by the farming. bountiful areas of country well suited to Hmong farming areas. They returned withreports about north Queensland)to checkoutthepotential for time a few Hmong families travelled to FNQ(far that hadsponsored usinSydney, andduringthat a few months we stayed withtheHmongfamily boats; they flew into the country viaQANTAS. For siblings didnotmake theirway here viarefugee arrivals into thecountry, my parents andmy Contrary to ofrefugee thepopularimaginary there inits in architecture, graphic designandengineering academic doors that included afew months each bit like moving inandoutofa seriesofrevolving of different courses. Theentire process wasa up my curiosityto learn,andenrolled inarange happy. Even so, duringthat timeIhadn’tgiven to 11pmmademe realise Ihadto make artto be flavouring everything withmayonnaise from 9am The monotonous routine of rolling sushiandover I madesushievery day for two years inBrisbane. career-wise andrelationship-wise. more interested insetting myself upfinancially, connected orrelevant ways, andat thetimeI was I was hearingdidn’tseemto speakto mein the artIwas seeingandtheartconversations that theartworld wasn’t for me.Agreat dealof moved backto Brisbanebefore quitting, feeling application for Honours. I was accepted and on rebuilding my portfolio andsubmitting my I returned to Cairnsfor 6months, where Ifocused I wouldn’t really needasanartist. feeling that I had taken onanexcess that oftheory ‘employable’. ButIpulledoutafter sixmonths, feeding my artpractice andalsomake memore that theinformation would provide a way of University ofQueenslandwiththeexpectation international politicsand communication atthe art for awhileto embarkonadoubledegree in art’s sake. After Igraduated, Iturned away from referencing any concerns beyond thoseofartfor through theprocesses ofpainting rather than concerns like colour, form, texture andworking the materiality ofthepaint, addressing formal attachment. Instead, I was working through still repressing fullacknowledgement of my background hadcontinued to grow, I was althoughinterestin painting, in my Hmong By theendofmy undergraduate majoring recent history ofHmongpeoplesinLaos. made thedecisionto linkthesubjectmatter to the in theMaritimeMuseumadjacent I to theQCA, the HMASDiamantina, the war frigate docked when ithappened:duringaproject focused on of my heritage to myself. Ican remember exactly remember openlyacknowledging theimportance about Hmonghistory—this was thefirst timeI can my work. Myfirst painting inundergraduate was Hmong cultural references started to creep into already interested in.But after moving there, from theanime/surrealist-inspired images Iwas

Artists’ Stories and Artworks| Vanghoua Anthony Vue 173 174 homes for me”. home-away-from-many- somehow It’sa perfect. makes itseem Asia andBrisbane East way between South the fact thatit’shalf- appealing to me—also soothing. That’svery season therainisso Inthewetmountains. vegetation and by canefields,lush veranda surrounded of meworking onmy pictureIhave“The is

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176 Vanghoua Anthony Vue Anthony Vanghoua Artworks| and Stories Artists’ of residencies andprojects locally andoverseas my doctoral studies I’ve undertaken anumber development ofthework. Over thecourse of community plays intheconceptual andmaterial of my work hasmoved towards therole approach to artmaking;akey to thedevelopment Since then,I’ve increased my experimental studies asaPhD. year Iwas offered ascholarship to further my end ofwhat was avery productive andsuccessful a more-or-less auto-biographical approach. At the and reinventing Hmong textile traditions through commit to: my thesisfocused onreinterpreting Honours. ThistimeIhada research focus I could In 2014Ifinally returned to QCA to undertake my communi . want to re-make connections withsomeofthose and visited many communities. To thisday I still opening timeduringwhichImet many people October to January. eye- Itwas anamazing, year Ibackpacked through South East Asiafrom my portfolio for submission. At theendof instead Itook onarange ofjobs andredeveloped in pursuing aBachelorofSustainability—but In 2013Ireturned to Cairns—thistimeinterested kept haunting me. head theimage ofbeinginastudio makingart work they entailed descended.Inthebackofmy sense ofdeepunderlyingdissatisfaction withthe drawing. Ikept quittingeachofthemassoona lot, butthosesugar-cane fieldsI rode through near but itwas really peaceful. Idomissthat quite a quite especiallyonpitch-black terrifying, nights, through thesugar-cane fieldsthinking—which was also longsolitary hours walking orridingmy bike contributed to thelonghours Ispent drawing, and in Cairnsoffered melessdistractions, andthat to return permanently to Cairns.Growing up expansive thanthoseinCairns.ButIstill want and thepathways andbikeways here are more come to enjoy thelifestyle inBrisbane—Icycle, cities offer more opportunities for that. I’ve also need to findfurther work, and feel metropolitan I’m towards theendofmy PhDnow andIalso there right now isdriven by my studies andwork: connections with my family. Thedecision to notbe For me, staying in FNQ has been about keeping the experienced) (to ametropolitan area/to other regions you’ve What makes where you live andwork different? of my family. and personal photographs collected by members focusing onthelinks between historical records forward to getting into regular studio production Brisbane andLogan. At themoment I’m looking Art, USA; inTokyo, Japan,andinHobart,Cairns, including at theMinnesota MuseumofAmerican then it’s beenaprocess ofgoing backandforth experience thebright lights of‘Brisvegas’. Since to enroll at theQCAinstead—also wanting to Although itwas available inTownsville, Idecided art program at JamesCookUniversity inCairns. from highschoolin2006,there was novisual programs inCairnsuniversities. WhenIgraduated and development hasbeenthelackofvisualart The greatest difficultyin termsof myart practice being anoutcast. could be.Ihadto conform to certain roles orrisk young at thetime,butI felt theplace stifled whoI that partmy cultural heritage. Perhaps Iwas just a periodwhere Isuppressed my connection with community through my family, butIwent through Asian sub-groups. Iwas aware oftheHmong Island cultural groups, Iwasn’t too aware ofmany I was aware oftheAboriginalandTorres Strait was muchmore culturally one-dimensional.While multi-cultural environment, my experience there Despite thefact that Cairnsisassociated witha What might make itdifficult? be abackground to my consciousness. FNQ landscape—and itsmoodiness—willalways like many teenagers, andIguessthat partofthe resentful of my family andthewider community, A lotofthat timegrowing upI was sullenand houses, shoppingcentres andsporting facilities. my houseare now gone, replaced by suburban connection withina range ofHmong communities. often focused on reawakening cultural prideand planning andmakingprojects. Myown work is to spendtimein consultation withthem before had to travel to theirparticulardestinations, and been focused onlocal Hmongcommunities, I’ve For myself, because somuchofmy work has and image ofFNQbeyond tourism. making agrowing impact,addingto theculture Fair, UMIArtsandsomeotherlocal initiatives are KickArts Contemporary Arts,CairnsIndigenous Art community? To what extent? arts workers, volunteers) have shapedthelocal communities around them(theartists, designers, Do you thinkthat galleries andtheartistic addresses thecommunity. make somework there that directly engages and the community there that I’ve beeninvited backto family andcommunity. It’s alsobeenbecause of real connection to placeinFNQ for meisthrough always awelcome respite. AsI’ve saidearlier, the especially ifthere isn’tany aircon. But the rain is it difficult to work forlonghours inthe studio— The heat isachallenge—long hotsummers make benefits are there? these challenges worthwhile? Andwhat kindof And where dotheother challenges lie?Butare purposes. between CairnsandBrisbane,mostly for artstudy

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178 Vanghoua Anthony Vue Anthony Vanghoua Artworks| and Stories Artists’ diaspora—and specifically theHmong diaspora— Because thefocus on my work isessentially on Australia? general sceneinmetropolitan-focused artin What placehave relationship does‘your’ to the home-away-from-many-homes for me. Brisbane makes itseemsomehow perfect. It’s a fact that it’s half-way between SouthEast Asiaand soothing. That’s very appealingto me—alsothe and mountains. Inthewet seasonthe rain isso veranda surrounded by cane fields, lush vegetation how yet. The picture I have is of me working on my and working inCairns—Ijust haven’t worked out I still holdan image ofthepossibilitymeliving How doesitfeel now? natural to make artwherever Iam. meant that it’s hometo me.Butitfeels completely that my family hasmore-or-less always beenthere up there makingartthere (inCairns)andthefact more fixed to onespot,butthe fact that Igrew Brisbane. I’ve always imaginedmyself asbeing At themoment I’m livingbetween Cairnsand in aplacelike this? Did you ever envision yourself livingandworking practice too. settle on.That’s beena strong partof my own art with whatever placethey’ve beenpermitted to hadtosingle homeland,they’ve make connections As Hmongpeoplehave traditionally never hadone family and for nostalgia. elsewhere, I’ve always felt theurge to return—for of wanting to beelsewhere. ButonceIam in Cairnshasmademeaware ofotherplaces— in Australia andinSouth-East Asia.Growing up maintain contact witharange ofregions both it’s become increasingly important for meto Yes—diversity ofexperiences isimportant. Also, regions andcome backinagain? Do you think it’s important to ‘get from the out’ resourceful. and itdoesencourage you to beadaptive and elsewhere. Butthat doesn’thappentoo often— in Cairnsandrequire purchase andshippingfrom of art,somematerials can beachallenge to get cheaper to buyinCairnsthanBrisbane.Interms really consider buyingahouse,butIdothinkitis Cairns afew timesper year can addup.I’ve yet to expensive. Thecosts to fly between Brisbaneand Not really—but thetravel between placesisvery Is itcheaperto live intheregions? issues. of contemporary artists whoalsodealwiththese increasingly interested inthework ofanumber Art (at QAGOMA, Brisbane)I’ve grown of theAsia-Pacific Triennial ofContemporary as well asaspecifically local way. Over the years my work and‘place’are connected inaglobal online research to make my work. Nonetheless, to my production—I usealotofsocial mediaand a certain placemakes too muchofahindrance terms ofmakingart,Idon’tfeel that notbeing at can get from aplacewhenI’m actuallythere. In I thinkit’s still important in terms ofa feeling I Amazon; Netflix; Google etc)? national conglomerates (Facebook; Apple; marketing andtheonslaught ofthemulti- been dissolved by socialmedia,international just thinkthat theimportance ofplacehas Do you think placestill matters…or do you others ofshared history, culture andidentity. experiences, andaboutfeeling connected to it hasalsobeenaboutsharingandexchanging ones inthefuture. Butasidefrom work purposes, that thesecontacts willprovide abasisfor new possible engagements. At themoment I’m hoping contacts have helpedbuildnetworks for future And inmy own experience, region-to-region the community. economic, social,andcultural assistance across region relationships hasalsobeencrucial for and widelydispersed, maintaining region-to- As theHmongAustralian population is alsosmall in assisting theirinitial exit from refugee camps. that kindofcommunication hasbeeninstrumental In terms oftheHmongcommunity inAustralia, relationships? How important are region-to-region contact and often neglected anddisregarded. Hmong experience, whichlike many minorities,is But alotofthat motivation also comes from the being the seventh child in the family … maybe not? might have something to dowithmy experience down to thefeeling ofnotfeeling overlooked. It listened to andacknowledged. Alotofitcomes their presence felt—the importance offeeling terms ofopeningupopportunitiesandmaking doing work that makes adifference to others in opportunities that make my life worthwhile— being adrift.Also, it’s aboutmakinguseofthe of connection—of counteracting that feelingof people—individuals andcommunities—a sense histories to people.Ithinkthat work can give Connecting peopleand connecting stories and What istherole ofyour work? and withthepeoplethere. time andmaking connections inaparticularplace nothing compares withtheexperience ofspending

Artists’ Stories and Artworks| Vanghoua Anthony Vue 179 180 Photos: Brett Adlington (top-left), ColinLangridge (top-right), and Vanghoua Anthony Vue(bottom) contributing to theplace. Queensland’s and nurturing, soil—enriching, enable strong roots to seepinto Far North past, theuseofthesematerials andpractices Although forcibly displacedfrom homesofthe cultural andagricultural practices. and SouthEast Asia,andtheuseofHmong materials found inbothFar NorthQueensland ev-cog-ciaj (carry-plant-live) Far NorthQueenslandsincetheearly1990s. refugee camp, andto theirmakingofhomein migration from war-torn Laos to Thailand’s videos that document theartist’s family’s Included inthework are photographs and South East Asiato Far NorthQueensland. translation ofhomeandbelongingfrom parents’ andexplores and the‘shipping’ based work between theartist andhis ev-cog-ciaj (carry-plant-live) Artist Statement and BurnieRegional 2020 ArtGallery Regional 2020, 2020,RiddochArtGallery Gallery Umbrella StudioContemporary Arts2019,Lismore hydroponic lights andbasil|Installation at parent farm andbackyard, twine,tablets, Queensland, soilandricestraw from theartist’s Printed paper, bamboofrom Far North 2018 ev-cog-ciaj (carry-plant-live) Vanghoua Anthony Vue isacollaborative- includes natural

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182 Sera Waters Sera Artworks| and Stories Artists’ this knowledge? Where do Ibelong?How can I My practice continually asks what doIwith settlement, clearingandinfrastructure. building, This undoubtedly speduptherate ofgrowing the seaallalongSouth Australian coastline. would deliver goods andbuildingmaterials upon these basedinPort Adelaide, hadketches and to make thelandeasierto farm. Otherancestors, for drains to beputinto sendthewater out to sea before settlers, including my ancestors, petitioned 1860s. Theseareas hada lotmore water in them a cheesefactory inTantanoola inthe1850sand in Mount Gambier, and notsolongafter opened of theearliersettler colonists to make theirhome I’ve sincelearnedthat my ancestors were some seeking layers andgaps. this ambiguousandquestioning position,always is rightly unsettled, and my artoperates from of belongingthere (oranywhere for that matter) but hadlittleunderstanding ofitspast. Mysense giving landandsensedthere were otherstories have Ibenefitted oncebeenotherwise. from this pioneer andpastoralist history that thingsmay narratives, withonlysmallglimpses beyond the a biasedonebaseduponhistorical gaps, untold to realise my understanding ofthisregion was I feel uneasy indesertscapes. AsanadultIcame me today. Thisequated to survival, andby contrast high-water levels that Istill deepinsideof carry volcanic blackearth,thelushgreen growth, and me, there was acocoon-like securityintherich forests inwhichallmannerofthingsoccurred. For holes intheground, orbeingsurrounded by pine rich waterways, our‘deadly’ bike-riding hill,giant (like theTantanoola Tiger), limestone and mineral- the darksoil,caves underfoot, strange creatures cocooned by nature andfullofpotential mystery: my childhoodandteenage years asbeing comfortable andprotective family life. I remember Growing upinMount GambierIhadastable, WATERS SERA

disavowed orunder-scrutinised. and presents that are unknown, unacknowledged, forms ofcaves, drains andholes,to point to pasts manifest spaces andgaps ofknowledge inthe forests, limestone andwater. Thisinstallation natural features oftheSouth-east, suchascaves, quilts, anddomestic decorative withthe textiles) bodily scales (thinkingofdoorsnakes, cushions, South-East, sculptural andhomelytextile forms in My work brings together thedarkpalette ofthe replicate itintheirmakings,order to survive. to notonlyknow aplacebutto embodyitand the knowledge oflocal communities, which come carefully handmadetextile traditions, as wellasin My proposed response will bebaseduponthese and responsibility, listening are andcaring, central. head towards adifferent future where recognition shift thesetrajectories (these textile traditions) to of knowing aplace,knowing itspast, andthenI to how they survived. Ialsosearch outotherways along withhistorical narratives, andIlook for clues that oftheirwiderfamily) that weren’t passed knowledge andevidence oftheirexperiences (and In traditions andinartefacts Isearch for their habits. Truth-telling isakey partofmy practice. times unwittingly carriedonthese colonising they inflicted onCountry, andhow Ihave at How they might have reflected thegreat changes internalised theunsettling sideoftheirsettling. how my ancestors could have navigated and passed-along textile traditions toliterally grasp In my practice Iturn to intergenerational and the south-east aregion ofgreat interest. future. Water iscritical to thisfuture whichmakes messy andimportant to know for going into a acknowledging that histories are complex and for thedamage that hasbeendone,all thewhile take responsibility for my ignorance, for theirs,

183 184 inside of me today”. deep carry that Istill and high-water levels the lushgreen growth, volcanic earth, black like security intherich there was acocoon- the ground...For me, hill, giantholesin ‘deadly’ bike-riding waterways,rich our andmineral- limestone the Tantanoola Tiger), creatures(likestrange soil, caves underfoot, thedark mystery: and fullofpotential cocooned by nature years asbeing andteenagechildhood “I remembermy

185 186 Photos: Sera Waters into amore precarious future. deeply grapple withotherways ofthinkingmoving through artmakingprovides thepotential to accessible intheSouth-East. Reconsidering them internal happenings ofthelandare visibleand Perhaps more than anywhere inAustralia the our past andtheways itmanifests inthepresent. to re-examine andunderstand thecomplexity of where unknown happeningsoccur, andIusethis idea ofcaverns, layers andofgaps underfoot to realise my thinkinghasbeenshapedby this From growing upinMount GambierIhave come systems, water ways, andotherways ofbeing. the organic weaving ofwhat goes onbelow; cave By contrast, thedarktangled underside invokes quarries, townships, andsurveyed divided land. fenced paddocks, forested areas, roads, crop rows, topography ofMount Gambieranditssurrounds: geometrically piecedtogether to reflect the makes uptheouter layer ofthiscavern, hasbeen The handandmachinestitched quilt,which offers aglimpse below thesurface ofthis region. Cave Thinking trajectories ofthesefamily inheritances. ancestors, andhow Ican work to shiftthefuture how settling occurred, thelabourof my female traditions through whichI can keep interrogating homely acts,like makingdoor-snakes orquilts,are and traditions, to recognise that comforting techniques, many garnered from family collections or cubby-like artwork usestextile materials and Bungandidj peopleofthisregion. Thiscave, tent, balanced ecologies, water supplies,andthe inheritance, andthe damage that hasimpacted necessarily grapples withtherepercussions ofthis their advantage. Thoughitisunsettling, my work water andfertile volcanic soil,andusedthat to region. They were drawn to thisarea for itsrich ancestors whopetitioned for drainage across the Australia delivering homebuildingmaterials, and sailors whotravelled thecoastline ofSouth making homesandgrowing livelihoods, ketch back generations, to earlysettlers colonisingand My entanglements withtheSouth-East stretch Artist Statement (2020) (2020)andBurnieRegionalGallery ArtGallery poles, andLEDlight |Installation at RiddochArt cotton, family bedsheets, stuffing, felt, wool, tent Mixed media:hand-dyed repurposed textiles, 2020 Cave Thinking Sera Waters suggests asoftshelter, yet also

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190 Brett Adlington Brett | Stories Directors’ Gallery where thelandscape isvery present; and how it are living inthecountry, orindeed in asmallcity landscape. Andwhat landscape meanswhenyou (but lesssnow-clad) Castle Hill—and thinkabout of ourTownsville houseto theequallydominant Wellington, Ithinkbackto theview outtheback And asIsithere, gazing upat Kunanyi/Mt and it’s where I’m sitting now asIwrite this. (where ThePartnershipping Project I read Jonathan’s essay whileIwas in Hobart the community—with anultimate win. Seam Gasmovement galvanised vast swathes of outside Lismore. More recently, theanti-Coal first environmental blockade happenedjust well inourarea for decades, indeedAustralia’s resident), progressive politicshave beenalive and can alsoclaimJulianAssange asbeingaone-time to claimacommunist for amayor (thoughwe and experiences”. Andwhilewe may notbeable all oftheseare couched inmemories,emotions indifference andsometimes even contempt, and his hometown withits“aspects ofadoration, I alsocarry Jonathan’s pertinent observation of was at achallengingtime. felt ‘right’, like Ibelonged, andunderstood where I grandmother. Thetrees, grass, rivers andoceanall from Townsville to Lismore to bewithmy dying was keenly felt many years ago whenIrushed always beckoned withitssenseoffamiliarity. This for certain timesin my life, theNorthernRivers their own particularflavour, andthey were great Newcastle). Whileeachofthosecitiesbrought other cities(Sydney, Townsville, GoldCoast, work (Lismore), butspent many years away in Like Jonathan, Ialsogrew upwhere Inow crossed paths. Until now. Townsville andknew hisdad—butwe’ve never journey; indeedIworked inthecultural sector in seemed to besomany similaritiesinourlife McBurnie’s essay for thispublication. There I was reflecting onthisasI readJonathan between anyone—if that. really isonlyabouthalfadegree ofseparation is asmallentity, andsointerconnected, that there The arts sector, particularly the regional arts sector Lismore, New SouthWales Australia Director ofLismore Regional Gallery, ADLINGTON BRETT originated) landscape, andtheclimate, cheaperstudios, and themselves asartists. They come here for the region, orindeedthose wanting to establish an upsurge inestablished artists moving to the More recently, the Northern Rivers hasseen token ofLismore beingherbirthplace. our own, notsomuchasapracticing artist, but by And we can even claimMargaret Olley asoneof This iswhentheworld comes to ourarea. Byron Bay FilmFestival andMullumMusic Festival. Bluesfest, Falls Festival, Byron Writers Festival, Lismore Lantern Parade, Splendourinthe Grass, professionally organised events. We are hometo 1970s continues today, whichmuchlarger, and The festival culture that was first stirred inthe most creatively rich regional areas inthe country. differ), istheNorthernRivers being oneofthe The result (andhere Johnathan andImay begto expanded to encompass allartforms. community ofceramicists, whichover theyears to thisday. Outofthisdeveloped avery strong a market culture to earnalivingthat persists Many of these new arrivals in the 1970s developed and largest LGBTQI communities. home to oneofregional Australia’s most vibrant, Tropical Fruitsfestival hasensured Lismore is live here permanently. More recently theannual students, artists, environmentalists andactivists to place. Thisfestival brought withitaninflux of and was where the1973AquariusFestival took landscape that beckons outsiders to theregion— These hillsto thenorthofLismore are partofa cascading down to thefloodplainofLismore. rise intheverdant hillsoftheNorthernRivers, the majorcause offloodsinthe town. Theserivers confluence oftwo rivers intheLismore CBDthat is two rivers beinggreat for turning boats. Itisthis as great for transportation, withthe confluence of the country. OurEuropean forebears saw theriver Lismore isoneofthemost flood-prone towns in to, butreally don’twant to face. landscape dominates inways we are kindofused will beunleashed.Itisthenthat thispartofour turn to thisweaving serpent, wondering ifit But whenitrains, andrains heavy, people’s minds through it, and to many people it remains invisible. The dominant partofLismore’s landscape snakes It doesn’tactasavantage point for distant views. Townsville. It’s notasvisibleorreaching to thesky. landscape, butitisn’tas ‘inyour face’ asHobartor Lismore hasanequallydominant aspectinour have to berichto seeit). Sydney (well, yeah, there is theharbour, butyou much more thanispossibleinMelbourneor landscape that you can’t escape grounds you— other day, abouthow livingwithadominant I was discussingthiswithanartist inHobartthe inhabitants. shapes thevery personality ofthetown andits and itsinhabitants”. ofthe townpersonality how itshapesthevery and present; is very where thelandscape indeed inasmall city living inthecountry, or means whenyou are And whatlandscape about landscape. Hill—andthink Castle (but lesssnow-clad) the equallydominant Townsville houseto ofour out theback to theviewback Mt Wellington, Ithink gazing upatKunanyi/ “And asI sit here,

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192 Brett Adlington | Jonathan McBurnie Jonathan | Adlington Brett | Stories Directors’ Gallery creative ways to overcome them. challenges, butmore and more we’re working in lies at thetruecore of‘partnershipping’. There are Lismore isreally a ‘team effort’—it relies onwhat For me—that’s thereason I’m working where I am. truly something to behold. the armiesoflocals outto supporteachotherwas to seeouramazingtown sodevastated last year, devastating clean-up.Asgut-wrenching asit was comes withthepack-up ofthetown, andthenthe this evaporates withtheweird excitement that between camps ofpeople,come floodtime, are about.Whilethere may besomedivisiveness Lismore. Anditalsosummariseswhat thefloods heartfelt, itcelebrated thedistinctiveness that is hit thespot.At oncegloriously camp, creative and Downe—to create anadvertisement that totally (Maude Boate), and‘son ofMurwillumbah’—Bob renowned drag queen,andsonofanex-mayor the local chamberofcommerce engaged locally effort to get peoplebackin to Lismore to shop, changing. In2017,asapost-flood recovery dance between allthosegroups. ButIfeel it’s For thoseofusat thegallery, it’s acontinual decades. the ‘old timers’ (everyone else), continued for environmentalists), andthosethat represent (hippies, artists, leftists, LGBTQI community, those that represented the‘new arrivals’ The schismthat developed inthe1970sbetween change’. here. It’s more an,‘it’s notright, andwe demand attitude doesn’t reallyseembe right’ to exist encountered elsewhere. TheAustralian, ‘she’ll our toes. There isanedge to Lismore Ihaven’t of personalities, ideasandactivism keeps uson and political life here inLismore, allthesemixes And lest Ipresent too glowing apicture ofcreative establishing yourself asaprofessional artist. being located inacountry area isnoinhibitor to their arrival. Theircareers are clearevidence that have allestablished very strong practices since Dickens have allmoved here over theyears. They Penny Evans, Hiromi Tango, ArisPrabawa and Karla The four local artists selected for this exhibition, keen to keep afairly low profile. shying away from thefact that they live here, are established artists, butI won’t; asmany, whilenot I could namecheckanumberoftheserecent would. it against theodds’, thansay, amove to Tully, day trips, sothere islessofthat senseof‘making Both Sydney andBrisbaneare easilyreached for move to ourregion isamuchlessambitiousleap. with that. However, unlike NorthQueensland,a creative economy andthusthesupportthat goes because we are known to have suchastrong 1943. Thiswas, infact, thefirst andonlytime in policies, was elected in1939 andre-elected in class and(successfully) fighting racist employment Fred’, abarrister known for defending the working Alderman ontheTownsville CityCouncil.‘Red noted communist Fred Paterson’s as service nation, so-called, due innosmallmeasure, to historically, cityinthe the‘most communist’ Townsville hasthestrange distinction ofbeing, always bigger. chuckle, butit’s alsotheway we dream thingsup: sculptures. Itispartof what gives southerners a big personalities andbigfibreglass fruitand cow Queensland. It’s abigstate, fullofbigdreams, We alothere in emphasize the‘bigger’ smarter. to offer simply by outdoing them.Bigger, better, became easierto show thenaysayers what we had words, andasaproud NorthQueenslander, it instances, Ifound actions would speaklouderthan who hadnever beennorthofByron Bay. Inboth Queensland anditscultural offerings to people Sydney in2011,Ifound myself having to defend north oftheSunshineCoast. WhenImoved to offerings, regularly to peoplethat hadnever been having to defend my hometown, anditscultural When Ileft in2000 for Brisbane,I found myself and experiences. all oftheseare couched inmemories,emotions indifference andsometimes even contempt, but relationship, there are aspectsofadoration, for anotherfifteen, before returning. Like any familial attachments drawing mebackperiodically, years, livingelsewhere, butstill withanumber of makes sense—livingintheplacefor seventeen I agreed to write suchathing.Isupposethis Townsville, ismore difficultthanI expected when Summing upmy relationship with my hometown, my hometown Reacquainting myself with Contemporary Arts) position ofDirector, Umbrella Studio Project (note: at thebeginningof Townsville, Queensland. Former Director, Umbrella StudioContemporary Arts, MCBURNIE JONATHAN Jonathan was working inthe The Partnershipping

overwhelming despair”. to pleasant nostalgia visceral reactions, from so familiar, spurring sights andsounds the years. Smells, over methroughout ithashad kind ofeffect acknowledging what with my own and past, in comingto terms for me,specifically confronting process and sometimes been aninteresting has atthirty-two back seventeen andcoming “Leaving Townsville at

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194 Jonathan McBurnie Jonathan | Stories Directors’ Gallery for beingaway andIarrived too back on long, knew. At any rate, theweather here punishes you when they complained ofhumidity;ifonlythey hot andvery hot.Ilaughedin many Sydney faces either side.Townsville really onlyhastwo gears: but itisbracketed inanicethree-month periodon understand. Brisbanecan get humid, nodoubt, here (orfurthernorth)people really don’t quite weeks at atime.Unlessthey have spent timeup of cloudsthat tease theprospect ofrain for overwhelming; thick,warm airandheavy masses it isat least sixmonths longhere) that can be inthesensemost peopleknowthat ‘summer’ encompassing summerhumidity(keeping inmind For theuninitiated, Townsville hasanall- from pleasant nostalgia to overwhelming despair. sounds sofamiliar, spurringvisceral reactions, over methroughout theyears. Smells,sights and acknowledging what kindofeffect ithashad in coming to terms withmy own past, and sometimes confronting process forme,specifically back at thirty-two hasbeenaninteresting and Leaving Townsville at seventeen andcoming think not. heat, orat least make useofit,thanthestudio? I hard-working. Isthere abetter place to avoid the vibrant, nuanced visionoflife, they’re prolific and all oftheseartists have in common outsidea kilometer stretch ofhighway. Ifyou wonder what Anneke Silver, alllocated nearby afour hundred Robinson, Roland Nancarrow, GlenO’Malley, Meeks, CharlieStreet, HannahMurray, Brian Gaemers, David Rowe, Barbara Cheshire, Arone Lankester, LenCook,BenTrupperbäumer, Marion Preston, JamesBrown, Ken Thaiday Senior, Jo diverse stretches ofgeography inAustralia. Robert axis asoneofthemost artistically vibrant and way up.Infact, Iconsider theTownsville-Cairns to Cairnsandseesomeexcellent work allthe like mouldspores. You can drive from Townsville artists that seem to sprout upinthehumidity we’re partofaNorthQueenslandcontingent of who have madeTownsville home.Additionally, time inthe region, not to mention themany artists and Ray Crooke spendingimportant periodsof Jim Cox, Margaret Olley, IanSmith,KimMahood as JudyWatson, Auriac,IanFairweather, Thierry always punchedabove itsweight, withartists such Similarly, theTownsville artistic communityhas complete paradigm shift. tempered here, culminating inactions verging on Assange, figures whosepolitics were shapedand joining others suchasEddie MaboandJulian is anincredibly typical Townsville political mind, his active fight against racism. Inhis way, Red Fred commendable though they may have been,butfor celebrated, notnecessarilyfor hissocialist values, that thiscontroversial figure isnotmore widely terms intheState seat ofBowen. Ifindit strange then went onto make history again, two serving Party would inlocal serve government. Paterson Australian history amemberoftheCommunist and mangos. Myhometown. dreams, just asitisfor palmtrees, ruttingdogs atmosphereClearly themuggy isideallyfertile for toads onthebitumen,bird nests ontraffic lights. bower birds’ treasures onfront lawns, flat cane in wine,deep-fried fruitbats onthepowerlines, see here that Idon’tsee intheSouth:icecubes are many strange andwonderful thingsthat I it withcolours, images, dreams andstories. There big openskycountry uphere, andwe tend to fill flying lessons,the toad-shooter. Allofit.Thisis them. Thecat withthebutton eye, theduckling and Ican tell you, they’re alltrue,every oneof colourfulstories of North Queensland life to paper, My father hasalonghistory ofcommitting these get, andthemore surreal day-to-day life becomes. that thefurthernorthyou go, thecrazier people I have always told people,southerners specifically, mean word. indifference. Ashrug can bejust asbrutal asa bitchy way; Townsville’s meannesscomes from mean. ButifSydney ismean,itinaknowing, since Ileft it.Pretty asapicture, andtwiceas Townsville houses.Icertainly enjoy Sydney more by thestructures oftherailway yards andSouth in aseriesofskyscapes, heavily clouded,framed unease, familiarity anddeepsummermelancholy time, Iset to work trying to capture thissenseof space andtime.Despite my uncertainty at the level ofartistic productivity made availablewith undignified scrabble of Sydney, as well asahigher comfort insolitudeto berediscovered after the look backnow andseethat there was meritand life could bemuchfullerthanIhadimagined.can aesthetics ofEuro-centric artmagazines, Iknew rock stars playing artist, nomore ‘shit-on-plinths’ Sydney commutes, nomore entitled children of once realizing that Ihadnomore ninety-minute face withadamp,butoversized, fist. However, and you find yourself repeatedly punchedinthe that theglassofwater ispulledbackeachtime, offered aglassof water again andagain, except brutal, withbarely any rain. It’s abitlike being That summerIreturned homewas particularly was devilishly hot,even for here. 4,2016.ItwasJanuary closeto forty degrees. It pulp millingindustries. newcomers and logging seeking jobs inmining, encampments resolutely maintained by hardy overwhelming natural beautypeppered by small new country. Sheremembers itasaplaceof hemisphere winters hadprepared themfor the Scotland—places where challengingnorthern of theearlysettlers hailedfrom the Ukraine and hardiest immigrants rose to thechallenge. Many people’s resolve, andwhere, at thetime,only Canada—a placewhere theharsh climate tests camp inaveryin alogging remote partofnorth I needn’thave spared itathought. Dawn grew up taking onthefar colder climesofTasmania—but subconsciously wondered how Dawn might fare As afellow Queenslander, IguessI’d Island initsanglicisedversion asCowan Cowan. retained to refer to alight-house onMoreton meaning ‘like blood’—aname-placethat was later local AboriginalpeoplenamedKa –winKa-win— are tinted by the wondrous rich red soilthat the pristine white, whereas thebeachesof Redcliffe Bribie Island to Noosa, the Sunnycoast beaches are rocky headlandsandrolling surfbeaches.From while the‘Sunnycoast’ isastretch ofexposed protective barrier to the waters ofMoreton Bay, Sea by thelineofoffshore islandsthat actasa sheltered from thestrong waves oftheCoral kinds ofenergy. Theshoreline at Redcliffe is topographically very different, with differentvery in South-East Queensland,eachofthemare associated withbeautiful stretches ofshoreline University oftheSunshineCoast are Gallery Although boththeRedcliffe andthe Gallery visual arts. passions andmotivations that drive peopleinthe understanding aboutthesource oftheparticular towards‘digging amore anddelving’ informed meet onaprofessional level, withlittletime for art sector, Dawn andIhadonlythechanceto Gallery. Butasisall-too-often the way inthevisual and later at theUniversity oftheSunshineCoast in herrole asDirector oftheRedcliffe CityGallery Dawn andIhadmet onanumberofoccasions: of BurnieRegional ArtGallery. Over theyears appointed to take upthepositionasnew Director first got underway that Dawn Oelrich was It wasn’t longafter Director ofBurnieRegional ArtGallery, Burnie, Tasmania OELRICH DAWN The Partnershipping Project freezing mornings,and at the endoftheschool after classes.Inwinter, the days began indark, participating intheextra-curricular activities distance from theschoolprevented themfrom camps were well aware ofthefact that their the kidsfrom themore remote saw-milling just accepted aspartoftheirschoolday, although at theschool.Thelonghours oftravelling were a total oftwo hundred andforty-eight children When Dawn graduated inyear twelve there was Barrier intheNorthThompson Valley. school busdelivered themto asmalltown called bus-stop ontheedge ofthelake. From there, the camp’sby thelogging four-wheel drive at alonely children from thesettlement were dropped off way travelling to theschool.Every five morning, and hertwo sisters spent anhourandahalfeach life. Oneachday oftheirearlyeducation, Dawn commitment andpurposeinfected allaspectsof It was alife that demandeddedication, andthat until theday hedied at theage ofeighty-three. Dawn’s dadhadworked at saw-milling andlogging indigenous arrivals inAustralia andCanada. comparisons flitted between thehistories ofnon- As Ilistened to Dawn’s story, ghosts of haphazard way allacross thecountry. role ofdispatching parcels ofthecountry outina belonged to theFirst Nations peoples, took onthe in complete denialofthefact that theland house onanallotment. TheCanadiangovernment, andbuildinga committed ‘improving’ to clearing, the government to non-indigenous settlers who came from. ‘Homestead’ farms were granted by children together—that’s where the‘Oelrich’ andthey raiseda German‘homesteader’ twelve Her daughter Sarah, Dawn’s grandmother, married (daughter ofHselhwt brinandBwe himmitbw). was anglicisedto Marguerite Sauvage or ‘savage’, their marriage. Dawn’s great-grandmother’s name for permissionfrom aFrench bishopto accept man from Yorkshire, fell inlove, they hadto apply people. WhensheandDawn’s great-grandfather, a woman—a memberofthenomadicInterior Salish Dawn’s great-grandmother was aFirst Nations meaningful way. wanted to engage withthechangingworld ina opportunities the region offered tothosewho many children growing upthere, ofthelimited get outofthere. Shewas aware, aswere so landscape was, asakidshecouldn’t wait to at thetimeofhow exquisitely beautifulthe She admitsthat yes, whileshewas well aware solid. sawmills. Inthewinter thoselakes were frozen where they were felled to behauledashore at the places where thelogswere floated down from edge ofhuge lakes hundreds ofkilometres long— temporary camps hadsprouted upalongthe in BritishColumbia.Somany ofthese remote childhood was situated ontheedge oftheRockies The smallsettlement where Dawn spent herearly

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196 Dawn Oelrich Dawn | Stories Directors’ Gallery their humanity”. something thatextends communities offer regional galleries it. Sheknows that and thatgrows from one thatgrows it to thecommunity— provide aheartbeat can regional gallery “She believes a in arepresentational way, and by herfirst yearof family members whowere painting landscapes and painted from earlychildhood.There were Dawn relates how she’d always madedrawings to beacurator?” Iasked. arts sector. “How didyou get theideayou wanted incompatible withthedesire to work inthevisual seemed, to meat least, to bealmost completely growing camp innorthernCanada upinalogging Comparisons notwithstanding, thedemandsof when needed. the necessityofbeingableto rely oneachother certain kindofresilience, andshared values about also asensethat peoplehave hadto builda Canada, there’s asimilarsenseofwildness,and admits that althoughit’s notquite ascold as frequently sincehermove to Tasmania—she Memories ofthat earlylife have returned billeted inthehomesofvolunteer families. turned back.Onsuchoccasions, thekidswould be were blocked by snow, andthebushadto be Occasionally there were avalanches whenroads day, evening darknesswas already descending. fast. AsDawn explains it,shegot lucky whenhe a saw accident and Mr. Koblen neededafill-in the menonlate shifthadlost hisfingers in head sawyer—a mancalled Mr. Koblen. Oneof in thesawmill. HerDad’s best friendwas the After high-schoolshe’d taken a gap year to work together to dosuchathing. I asked herhow she’d managed to get thefunds dream. Unabashed, shepersisted inchasingdown her hanging around inthedubiouscompany ofartists. a city, and3.itwould meanshe’d bedoinglotsof that, inturnmeant shewas going to have to live in would meanthat shehadto go to university; 2. they were horrified for three major reasons: 1.it wanted to become acurator, shedescribeshow confidence to announce to her family that she the classroom. Whenshefinallymustered the from thehistory ofwestern artthrough slidesin longwaya long, away, she’d closelystudy images to cover several times.Althoughart galleries were when she’d read Janson’s History from ofArt cover high schoolshewas already completely captivated travelled to Marseille andonto Carcasonne and one ofDawn’s closest friends,andtogether they Geneva shemet anAustralian girlwhoremains Grindewald neartheEiger. Whilevisitingnear-by found herself inhighdemand teaching skiingat a-plenty inanything to dowithsnow, andsoshe she’d grown upinhad prepared herwithskills fast. However, theregion ofnorthernCanada In thebigcitiesofEurope money ran out cathedrals ofEurope Jansonhadprepared herfor. great numberofthosemuseums,galleries and then roamed furtherafield to study theart at a off withTitianandTintoretto inher sites, and could have stayed at home.Instead, sheheaded was sure Oktoberfest would beover-run with,she wanted to meet thekindofdrunkCanadiansshe to Munichhadpalled—shefigured that ifshe’d stint of working inLondon theideaofmovingon her course. Butby thetimethey’d alldonea leave was right, andtook offbefore completing to visitOktoberfest; shedecidedthetime to she met two friendsat university whowere keen to fundhertripto Europe. At theage ofnineteen pay for her university studies with enough left over The money she’d madethat year was enoughto behind acounter. being paidonedollarfiftycents anhour to work the men—at atimewhenmost girlsherage were dollars fifty cents an hour—the same rate of pay as where shewas paidthehandsomewage ofseven The millran two shifts—Dawn took thenight shift the forests ofCanada. red cedarfound inBunningshailsalltheway from around theworld; evidently someofthewestern profile itfindsits way to variousdestinations green chain.Onceit’s completed into itsparticular eventually thefinishedproduct goes outona sawyer, thento anedger andabandsaw, until through itmoves the‘barker’ onto thehead the size andshapeofthetimber.it’s After gone of decisionsabouthowto cutitdependingon end, andthenthesawyer hasto make aseries make asquare profile; aguy feeds itthrough one lengths, butthenthebarkhasto beremoved to The logscome into thesawmill cutto specific wastage inthemost efficient turn-around time. every amount ofcare istaken to ensure minimum the millithasto undergo several processes where She explained to methat whenalogcomes into impressive precision. in theexplanation, recalling theprocess withan just outofschool.ButDawn didn’tmissabeat make extraordinary demandsonayoung woman to me—to say theleast—to beonethat might be skippinglightly over asituation that seemed was alsostruggling to fathom why sheseemedto of luck.Shewas, after all,eighteen at thetime.I role inthat kindofdangerous work was astroke in for aguywho’d paidavery highpricefor his seemed sononplussedby the ideathat filling I was having difficultyunderstanding why she offered herthejob. At thispoint ofthenarrative interest intheRegional Gallery’s activities among and audiences, butalsointerms ofregenerating shake thingsupa little, notonly for local artists of more challengingcontemporary work might annual activity. She estimated that aninjection around theprize hadsettled into a comfortable year. Butby thetime Dawn arrived, theenergy the judges—William Dargie came to judge itone the prize amongartists was raised by the calibre of subject matter ofchildren, andthepopularityof sponsored a prize for works that featured the also hadthesupportofSchonellfamily who the exhibition ofthefinalists. The competition of thecompetition drew large numbers toview the seasidevillage ambienceplustheexcitement kind inQueensland,andduringthe1950s60s known Redcliffe ArtPrize was amongthefirst ofits as aresult oftheirlocal artcompetition. The well- A large partoftheCouncil’s collection hadaccrued to buildanartgallery. successful inconvincing theCouncilthat itneeded storage system for theworks, andlater was managed to get fundingto buildanappropriate Regional Gallery. Shecontinued to lobby hard, first Director ofwhat later became the Redcliffe meeting she was hired for two days a week asthe excellent jobat persuasion, because after that of day for publicviewing. Shemust have donean importantly, would bringtheworks outto thelight make sure itwas looked after properly and,most really neededwas someonewho’d document it, thousand dollars—and that what thecollection time to bearound three hundred five andsixty good collection’—one that was estimated atthe at Redcliffe that shebelieved hehada‘very She told theDirector ofCultural Development 1957 andincludedanumberofimpressive works. what she’d found. Thecollection dated back to followed upby afoolscap page ofnotes describing the Councilandarequest to view thecollection, dream ofbeingacurator began withacold-call to step shetook towards returning to herlong-held underneath thelibrary. Thefirst majorpractical in thebasement ofthe CommunityCentre have a substantial art collection stored somewhere her offthat thelocal Council was rumoured to Redcliffe. OneofDawn’s local friendshadtipped the family hadmoved to thebayside suburbof While shewas working towards her degree, Technology. Management at theQueenslandUniversity of a BachelorofBusinesswithkeen focus onArts Dawn got thechance to complete herdegree in to Sydney. Eventually, after raising two children, Australian husbandinVancouver, they moved background, and after meeting her andmarrying while herthirst for travelling burnedaway inthe a range ofhospitality jobs across Canada.Allthe she endeavoured to whittledown by working at in 1978to bemet by aheavy university debt that eventually driedup,Dawn returned to Vancouver then outacross theLoire Valley. Whenthemoney

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198 Melentie Pandilovski Melentie | Stories Directors’ Gallery value. Although she’s always beendrawn to, then experiences that ran deep inwhat she’s come to she hadbeen attracted by a range of values and So even before Dawn madethemove to Burnie, properties. to take time away from thedemandsoflife on aspects oftheirlives whenthey can manage local peopleare keen to supportthecultural Springsure andEmerald andWinton; placeswhere of peopleshe’s spent timewithinplaceslike Canada. She’s got astorehouse ofmemories character she’d known andexperienced inremote regularly reminded ofthekindinnerstrength of her various roles inoutback Queenslandshewas of artcommunities in regionally remote areas. In Dawn hadalsomaintained contact witharange Over thoseyears asagallery ofservice director Sunshine Coast’s artcollection and campus life. for hercommitment to theUniversity ofthe awarded the“Distinguished CompanionAward” artworks to theuniversity. In2016Dawn was Mainwaring donated hisprivate collection of86 renowned local architect andbenefactor John the collection received a generous boost when a range ofprivate collections. However, in2012 even thoughitdidhouseanumberofworks from Gallery, theuniversity hadalimited collection, When Dawn took uptherole ofDirector ofthe management practices oflocal government. a welcome change from themore controlled of theirvarious communities. For Dawn, this was staff to forge strong links withthe relevant sectors Coast, was leaderwhoencouraged avisionary Vice ChancelloroftheUniversity oftheSunshine Emeritus Professor Paul ThomasAM,theinaugural Coast Gallery. at therecently openedUniversity oftheSunshine her position at Redcliffe to take upa new position 2000, and,insearch ofanew challenge, sheleft work towards theopeningofartgallery in years, starting in1995, overseeing thebuilding new life into it.She’d worked at thegallery for 8 new twist onanoldstyle ofartprize hadbreathed audiences to theexhibition; theideaof taking a artists to the region, and was attracting larger brought thework of73leadingcontemporary at Redcliffe in2003,theAward CityGallery had By thetimeDawn left herpositionas Director developed rapidly into acity. sophisticated profile toa regional town that had fine, butthenew format brought achallenging, who felt that maintaining thestatus quowas just inevitably, resistance from someofthelocal artists work into theexhibition/competition. There was, collection—were pre-selected andinvited to enter or workshops orwhoalready hadwork inthe a connection withthecity—through teaching Artists Award’, where fifteen artists whohad terms ofthecompetition to create the‘Fifteen write theCollection Policy, she recalibrated the Searle, whohadbeenhired asaconsultant to artists andaudiences further afield. With Ross to thepresent. have continued asadeep wellspring ofinfluence up withdreams andaspirations ina remote region in for allofus”. Dawn’s earlyexperiences growing and deepenstheexperiences ofthisworld we live their times—theimages they call forth broadens believes that “artists are expert at beingaheadof as are work andsport.Inherown words, she the visualartsare asvital to thesecommunities that extends theirhumanity. Andsheknows that regional galleries offer communities something grows itandthat grows from it.Sheknows that provide aheartbeat to thecommunity—one that to bedone.Shebelieves aregional gallery can But she’s equallycognizant ofthework that needs think andrest your mind”. east andwest, thisisaplaceto breathe deeply, to and row after row ofhazy grey mountains to the on ourdoorstep, Cradle Mountain loomingbehind evident inherwords: anicyblueBassStrait “With understandable enthusiasm for thelandscape is printmakers from right across Australia. Her Australia after Fremantle, andonethat attracts recognised asthesecond richest print prize in Print Prize—an award launchedin2007that’s about buildingonthesuccessofBurnie collection andprogramming, andshe’s excited and enrichingitslocal communities through its hasalreadyArt Gallery madetowards enmeshing considerable achievements TheBurnieRegional Dawn expresses akeen desire to extend onthe unvarnished men’. that exist ‘intheirpuritynow inthebreasts of goodness, manliness(sic), tenderness, devotion’ that extolls thepresence ofqualities‘honesty, refers to ThomasHardy’s novel TheWoodlanders artificial or refined way. In explainingthis,she that may notovertly appearas‘cultured’ inan ‘culture’ hasto beintroduced to communities quick to note that there’s amistake inthinking dedicated to, cultural aspectsoflife, she’s also , particularly interested in.ButI was interested Mathematics and thelike) whichI wasn’t big emphasis ontheSciences(Physics, Chemistry, Broz Tito, after the Yugoslav President. Ithada was inhighschool.My highschoolwas called Josip students intotal. We returned to Skopje whenI students inaclass)withonlyabouttwo hundred twelfth grade. Classes were small(5–8 very Greece, that ran classesfrom kindergarten to American International SchoolinThessaloniki, Early schoolyears were spent at Pinewood—The very, very longtime. trips withmy father were inevitably going to take a when Iwas a kidIwas more aware ofthefact that that itwas important andvery interesting; but church frescos andicons. WhileIcan say now is through beingtaught to read thesemioticsof education from my father inunderstanding art I guessyou could say Ireceived avery early archaeological sites, monasteries, andchurches. stopping thecar every sooften to delve into local and Archaeology andtravelling withhimmeant Law Studiesandgraduated from ArtHistory General Consulate. Myfather hadabandoned father andmotherhadworked intheYugoslav After Macedonia we lived inGreece where my or Montenegro inthosedays. siblings andcousins. We eitherwent to Dalmatia shorelines oftheDalmatian Islandswith my time by thesea—ofbeachdays spent onthe earliest fond family memories are ofspending Alex andsister Sonjaare younger thanme.My There are three children inthefamily. Mybrother world might beableto avoid blowing itselfapart. missile crisis,anditwas asignofhopethat the city. Thishadhappenedright after theCuban each otherto assist inthereconstruction ofthe Russian andAmerican, worked right alongside different international organisations, including big reconstruction that followed theearthquake, we lived ononeoftheDalmatian Islands.Inthe that earthquake, anduntil anew house was built time to remember it, my parents lost everything in were injured. AlthoughIwas too young at the a thousandpeoplewere killedandsixthousand demolished seventy percent ofthecity. More than months before thecatastrophic earthquake that I was borninSkopje Macedoniain1963,afew Director ofRiddochArtGallery, Mt.Gambier, SouthAustralia PANDILOVSKI MELENTIE uniforms andbootswere really neat. army experience—a lotofstanding still—but the never occurred to him.That kindofsumsupmy thought that she might have criedfor herson and was eighty-eight after allwhenhedied.The forcry theMarshal, ashehadlived auniquelife the officers approaches herand tellshernot to (It isquite anelaborate spectacle really!). Oneof ceremony whichhappensevery twenty minutes once shespotsmeintheChangingofGuard the HouseofFlowers, andshestarts crying One oftheepisodesincludesmy mothervisiting respects to theMarshal. thousands ofpeopleliningupdailyto pay their Broz Tito, haddied,sointhosedays there were or soafter the Yugoslav President for life, Josip of Flowers”, ashisresting place.This was a year standing by Marshal Tito’s grave inthe“House arriving at theairport,andspent most ofourtime dignitaries entering government buildings,or Tito’s Guard. We hadto stand still linedupbefore part ofGuard known as ofHonourotherwise Iwasservice stationed inBelgrade where I was my tertiary studies. Duringthetimeof myarmy ifyouservice didn’t—sonaturally Ichoseto begin months ifyou attended university—fifteen months Back thenyou hadto go into thearmy for twelve story). to Philosophy, butthat alsodidn’twork out(long after graduating from ArtHistory I would switch in theendArtwon out.Iactuallythought that point Iwas genuinely interested inPhilosophy, but Faculty for ArtHistory withArchaeology. At that be very good ifIappliedto beaccepted at the at theUniversity, suggested subtly that itwould neighbour Nada,whowas runningStudent Affairs historian, sothere was almost noescape. Even my teacher, andoneofmy grandfathers was anart aunts was afamous archaeologist, anothera piano members were painters orsculptors, oneofmy and graduated from arthistory, someofmy family my father whowas studying Law switched halfway that I’d enduphaving something to dowithart: expensive thosedays). Iguessitwas inevitable everything Icould (too badthefilm was so myself aSuper-8 camera andstarted shooting arts, thevisualorhumanities.Ibought whether Iwanted to go into film,theperforming some kindofartistic subjectbutthat I wasn’tsure I remember Ialready knew Iwanted to study its satellites. Etatism (State Socialism)oftheSoviet Unionand form ofSocialismat that point), asopposedto (which probably represented themost democratic dominating socio-economic system in Yugoslavia Engels, aswell asonSelf-Management, asthe more onthesocio-political teachings ofMarxand on theeconomic aspectofthosestudies, and Marxism, where there was lessofanemphasis as Latin, andasubjectthat was offered called Psychology, thecontemporary languages aswell in thesocialstudies—History, Geography, Logic,

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200 Melentie Pandilovski Melentie | Stories Directors’ Gallery gallery oftheYouth Cultural Centre inSkopje. The my first solo exhibition, amedia artshow, in the In 1987,whenIwas twenty-four, Ipresented Goodbye Archaeology; HelloContemporary Art! In theendthishelpedme decide whichway to go. made study trips to themuseumsofAmsterdam. profession. Ispent awholesummerthere. Ialso you worked inwhat seemedlike avery good to work withthem.They alsopaidyou while archaeological students from around theworld had anarchaeological centre, andthey invited Each ofthethirty-one Cantons inSwitzerland town called Martigny intheCanton of Valais. excavations from the Roman periodinabeautiful Antique period.In Switzerland Ijoinedthe eighties, onNeolithicas well asdigsofthe Macedonia andSwitzerland throughout the several archaeological excavations inboth specialize inwas thebigquestion!? I attended Contemporary ArtandArchaeology. What to archaeology andendeduptorn between After that I returned to study arthistory and Mount Gambier”. Plan for theCityof overarching Cultural initiatives andthe numerous PublicArt Railway Landsproject, Gallery, the Art through theRiddoch scene, the visualart here—consolidating somethingnew starting “We’re onthe verge of I was thelocal Nam JunePaik (thepractice was people were still waiting forme,I guessI feltlike back to thegallery, seeingthat thesetwo hundred good-looking shoesfor theopening.Onway hours; intheinterim Iwent to town to buysome people waiting for thedoor to open for abouttwo opening night, Ikept theaudienceoftwo hundred was ofaroom being bombed,orsimilar. Onthe of theTVs on themarblegallery floor. Thesound remember onebrave woman whosmashedsome that happenedbetween andaround them.Ican the floor, andthere were performative elements beautiful glasselements, others were arranged on them were suspended,after beingsmashedinto them. Butitdidn’tworry meat thetime.Someof while cutting myhands frequently whenIsmashed the poisonoussilver nitrate that Iwas exposed to re-assembling them.Ican recall beingdrenched in materials andwork onthemby breaking themand breaking inSkopje. Ihadto dumpster-dive for the materials now, butat that timeitseemed ground- screens, videos—thingsthat are quite common as sculptural installation includesmany broken TV SCCA Network was organizing abigpresence of individual artists. One ofthefirst projects ofthe domain ofarts, includingfinanciallysupporting became active ina range ofactivities inthe Contemporary ArtinSkopje, Macedonia,we When we were given theSoros Centre for concept ofopensociety. by Karl Popper, aphilosopherwhoadvocated the Interestingly enough,George Soros was mentored rights, justice, and democracy around the world. private funderofgroups that work for human in thepast few decades to become thelargest those societies. TheOpenSociety has expanded and former communist societies, and re-building communism, buildingbridges between thewest societies andmakingthetransition from aims ofdemocratising the formerly communist Central andEastern Europe, charged withthe ex-socialist countries (thenew democracies) in Foundations were established ineachofthe Hungary intheeighties. Following that, Soros to develop thefirst OpenSociety Foundation in Jewish Hungarian descent, whousedhiswealth George Soros, anAmerican entrepreneur of contemporary artcentres. Itwas namedafter Macedonia, asapartoftheSCCANetwork of Soros Center for Contemporary ArtsinSkopje, Society Institutes, who were about to opena Soros Foundation, known asOpen otherwise activities, I wasmadean offer to workwiththe Although fullyimmersed inhumanitarian find their way back to their war-torn countries. who hadmoved to Macedoniaandwere to trying branches, providing food andlodgingsfor refugees with International Red Cross andLocal Red Cross While Iwas engaged inthefield we were working field monitor andthenI worked asa co-ordinator. refugees from Bosnia,Kosovo, etc. At first I was a They were thendispensedwhere neededfor the a central warehouse inKumanovo, Macedonia. where thegoods were unloadedto bedriven to and Blackseas,dockinginBurgas inBulgaria, of Mexico through theMediterranean, Aegean the nineties. Theships would travel from theBay other provisions to theBalkans duringthewars of take ships ladenwithwheat, rice,oil,lentils and Relief US-based institution Services—a that would company for awhile,andIalsoworked inCatholic of casinos. Ithenstarted my own computer including asaPublicRelations Officer forachain started working. Itook onanumberofjobs After that Idecidedhad to get seriousand graduated. sit your final exam, nothing counts. SoIdid,and passed allyour subjectsandcourses—unless you university system itdoesn’tmatter that you’ve that Ihadn’tsat for my final exam yet. Inthat been sendingmenasty letters reminding me All thewhileIwas travelling, theuniversity had sure! world famous for fifteen minutes moment for similar) oreven AndyWarhol, asIdidget my history oftheplace—how ithademerged from aesthetic’ were the best bits.AndIliked the ‘experimental’ and‘radical andonlyincidentally was encouraging too—the emphasisonthe exciting—and thelogic behindits formation At first I was very excited—the nameitself was short ofgetting Leave LongService whenI left!). the EAF. (Sounds good, butIwas eleven months Directorserving intheforty-two year history of month, andthismademethe second longest in 2005.Iran theEAF for sixyears andone My second daughter Isabellawas borninAdelaide founder oftheSammlungEsslMuseum. countries, andeven theindustrialist Karlheinz Essl, Szeemann, numerous artists from theBalkan Art Network, withitsCurator, thelate Harald this very exhibition, asDirector oftheBalkan years ofmy life conceptualizing andcoordinating to Australia, butontheotherhandIspent afew price to pay inorder to start anew life andmove Museum inVienna.Onewould say that itisalow seventy-three Balkan artists at theSammlungEssl opening of“BloodandHoney”, anexhibition of of distance prevented mefrom participating atthe connections with Europe. For example, the tyranny Australian visa). Italsosignifiedthesevering ofthe in 2003(ittook abouteight months to get the with my wife andmy two year olddaughter Isidora Foundation inAdelaidesoImoved to Australia In 2002Iwas invited to runthe Experimental Art the memorable actionsofthegroup! helmet inSweden, for my contribution to oneof Europe. Iwas even given anhonorary Viking was alinkbetween artists inthe West and Eastern net culture, andthe‘Syndicate’ Network which concerned withissuesofthequicklydeveloping established networks inEurope, suchasNet-Time, In addition to this,Ibecame active withthe newly media arts,music,etc. exchanges intheareas ofvisual,performing, and artsmanagers—there was ahighlevel of International Fellowships to hundreds ofartists and Central andEastern Europe by providing which provided aconnection between theUS the MacedonianCoordinator for theproject) of theSoros Foundations was ‘Artslink’ (I was curated for 6years inarow. Oneoftheprojects of mediaartists from around the world, which I Electronic ArtFair, whichlaunchedthecareers job. Anotherinitiative Iam proud ofisthe Skopje Director andthenDirector—it was avery fulfilling I stayed for almost ten years—at first asDeputy opened ourown gallery inSkopje. we started curating our own exhibitions, and even state museumsandgalleries. Inthefinalinstance a sortofprivate artscouncil, financing even the which was lacking).TheCentre alsooperated as of catalogues for theartists (seenassomething comprehensive databases, andabigproduction was organising bigannualexhibitions ofartists, Sao Paulo Biennalein1994.Each oftheCentres artists from Central and Eastern Europe at the

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202 Melentie Pandilovski Melentie | Stories Directors’ Gallery experiments were still producing positive results. long. We trieddifferent media to seewhether the inthe21stthe Imaginary Century… thelist isquite light spectacle, conferences suchasIdeologyof ‘Art intheBiotech Era’ exhibitions, Misha Kuball’s ‘Genesis’ Bio-tech Artinstallation, included inthe of ShaunGladwell andTVMoore, Eduardo Kac’s from Germany, oneofthefirst video installations Van GoghTV—acuttingedge Virtual Reality group Brooklyn, whodidinflatable robotic sculptures, MacMurtrie andAmorphicRobot Works from stated. Icontinued to invite artists suchasChico EAF towards Stelarc, buttheotherway around, as memories, inaspiritofforgiveness, butnotofthe Donald did,withagreat speechinvoking many cancelling Stelarc’s exhibition) to openit.And Chair oftheEAF andby default responsible for but Imanaged to get DonaldBrook (thefirst Not onlywas theexhibition at the EAF spectacular, I amin!” performance’) heagreed, saying: “ifyou can doit, EAF’s first exhibition and Stelarc’s first ‘hanging by theEAF suspendingwhat was going to be with theEAF from 32years before, caused after hearingthis,(due to ariftinhis relations to doashow at theEAF. After hisinitialshock traditional media.I remember inviting Stelarc art, biotech art,virtualreality, aswell asmore new media.We didmany exhibitions with robotic the experimentation by venturing inthearea of energy oftheearlyyears, soItriedto reinstate scene hadgrown alittlemore stale after the However, itseemedto methat theAdelaide experimental artwould save theworld! that Iliked theconcept they dreamed upthat billion. Against thisbackground there’s nowonder the world, theworld’s population reaches 4 gasoline shortages andpriceincreases throughout War between Egypt and Israel in1973;there are mines intheSuez Canalfollowing theYom Kippur there isU.S.-led clearingeffort for sweeping of on mainlandBritain, theglobalrecession deepens, from office,theIRAbegunbombing campaign the United States President Richard Nixon resigned were inseriousmilitary confrontation over Cyprus, the Vietnam War was raging, Greece andTurkey time that seemedasifthe world had gone mad— But, wait aminute! Just remember that thisisa Australia. in tens ofothersimilarspacesopeningaround practical artspacethat subsequently resulted all odds,inestablishing amodelofanidealbut experimental art.Andthey succeeded,despite that there was noplaceinAustralia to exhibit Art Foundation! Of course theirmotivation was what theworld really needsisanExperimental the GulfofStVincent. Apparently they agreed that EAF in1974,whilegazing at themagical waters of believed, was that they hadconceptualised the Flugelman andIanNorth.Thestory Iheard, and artists andtheorists, suchasDonaldBrook, Bert the shared dreams by asmallgroup ofAdelaide space!! planet to see what’s happeninghere. Watch this where somany peopletravel from allacross the and others’ huge indoorandoutdoor installations, Lake, Utah, orMarfa, Texas, withDonaldJudd’s Rozel Point, thenortheastern shore ofGreat Salt a reputation like Robert Smithson’s Spiral Jetty at the land.Perhaps theLimestone Coast willgrow towards re-developing asimilarkindoffocus on here inoneofthequarries, andwe’re moving years ago there was asculptural symposium held dreaming up abigLandArtproject. Some thirty Video Editing Suites. We’re alsointheprocess of Virtual Reality/Augmented Reality programs, and International Limestone Coast VideoArt Festival, new mediaartinitiatives, suchastheinaugural Gambier. We have alsoestablished various overarching Cultural Planfor theCityofMount project, numerous PublicArtinitiatives andthe the RiddochArtGallery, theRailway Lands here—consolidating thevisualartscene,through We’re ontheverge ofstarting something new art strategies. running thecultural fundanddeveloping public of Mount Gambier, incharge ofcultural plans, and Manager ofCultural withthecity Services the positionasDirector of theRiddochArtGallery In theCanadiansummerof2016Iwas offered people. and ten thousandlakes—a lake for every ten two hundred thousandpeopleandonehundred The province ofManitoba hasaboutonemillion summer issoshort,theplants grow very quickly. don’t seemto have thesameimpact.Because the ways, andthesunlooks huge, althoughtherays The landissimilarto SouthAustralia insome vast expanse that runsfrom HudsonBay to Texas. The summers are wonderful—it’s aprairie—a the nearby streets are connected onthe first floor. intersection) isunderground andthebuildingsin the citycentre (theiconic Portage andMain it can cope withproblems brought by thecold; snow every morningandthetown isset upso Canadians doawonderful jobofcleaningthe temperature reached minusfifty-five! Butthe and ahalfyears. Onenight 2014the inJanuary province ofManitoba. Istayed there for five Video Pool MediaArtCentre inWinnipegthe Following that, Imoved to Canadawhere Iran 2011 inthearea ofCultural Studies. of theBio-Political Apparatus’ was awarded in ‘The Formationwent well, andthePhDwithatitle schools before you present your defence. Itall the PhDto ten ‘blindadjudicators’ from different there requires candidates to sendasynopsis of defend thethesis.Theuniversity system over completed thethesisthere. Ihadto formally to Skopje inMacedonia2009Itransferred and Barbour asSupervisor. ButwhenImoved back University ofSouthAustralia, withthe late John on biotechnology andcontemporary artat the While Iwas there Istarted my PhDfocusing Artuso. Ican remember coming to hercrying, At high-school Ihadawonderful teacher inMiss making alivingfor themselves. concerned that theirchildren would becapable of come from poorbackgrounds, they were very me following my own passion:art.Because they’d this was that Mum andDadweren’t too keen on have opportunities.However, thedown-side of they pushedushard because they wanted usto their own children to have aformal education; education! SoDadandMum were very keen for it still concerns him that hehasn’thada formal Jimboomba TimesandtheBeaudesertTimes), media newspapers (theRedland CityBulletin, though Dadiscurrently theeditor ofthree Fairfax the opportunitiesofa formal education. Even farm,on thedairy noneofthemhadbeengiven and hissiblingshadawonderful timegrowing up Catholic girls’highschoolinthecity. AlthoughDad I went to schoolinAlexandra primary Hillsandto a cousins, andsomeofthemhave changed mine. I’ve changed lotsofthenappiesmy younger a lotofusbutwe allknow eachother intimately— a longday withongoing festivities. Iknow there’s family for lunchandDad’s family for dinner, soit’s Queensland sununder tarps. We usually do Mum’s Christmas dinnertogether sheltered from the yards—everyone bringsaplate andwe allshare We take turnsto meet inaeachother’s back family Christmas. a minimumofonehundred peoplefor achaotic up. Every year we allstill gather together –usually a child.It’s beenahuge influence onmegrowing village—and they say you needavillage to raise That closenessandfamily community feels like a and we’re still all closeand very gather regularly. firstsixty cousins andtwenty-six aunts anduncles nine children; Dadisoneofseven—I have over Europe to re-settle after the war. Mumisoneof of Polish Jewish refugees who’d moved from about theVietnamese community andchildren immigrants. Ican remember hearingfamily stories up at Darra whichat that time was used to home farmup onadairy inWynnum andMumgrew My parents bothgrew upinBrisbane—Dadgrew I was borninBrisbane,theeldest ofthree kids. Townsville, Queensland Director ofUmbrella StudioContemporary Arts, WILLIAMS KELLIE

working withthem. Itook ariskandworked out Bay group offishermeninvited me to continue Towards theendof that period,theMoreton Queensland. first started falling inlove withtropical far north people andtheenvironment. Thiswas thetimeI training inparticipatory approaches to managing Moreton Bay. Outofthat work Igot incredible regions—the Great BarrierReef andtheotherat in Brisbanebecause Iwas working withtwo core by spendingtwo weeks inCairnsand two weeks on thisQueenslandPilotProject Isplitmy time in Rome. Inthethree years duringwhichIworked Nations World Food andAgriculture Organisation findings to theFisheriesManagers oftheUnited During that time,I was invited to present my hired to manage theschemefor Queensland. adopted by commercial fishermen,andI was of environmental management systems being invested inapilotprogram abouttheviability after my honours year, the Federal government processes ofcommunity consultation. Notlong ofgovernmentwith themachinery andwiththe was agreat entrée to becoming more familiar working underlawyers to draft legislation. It legislation branch oftheQueensland government, 12 months asaResearch Officerinascience My first jobasauniversity graduate was for very employable. thesis catapulted meinto acareer; Itmademe evaluating theiroutcomes, and thesuccessofthat sustainable. Ispent ayear working withthem totrying prove that theirfishingpractices were commercial fishermeninMoreton Bay who were my Honours involved working withagroup of science knowledge to working withpeople.So a labto asascientist—that qualify I could apply working withpeople—that Ididn’thave to sitin helped meto realise that what Iwas good at was wonderful teacher, McPhee,who DrDaryl At theendofthat degree Icame across another own framework ofunderstanding. … Ijust kept drawing thenew knowledge into my cells andplants andbotanical details andanatomy mind-maps andmemory-diagrams-drawings, of I’d spendhours andhours doingdrawings and to take intheconcepts that were difficult forme studies I’d continue to draw allthetime—in order (Hons). WhileIwas undergoing my university a BachelorinEnvironmental Science(Ecology) graduated from theUniversity ofQueenslandwith inherited from my parents, andafter highschoolI determinationthe kindofdogged I’ve probably and science,butIstuck itoutandwent onwith anyway. Mybrain didn’twork for ‘naturally’ maths for itornot”. SoIactuallygot to dothoseclasses you through thecourse whether you get marked spares come into theartclassroom andI’lltake told me,“Kel, you’re doingwell at art—inthose She looked at my ‘spares’ inmy timetable and let metake grade eleven andtwelve artclasses. explaining that my parents were notgoing to

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204 Kellie Williams Kellie | Stories Directors’ Gallery experimental ideas”. the regions for and potential in capacity, possibility feeljust there’s more of rushing.I instead meaningful, slow ways, with peopleinmore to reallyconnect I now getthechance in afive-minute drive. now Icanget to work travelling theworld but I’ve years spentfifteen the peopleheretoo— and enamouredwith “I’m reallyimpressed fact I’d beenfittingit inwherever andwhenever Further Education) while I’d been working. Soin Design for twelve months at TAFE (Tertiary and years at night classesandalsohadtaken Fashion Brisbane Institute ofArtinsilver-smithing for two abandoned studio artstudies—I’d trained at the throughout my working life I’d never completely a halfyears offormal study. Ihave to say that semesters over three years—a total offour and I still draw from. I completed anadditionalsix though—there were lotsofarthistory studies Industries studies hadn’tbeenawaste oftime, at where Ireally wanted to be.TheCreative Bachelor ofFineArtdegree; at last I’d arrived Pederson—encouraged meto swap into the outputs, oneofmy lecturers—Dr. Courtney ever undertaken. Whenshesurveyed my studio to methat thiswas themost enjoyable study I’d immediately jumpedhigher—itcertainly seemed number ofstudio-based subjectsand my grades After 12months however, Imoved into taking a applied for aBachelorofCreative Industries. parents were still ringingin my ears, soIinitially to study avisualartsdegree. Thevoices ofmy After working there for a couple of years Iapplied Sustainable Transport for two andahalfyears. a jobintheQueenslandGovernment’s Officeof I usedmy government andscienceskillsto get after that timewhenI returned toAustralia, so Money was themaindriver inthejobsearch four months intheUnited Kingdom. and we returned to Brisbaneafter having spent there, anumberofevents had‘plotted against us’, board. Althoughwe’d plannedto spendtwo years drawing, andalsowork asanaupairinreturn for during that time was work inthepub, keep plenty oftime to slow down andthink.AllIdid to get work inapubEast Sussex where Ihad professional jobmarket haddriedup,Imanaged (Global FinancialCrisis)hadhit.Even thoughthe time we landedintheUnited Kingdom theGFC working overseas for two years. Butby the a year offandtravelled, withthe intention of Around thesame timeImarried,and we took my way backto my art. cause andIreally felt like Isomehow hadto find was spendingallmy energy onsomeoneelse’s for thecause. Butitwas starting to wear thin—I involved years ofblood,sweat andtears working practices into thefishingindustry. Thisperiod for thework we’d doneinintroducing sustainable United Nations World Environment Day Award always ahumbleoperation, we were awarded a organisation for three years. Althoughit was a seafood shop;we hired staff, and we ran the and was ableto secure rental onanofficeabove business. Ireceived arange ofgovernment grants management system was working intheirown prepared to demonstrate that anenvironmental comprised ofcommercial fishermenwho were not-for-profit membership-based organisation of my lounge room for sixmonths to set upanew I love that. more ofafeeling ofsolidarityandsupport. paying to them.Andwiththat lip service there’s the buildingofgreat ideas,rather thantheact of there isactuallyspaceandtime for innovation and clamour around ‘great ideas’whereas uphere In thebigcitiesthere’s allthe competition and potential inthe regions for experimental ideas. I just feel there’s more capacity, possibilityand in more meaningful,slow ways, instead ofrushing. now get thechanceto really connect withpeople but now Ican get to work inafive-minute drive. I too—I’ve spent fifteen years travelling the world impressed andenamoured with thepeoplehere landscapes typical ofthisregion. I’m really and engaged by thekindofuncompromising andmyand camping, photography isinspired that Ihave. I’m anoutdoors person—I love hiking falling somuchinlove withtheplaceinway over theyears, butI’d never really counted on I’d spent agreat dealoftimevisiting Townsville of Director at Perc Tucker Regional Gallery. McBurnie confirmed he was taking uptheposition when previous Umbrella Director Jonathan offered metheDirector’s positionpermanently at Umbrella Studios.Duringthat timetheboard after whichIapplied for the role asActingDirector wonderful fit.I worked there for eighteen months, the company was very positive, madethe role a fact, andalsothesensethat thefeeling around every memberoftheirboard was awoman. That was immediately impressed aboutthefact that going towards dancerather thanfine art,butI a ‘producer’. At first I was concerned that I was Manager—which indance-world-speak means just beencreated by DancenorthasaCompany job inthearts,soIappliedfor anew role that had Townsville. Iwas keen to lookaround for agood new partner, whoisinthearmy, was posted to I graduated in2016;at theendofthat year my also taken onayear-long internship at QAGOMA. of my degree. Inthesecond year ofmy degree I’d other days to focus onmy practical studio areas day fortnight andIwas therefore ableto usethe supported meby allowing meto work anine- for oneoftheirmajorfundingprograms; they Arts QueenslandasaSeniorInvestment Officer During thefinal year of my studies I worked for my grades. the GoldenKey International Honours Society for eventually issuedaninvitation to membership of consistently highGrade Point Averages, andwas end, Iachieved several Dean’s Commendations for and understanding by theinstitution and inthe I was having duringthistime.I was given support supportive, encouraging methrough the struggles very difficult. However, mylecturers were totally leading aresponsible adultlife, madethat period responsibilities, andallthethingsthat go with time study my marriage broke down. Thefinancial I could manage it.Butduringmy periodoffull-

Gallery Directors’ Stories | Kellie Williams 205 206 INSTALLATIONS

207 208 Garland, Ritchie AresDoña, and Selena deCarvalho Garland, Ritchie Greg Lehman, GregLeong,Jamin, Joan Kelly, Lisa Dave mangennerGough withNathan Slater, 16 DECEMBER2018 10 NOVEMBER– ART GALLERY BURNIE REGIONAL

209 210 utilitarian”. meaning beyond the forinto a metaphor has beentransformed each its cargoofart; purpose: carries each to sharethesame ofthem seems each shape andscale,but in boatsdiffer “The mainstream politics. across Australia whofeel increasingly alienated by viewed asasuccessful test case for thosevoters and Craig Garland’s ‘threadbare campaign’ is swell hassurged forward to national attention, in the2018Braddon by-election. Sincethen,the of local supportthat emerged asthe‘third force’ of (political) decision-making”, garnered a swell what hedescribed as“thenon-inclusive nature his decisionto runfor anindependent seat against staunch one-man challenge to political apathy— on Tasmania’s North-West coast. Craig Garland’s the steady encroachment of commercial fish-farms been gradually pushedtowards theimpossible by mesh fishermanwhosetraditional livelihood has features theartist’s brother Craig Garland,asmall- across Australia. moment—one that hashadrepercussions right artist, butitisalso captures adeeplypolitical This work isintensely, movingly personal for the fighting-fish head. in thepowerful curve ofitsspine,inmassive in death thewildstrength ofthefishis still evident arched frame ofaonce-mighty blue-fin tuna. Even above it,from bow to stern, issuspendedthe commercial industrial-scale salmonfarming. And into changes brought aboutby theonslaught of of wildfishinginNorth-West Tasmania forced life’—nautical maps andaspectsofthelandscape perforated images ofLisa’s brother’s ‘fishing circles that detail otheraspectsofthisreality— fishing net. Themainimage isperforated withcut Around ofthestructure the‘skirt’ runscallops of which to attempt to fly. this boat may bepreparing vestigial wingswith used again, printed onfabric ‘wings’that suggest wrath. Butthesameimage—the loneman—is a flimsy cover to ward offthe worst ofthesea’s the water outshouldthevessel roll; orperhaps attempt at water-tighting—a provision for keeping of thehull’s curve. Theform looks like akindof ‘skin’ takes onashapethat isagraceful inversion bars ofametal frame, thestretched photographic tarp. Stretched across andsuspendedwithinthe been re-fashioned into what seemsto beanersatz a lonemanagainst theseasofachoppy bay has work, alarge-scale blackandwhite photograph of as asensitive interpreter ofimagery. Inthisnew as aphotographer andfor heroutstanding skills Lisa Garlandisknown for herconsiderable skills beyond theutilitarian. been transformed into a metaphor for meaning purpose: eachcarries itscargo ofart;eachhas scale, buteachofthemseemsto share thesame Bass Strait beckon. Theboats differ inshapeand and beyond the lay oftheland,waters of towards theentry door, where, across thestreet the flotillapoints inthesamedirection—out My Brother, theFisherman,eachmemberof Burnie Regional ArtGallery. Leadby LisaGarland’s echelon, headedtowards theentrance ofthe The fleet ofeight boats appear to proceed in My Brother, theFisherman Doña states have been,inpart,anaspect of placed, perfectly formed conical hillsthat Ares- the ‘chocolate hills’—asystem ofsmall,evenly landmass known for theunusualtopography of Part ofthisisland-group isnearby Bohol, alittle the Visayan group ofislandsinthePhilippines. Ares-Doña’s homelandisCebu,anislandamong weightlesssmall boat anditssparkling, cargo? So what relationship might there bebetween this concentration. a labour-intensive process ofrepetition and affect hasonlybeenmadepossiblethrough artist’s intention to produce aminimal,liminal acrylic. The ofclear to anotherfloating ‘floor’ constructed asystem ofclear-plastic holders glued of thevessel, Ares-Doña hasmeticulously these In order toforms above ‘float’ thefloor tuck until the geometric forms take shape. to acentral‘booklet’ spine,hebeginsto fold and process ofattaching eachtiny reconstructed from waste matter. Then,through alaborious redundant; Ares-Doña hasretrieved hismaterials transparencies inteaching institutions is now The technology that madeuseofoverhead of sheets ofoverhead transparency plastic. by thesystematic and careful folding ofthousands density isanillusion;they have beenconstructed solid—their appearance ofthree-dimensional surfaces. For thesecrystalline forms are not number ofways backfrom theirfolded, fluted to proves elusive: meaningis refracted inany precise definition ofwhat theseshapesallude bow-to-stern installation ofdiamond-shapes.Any the cargo—a transparent, shimmering glittering, each ofthemlight shinesupwards to illuminate simple planks for andfrom seating, underneath shallow spaceofthegunwales iscrossed by four and peeling.Theboat hasseenbetter days. The and white wooden vessel. Thepaint iscracked within thebellyofarelatively cool-blue long, Ritchie Ares-Doña’s CulturalTransmission Following behindthework ofLisaGarland, brother Craig describedas“an act offaith”. place; atale that documents aspectsofwhat her hope into astory immersed incommitment to boat, sheweaves images, flotsam,jetsam and of Tasmania’s North-West coast; together, inone dedication to documenting thepeopleandplaces including material evidence aspartofherongoing this work, thephotographer hasmoved towards tatters from thosehedependson for aliving. For flotation bobs were spliced byhim;the nets are was caught by him;theropes that connect the of Craig’s own; thedriedcarcass ofthefish The boat—a purdon fibreglass dinghy—is one of gazes. Thiswork shares that commitment. their innerdignityapparent to themost cursory subjects witharespect andcandour that makes North-West coast; herimages bestow eachofher close attention onthepeopleof Tasmania’s Lisa’s photographic ouvre hasheldtrueto its isheld

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212 at Burnie Regional Art Gallery (2018) Gallery Art Regional Burnie at Hoffie: Pat | Installations TPP ecosystems”. dangerous interloper thathasimbalancedlocal as afood source,butthatisnow recognisedasa that was onceintroducedto waterways Australian ofthecarp, usesthemetaphor afish The artist fromourshorelines. attitudes thatspurnothers then,isonethatmournsthe installation, “This the carp, afishthat was onceintroduced to Australian waterways asa food source, the attitudes that spurnothers from ourshorelines. Theartist usesthe metaphor of who have beenforced to themargins. Thisinstallation, then,isonethat mourns narrates how hisexperiences asanoutsiderhave helpedhimempathise withothers Australia andfrom withinhisChineseheritage; hetells of‘never quite fittingin’—and immigrant, andoftheexperiences ofostracism from bothhisadopted homeof to himasitispolitical. Leongspeaks eloquently ofhis experiences asa gay Chinese simplicity ofform, Leonghastaken aim at anissuethat isat onceasdeeplypersonal Migration ofOriental Carp Leong hasworked intheatre andthevisualarts,thiswork, embalmed, inasense,withthesamematerial. used by Chineseonlyfor ritualsofdeath. Thecarp, too, have beenwrapped closely— sides ofthevessel have beenappliedare infact piecesofjosspaper—amaterial inspection reveals that thesilver and golden squares withwhichtheglossy black like aceremonial palanquin—partofacelebration ofanarcane rite. However closer suspended onlongfragile polesabove theboat. Onfirst sight, the vessel appears of thevessel andthrough thegold, silver and yellow-wrapped forms ofthecarp of carp-shadow. Thework casts agolden glow upwards andoutwards from thebelly of thegallery, sothat thevessel appears to bemoving from beyond asoftgrey cloud cargo ofcarp throws amyriad ghost-forms shadowy onto thetwo walls ofthecorner Leong’s work raises itsbow to theswell. itshigh-carried Glittering andshimmering, Behind Ares-Doña’s boat, thesmall,flat-bottomed, blunt-nosed skiff carrying Greg surpass andtransform thematerial waste from whichitwas created. fragile diamonds.Thecargo grows andglitters. Itfloats and refracts light in ways that them realise someofwhat they’re capable of”. Ares-Doña’s boat carries acargo of Doña, “and yet they have thepower to shinelike diamonds.Working witharthelps “They areto seetheirfullworthtreated andpotential. like social waste,” says Ares- with disadvantaged youth—with children whose experiences have notallowed them understanding otherpossibleimplications. For many years now theartist has worked But theprocess withwhichAres-Doña’s work proceeds isalsoimportant to like salt,orperhaps theaggregations of coral. artist buildsoneon top oftheother, they give theappearance ofcrystalline structures invisible plankton. Andassomeofthesmall,precise forms accrueheight whenthe life—the transparent, floating orperhaps the shapesofjellyfish, geometric formsof thatmemory draws himbackto hishomeland.Thework isalsoevocative ofmarine , draws from eachoftheseareas. Withuncharacteristic The Tasmanian in theboat, orperhaps (to) theartist at work”. man. Lehmanstates that heintends themugasa“prompt to thepresence ofasailor image ofWilliamLanney, best known asthelast “fullblooded”Tasmanian Aboriginal on thebackseat oftheboat, Lehmanhasplacedacoffee mugbearingthehistorical have continued to live for what isnow estimated tobe well over 60,000 years. And itself; they are themarkers ofshorelines, middens,homelandswhere thecustodians belies thecommanding weight ofitsrole asballast: theobjectsare partoftheland the literal transposition ofhistory’s words. Yet thepretty tidinessofthe arrangement from theshoreline. Here thewash-up from thelittoral zone becomes re-framed by aesthetically pleasant, carefully composed still-life arrangement ofshells,sand,objects sides andalongthegunwales oftheboat. Alongthebottom oftheboat runsaneat, appears asthoughithasbeentranscribed from thescholar’s deskinto andonto the He assembleshisevidence withacleanclarity—thematter-of-fact observation almost ironies, misconceptions andthepossibilitiesofalternative historical accounts. images that privileged colonial readings—and re-weaves theminaway that opensup such stories. His narration draws from well-known data andaccounts—from words and possibilities of alternative accounts”. historical andthe that opensupironies,misconceptions colonial readings—andre-weaves theminaway accounts—from words andimagesthatprivileged His narrationdraws fromwell-known and data rightsto stories. there-tellingancestral ofsuch “... LehmanisaTrawulwuy manwhoclaims peoples, LehmanisaTrawulwuy A highlyregarded scholarandanexpert onthehistory ofTasmania’s Aboriginal revealed to besimultaneously naïve andmisguidedultimately, treacherous. by anon-Aboriginalperson; itmarks afirst encounter through anactthat history has plunder. Webber’s drawing isthefirst image ofa Tasmanian Aborigine to be rendered made unbearably heavy underthefullweight ofhistory’s reassessment ofcolonial the custodian ofthelandhewishesto claimasEngland’s—a smalltrophy ofconquest of the Webber, anartist whoin1777documented Captain Cook’s presentation totheleader two men.Thedrawing closelyfollows theforms usedinanunfinished drawing by John run withscript; onthecanvas sail,acharcoal drawing details anencounter between the mast ofaneighteenth century spritrig.Thesidesofthevessel—inside andout, history andmaterials gathered from thepresent inthebows, across thesidesandonto Beside Leong’s boat Greg Lehman’s AShortHistory ofCook change, andthat new, more inclusive futures are possible. and dismissiveness ofotherpoints ofview—it floats ontheartist’s willthat thingswill with that of‘an introduced pest species”. Leong’s boat isadarkreminder of ourfear symbol oflove, courage andwealth”, andyet how itsonlyassociation inAustralia is ecosystems. Hedescribestheirony ofhow, to theChinese“thecarp (orkoi) isa but that isnow recognised asadangerous interloper that hasimbalancedlocal Neunone nation at Adventure Bay, Van Dieman’s Land.Cookproffers amedal to 1 manwhoclaimsancestral rights to there-telling of assemblesdata from

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216 at Burnie Regional Art Gallery (2018) Gallery Art Regional Burnie at Hoffie: Pat | Installations TPP she fashions acrudesleeve for hercar exhaust, an implement usedto collect the mast. the flanks Bent oftheboat on‘tattooing’ with akindofpersonal confessional, half-burnt bellyofatree from theNorth-West Bay river and claimsitastheboat’s from acharred andblackened rainforest coup intheWeld Valley; shesalvages the references are personal: the artist rakes andscrapes and collects andbagscharcoal While thesubjectmatter may beimmense,global, statistically insurmountable, her her efforts to respond to yet anotherlocal iteration ofglobal environmental disaster. the flashfloodof May 2018,andharvests details ofdeCarvalho’s personal saga in ship ladenheavy withthecharred remains ofanunlikely cargo. Thetitle refers to Behind Joan’s boat SelenadeCarvalho’s 100Year Flood personal connections withplace. shallow dishofapaddle,offer usameansoftranscending seasofindifference through a part.Hertwenty littleblackandwhite landscape images, eachheldwithinthe of thewillingnessto sitquietly to record andinterpret theworld ofwhichyou are Joan’s vessel carries forward evidence oftheongoing importance ofthe‘slow gaze’— throughout historical epochs. and drawing, agenre that enjoys across-cultural diversity incontemporary aswell as Joan Kelly’s artistic tradition draws fromthe age-old practiceofminiature painting in thedistance allthinly wooded andhaving theappearance ofanimmense park”. is enchantingly beautiful—extensive richplainsall roundwith gently slopinghills HMS landscape belieasimilarenchantment; according to JohnNorthcote, anofficeron intrepid observation. Thefirst records ofnon-indigenous responses to Australian landscapes—but eachrendered withtheunfaltering gaze ofanartist devoted to emerge anddisappearagain into theflora. Theseare littleglimpses ofenchanted and writhe;thewaters ofabay scatter back thelight ofthemoon;smallcreatures carve across awind-scattered cloudscape; thegrasslands ofaheadlandundulate observationwith aspiritofjoyful andcelebration. Thelimbs ofsinuous tree-forms While thework ispredominately black,itsspiritisnotnegative; rather, itsenergy soars which theartist hascreated every tiny markandline. point, eachoftheworks bedazzleswithdetail andthesheerenergetic vibrancy with intimacy ofminiatures to draw theviewer upcloseandpersonal. From this vantage- Kelly’s homefor many years. JoanKelly’s First Impressions–theCoastline drawings featuring specificviewpoints oftheNorth-West coastline that hasbeenJoan blades hasbeencarved into to provide ashallow frame for twenty tiny etched towards personal aswell ascultural andpolitical odysseys. Each oftheblackpaddle semi-circles suggesting waves andcurrents that carried somany ancient voyagers common ontheprow ofthevessels ofGreek legends—a simplesystem ofintersecting bears asquadron ofblackoars heldaloft.Itsbow ispainted withthewhite designs Following closeto theportsideofLisaGarland’s vessel, asmallflat-bottomed boat means ofreconsidering thefuture ofAboriginalpeoplesinaglobalisingpresent. insistence that “we have notforgotten offers thelessonsofpast” a powerful and empty outcomes ofcolonial ambitionsflounderlike flaccid failures. Lehman’s back ofanobject—asail—that powered empires towards theirgoal, thesadironies according to Lehman,“hetriesto kidnaptheirking”. Whenviewed asthefront-and- uses aremarkably similarcompositional structure to depictCook’s death inHawaii as, Webber’s drawings completed onlytwo shortyears later: On the‘reverse’ sideofthesailLehmanagain traces thelikeness ofanother Rattlesnake Port observing Philipfor “The country here thefirst timein1836, floats like ashort,squat pirate The DeathofCookinHawai’i usesthe decision to collaborate; to draw from eachoftheircultures to refashion theirdiscovery could wrangle over thebooty, they could walk theother way. Instead, they make the two menapproach from different directions—they pause.They have options—they The boat is beachedhalf-way across afreshwater stream that flows to the sea.The from different ‘tribes’, approach anempty, abandoned vessel ona strip ofshoreline. Across theskin-side ofthesail,avideotraces abrief encounter: two men,each Gough hasalsobeenkeen to incorporate aspectsoftechnology into hisinstallation. a hullbearingtheochre hand-marks ofits(re-) makers, acarved keel andsoon, materiality—the stitched-together peltsail,hand-made rope, a refashioned transom, If thevessel itselfhasbeenrendered redolent ofthehand-madequalities the past inorder to move forward into aresilient andadaptable cultural future. connecting withplaceandlandscape; ways that respect thepractices and traditions of contemporary ‘bromance’ ofmateship; together they work to imaginenew ways of hunt, andskintan hides‘on Country’. Butthiscollaboration extends beyond the trawlwoolway manandSlater isofMaoriancestry. Together they fish anddive to Canoe/Boat oftrawlwoolway to construct new meaning.Thetitle ofthe work, artist who comes uponanother a wooden boat‘discarded that he object’; repurposes make tools. Perhaps hemakes thisstatement indirect reference hiscurrent role asan by non-Aboriginalpeopleto Australia, was redeployed by AboriginalAustralians to Gough writes ofhisancestors’ discovery oftheways inwhichbroken glass,brought repurposed. Nathan Slater, eachoftheoriginalboat’s surfaces hasbeenextended ormodifiedand transformed by material repossession—worked onby Goughandhiscollaborator the opulent weight ofitskangaroo-pelt sail.Theoriginalwooden vessel hasbeen To theportsideofdeCarvalho’s boat Dave mangenner Gough’s vessel leans-to with forward, buoyed by theartist’s as-yet undiminishedpassionand commitment. from thedamaged offerings ofa wasted world. Nevertheless, thelittleboat sails burnt shards ofblackplastic waste-bags, itfliesasanotherelement cobbled together Above thevessel atattered, toxiferous flagflutters belligerently. Made fromthe stiff always from theshards ofwhat we have. her bruised,battered andburnt ecosystem; abouthow ‘home’must be reconstructed solipsism; aboutthefact that even shehashadto finda way to come to terms with The words whisperofthefloodherpersonal doubts—about theenervation ofher poisons ofherinkare elegiacandheartrending: The words shescrawls across theoldwooden sidesoftheboat inthehome-made she confesses what sheseesasthedual‘poetic, pathetic’ nature ofherruminations. choices—and to thewritten words ofthe work. Shespeaks ofthe‘haunted’ landscape; she weaves herown personal senseofhopelessnessandfutilityinto hermaterial own. Faced withtheprospect ofcreating yet anotherartwork addressing suchissues, environmental crisessinceshewas achild.Now theartist hastwo children ofher of choice’for thehope-lost. DeCarvalho hasbeenprotesting andfighting against allusions—her contraption for collecting car exhaust serves asasuicidal ‘weapon vessel’s flanks. Herchoiceofthismethod offers another layer tothesmallboat’s dark carbon monoxide dust particlesfrom which to make the toxic ‘ink’ to emblazon the I make inkoutofcar fumesandtake ontoo many projects/drivingdoughnutsaroundmy garden/ aghetto ofideas,weedsandnon-indigenousspecies/home. beliesthebi-cultural originsofthework; Goughisa Te Waka atrawlwoolway , orthe

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218 at Burnie Regional Art Gallery (2018) Gallery Art Regional Burnie at Hoffie: Pat | Installations TPP the future”. into protect for thecustodianship Country respect for inorderto thepracticesofpast place andlandscapeinnew ways. Hecallson to andinstead makethe past work thatrevisions avoids of therepetitionofmourningmistakes “Gough speaksofhisdrive to make work that connectedness oftheworld isnevertheless separated by infinite self-contained and In hisstatement, the artist addresses hisinterest inhow the fundamental inter- these two limitless realms. blue sky. Thehumbleshapeofthelittle battered vesselhangssuspended between pool. Andlookingup,themast appears to extend through endlessrealms to aninfinite gazing down, itseemsasifthevessel ishovering inadepthless, ever-receding blue mirrored, LED-litsurfaces appearto recede andextend exponentially sothat, when poetic, rather than a rational expression: astheviewer approaches the vesselthe However, theeffect oftheartist’s useof reflection isimmediately experiencedasa governed by theirown capacity to apprehend it. is aphilosophical onewhere theobserver’s ofplaceis particular‘point ofview’ needs. Itcould beargued that Jamin’s response to thequestion “does placematter?” inflected by theindividual’s capacity to understand that world according to immediate as ‘environment’) to describehow eachexperience oftheworld iscontained and of meaningandresonance. HeusestheGermanterm and inconsistencies that multiple erupt whenjuggling expectations and interpretations purveyors andconsumers; anexperience that makes himacutely aware oftheironies whose practice must, ofneeds,move fluidly between the worldsof fellow producers, Inonesense,Jamin’s TheGapBetween Worlds each oftheflat suspended structures. lightweight mylar, wood, string andtape. LEDlights are arranged around theedges of that theartist has fashioned three layers ofhighly reflective surfaces constructed of been fashioned withthree rolled sails,butoncloserinspectionitbecomes evident from arelatively darkpartofthe gallery. At first sight, itappears that theboat has Following inthewake ofGough’s vessel, theprow ofJamin’s wooden vessel emerges custodianship for Country into thefuture. in new ways. Hecalls onrespect for thepractices ofthepast inorder to protect the mistakes ofthepast andinstead to make work that revisions place andlandscape Gough speaks ofhisdrive to make work that avoids therepetition ofmourningthe sailing theirvessel, armedwithhand-made fishingspears inanidyllicenvironment. vessel. Insharpcontrast to thefrenetic activity, thefinalmoments show the twomen other’s pathways asthey make decisionsandcombine theirknowledge to re-fit their of tools are applied,themenmove backandforward across theframe, across each the processes ofthere-build tumbleontop ofeachotherinquicksuccession: arange to suittheircontemporary purposes.Fast-forward to theman-cave. Literally. Where reflects his experience asanartist umwelt (that literally interprets Inc., Melbourne James, 2012,1835 and Longman1835;Facsimilie edition,PublicLibrary ofSouthAustralia, 1962):222-3inBoyce, 3 2 1 2018 Pat Hoffie them backtowards where we stand on theshoreline. waiting, from flotsam,jetsam, scraps ofhistory andhalf-remembered dreams, then carrying futures. And maybe artists are the ones to re-invent such tales, cobbling them together still belessons to be learnedaboutplace,possessionanddreams for more positive In ourera ofpost-colonial, trans-national andglobalisedtrading patterns there might thousands ofyears ofcareful custodianship ofthelandbyAboriginalAustralians: prosperity. Andasnoted by JamesBoyce, allthiswas innosmallway dueto the That is,interms oftheColonialEmpire, Tasmania was anoutstanding test-case for noted that: development. In1835thechairofColonisation Committee forSouthAustralia History reminds usofTasmania’s role inspear-heading allkindsofnew thinkingand workers inananalysis of“does placematter”, is launchedfrom Burnie, Tasmania? Project So isthere significance in the fact that thisfirst iteration of forced from theirhomelands,seekrefuge here. within thiscountry; andtheneedto reconsider how we accommodate thosewho, valuing inclusiveness, participation andcelebration of a range ofcultural expressions ways ofplaying ourroles ofcustodianship to ofCountry; dowiththenecessityof the threat ofongoing environmental degradation andthenecessityofimaginingnew understanding ofAboriginalAustralians’ prioroccupation ofthis country; to dowith contemporary Australia: issuesto dealwiththeacknowledgement, recognition and Collectively, the works dealwithissuesthat are key points of reckoning for produced elsewhere? disavowal oftraditional approaches andhistories common to critically reflexive work ‘Tasmanianto thepredisposition ofa Gothick’undertow? Oristhat senseofskeptical we currently face inhabitstheseworks, would itbefair to argue that that ispeculiar by personal experiences. Ifasenseofsombre misgivingsaboutthepolitical seascapes and general. Most ofthemare informed by publicdiscourse ingested andmodulated Many oftheissuesare simultaneously personal andpolitical; local andglobal;specific Tasmanian? come togethermatter” to suggest anunderlyingperspective that ischaracteristically Yet asacohort, dothesemultipleapproaches to thecentral question “doesplace them draw from communities and relationships andplaceswiderthantheir own. Each ofthevessels inthisfleet carries cargoes asdifferent astheirmakers. Most of interaction dependon. reflect back to usthe tenuous bonds,links and relationships that communication and a meansofconnecting through thoseskeins ofseparation to produce images that yet ultimately how separate our experiences oflife are from oneanother. Art can be self-referential categories. This work isameditation on how connected we are, and Torrens, R, Spelling ofAboriginalnames varies, reflecting thediversity oflanguages in Tasmania. in proportion to herpopulation, (Van Dieman’s Land)hasa commerce nearlysixtimesgreater ibid p.17 Hobart hadbeencreated andmanaged by theAboriginesastheirprincipalhunting grounds The easilyaccessed andwell-watered nativegrasslandswhich stretched fromLaunceston to than thatoftheCanadas;fivetimesgreater thanthatof Nova Scotia; (and) fourandahalf , onethat seeks to involve across-section of regionally basedartists andart- Colonization ofSouthAustralia The Founding ofMelbourneand theConquest ofAustralia times greater thanthatoftheCapeColony. over thousands ofyears. (London:Longman,Rees, Orme,Brown, Green 3 The Partnershipping 2

(third edn.)Black

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221 222 Selena deCarvalho mangenner Gough with Nathan Slater, and Rob Douma, Vanghoua Anthony Vue, Dave Sambo Anne Lord,Brian Robinson, Gail Mabo, Obery 17 MAY–23 JUNE2019 ARTS CONTEMPORARY UMBRELLA STUDIO

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at Burnie Regional Art Gallery (2018) Gallery Art Regional Burnie at Hoffie: Pat | Installations TPP 224 futures”. towards uncertain cargo, faced bravely little boatswith their Gallery, the flotillaof Arts Contemporary StudioUmbrella the new (temporary) towards therearof in thedarkened space while inside,installed confront thecountry, the crucialissuesthat updebate about stir election continuedto up to thefederal leading hours the last “Outside onthestreets, Despite set-backs andtechnical challenges, problem-solving. within theroom hadtaken itsshare ofcreative exhibition spacehadno connection toelectricity the exhibition upandrunning;the fact that the full extent oftheefforts that hadbeen taken to get visitors intheroom would have beenaware ofthe talk at 5.00pmandat theopeningitself. Few crowd at ThePartnershipping Project’ out what theproject was aboutgenerated agood general good-will andpublicinterest infinding visitors. Thegenerosity ofthehospitality, the artists, andtheentire venue wasjam-packed with two other exhibitions featuring the work oflocal city centre. Theopeningnight coincided with downstairs area off Flinders Street in Townsville’s May 17inUmbrella’s temporary space—a The Partnershipping Project when extra helpisneeded support from thebroader community, whochipin the team isinfectious, and attracts asolid core of gallery andstudio spaces. Thepositive energy of broader communities andnew, centrally located programs, thepossibilityofextended reach into bright optimistic futures; towards new exhibition for long.Instead, they’re already moving towards against thebackground oftheflooddevastations reluctant to continue runningtheirpublicity Manager AlanMarlowe—are understandably Media Co-ordinator Angela LittleandBusiness DirectorGallery Kellie and Williams,Gallery The three full-time staff atUmbrella Studios— Partnershipping Project possibility oflocating analternative venue forThe to refine theirideasand to move towards the they worked onwards to complete theirwork, nor theartists—decided to call itquits.Instead, the collaborating organisers at Umbrella Studios for theexhibition were heldoff. Butno-one—not on inhorror. Intheface ofthisdisaster, allplans stock andlives was shocking.Thenation looked were washed away; thedamage to property, town andtheregion were devastated. Houses struck Far NorthQueenslandinFebruary. The possibility ofthemassive weather event that the travelling exhibition hadnot factored inthe at Townsville inJanuary. Butthetime-table of was onschedulewhenitarrived ontheplatform The TPPshippingcrate from Burnie,Tasmania about theenvironment; about theneedto listen cargoes inthesmall convoy ofvessels: concerns were proving critical to thenation were carriedas towards uncertain futures. Thesameissuesthat flotilla oflittle boats withtheir cargo, faced bravely Umbrella StudioContemporary ArtsGallery, the space towards therear ofthe new (temporary) country, whileinside, installed inthedarkened debate aboutthecrucialissuesthat confront the up to thefederal election continued to stir up Outside onthestreets, thelast hours leading Townsville isavisuallyenchanting experience. exhibition. openedonFriday, s curator’s TPP of thework’s content liesinthepresence of in someway.to order’ Themost jarringrealisation of thecargo hashadto be ‘cleaned up’or ‘brought familiar components—as ifthetropical abundance scrubbing brushesandscrews andotherstrangely found items from domestic kitchens andsheds— many oftheseare compiled witharange of his mothergrew up.ButinBrian’s interpretation, references to vegetation in gardens grown where surface ofthevessel isladenwithfloral motifs, different peoples,different ideasandideals.The and New Guineafor centuries—trade that united shorelines ofAustralia, theTorres Strait Islands the water trade that haspassedbetween the references. Theartist usestheboat to refer to attention to detail reveals other, more sinister vessel signalspositive-brightness-and-light, closer the decorative, brightly patterned appealofthe all thesestrategies. Andalthoughat first glance His work for ThePartnershipping Project everyday objectsheredeploys withwitandirony. through bright flashesof colour andtheuseof is generated through patterns and repetition; and motifs. Thedecorative immediacyofhis works re-present traditional Torres Strait Islanddesigns engaging highly skilled jigsaw cutting techniques to and efficiencies of contemporary technologies, artist who’s beenquick to harnesstheappeal boy growing upintheTorres Strait. He’s alsoan communities, just asithadduringhis years asa recognises thespellithaswithcontemporary Brian hasalove ofsuper-hero imagery, and adaptation of contemporary stylistic iconography. that manifestsbeing’ through hisadoption and ambitions are often off-set bya‘lightness of cultural, socialandultimately, environmental link thepast to thefuture. Buttheweight ofthese reconsidered details ofhistory together positively his heritage, andhisvigilant research into with references to how hispersonal experiences, from alocal perspective. His works are laden to make comments onissuesofglobalpertinence Brian draws from hisTorres Strait Islandheritage and real. cargo from arange ofdestinations bothimagined Trade –Exotic Cargo Robinson’s diminutive vessel titledBarter and Leading theconvoy, Cairns-basedartist Brian collaboration. the necessityofconsultation, communication and land-clearing; aboutgender andeducation and to thecountry; issuesdealingwithminingand contribution migrant communities are making centre onimmigration and refugees, andthe planning for thecountry’s aridnorth;issuesthat of thiscountry might bebrought to bearonfuture historical awareness ofthegeography andgeology futures; reconsiderations aboutthe way alonger might beableto address critical environmental about theways inwhichtraditional knowledges to Indigenous ideasregarding landmanagement; glowed andglimmered with uses

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226 at Umbrella Studio Contemporary Arts (2019) Arts Contemporary Studio Umbrella at Hoffie: Pat | Installations TPP are caught inamigration towards safer spaces, more convivial currents, brighter schoolofhalf-formedwords, “The creatures moving beneath and around theboat by cyclic renewal that are underscored by thecreatures beneath. Theartist’s own backyard) extend allusions towards anddecaying processes drying of peeling, followed a few driedleaves (left over from thelong wait whilethetide recededinthe artist’s and-wind-weary carapace ofthelittle vessel. Withintheplanked bellyoftheboat, saturated inlinseedoilto applyto theboat’s prow—one that evoked thewater- of travel. The artist madethedecision to usethedisintegration processes ofa rag The prow oftheboat suggests asurface weather-beaten by years andsea-leagues retreated. territories ofsustenance, light andsafety asthewaters oftheEromanga Seaslowly as thekindofcreatures that would have existed allthat timeago, seekingoutnew of recycled plastic withinwhichtheir forms were produced. Theartist describesthem before theboat have wrinkled,hand-pressed forms that give cluesaboutthecladding The ceramic shapesthat surge like aswarm ofhalf-formed creatures beneath and enormity oftimeand country. whispered ofthefragility ofourknowledge andunderstanding intheface ofthe grant thework anincreased poignancy. Hangingasanalmost-tattered mainsail,it and ofthemaking—thedetails that re-appeared like childhoodstamps andcorrections learned through studies oftheeffects oftimeonplace.Thesimplicitythe material floods to form three maps inone,alllaidoutlike a study in geography andhistory in thiscountry still depends. And over thisagain, shetraced theoutlineof recent outline—that oftheGreat Artesian Basin—theinland,underground seaonwhichlife laboriously connected at theedges. Within thecontours ofthat seashetraced another skein madefrom thelinedpages ofpaperfrom awritingpad,eachpage carefully and is now aridinland Australia. Sheoutlinedthecontours ofthisseaonthesail—afragile vast Eromanga Sea—acold andshallowpassage ofwater that covered muchofwhat eight millionyears ago whenthesametract ofcountry was overlaid by theancient and For ThePartnershipping Project,theartist looked backinto the far distance—to ninety- elusive language. working inthelandscape seasonafter blistering season, to listen more closely to its in these brittle poetry works that hasbeen won from theartist’s commitment to landscapes that evoke, at first glance,uncompromising indifference. There isaspare, eloquence; for theway they bidusto lookhard into thesearinglight to respond to drawings inherearlierwork were—and remain—remarkable for theirdry, minimalistic the light, theheat, theweather-patterns ofthe far north. Paintings andprints and and worked landoutsideJuliaCreek generations ago, andtheartist wellunderstands Anne hasworked andlived intheregion for many decades; herforebears bought battered wooden prow seems to besheddingits skin. very marine forms. Afragile, translucent sailhasbeenhoisted from thevessel’s mast. Its Creatures On theothersideofroom, theboat inTownsville-based artist AnneLord’s We Are challenges. water forms remind usthat contemporary currents draw usforward to meet similar waters. Runninglike adecorative tidebeneath thelittle wooden boat, the patterned has longplayed adeep,malevolent undercurrent intrading practices across these they joltusinto consciousness aboutthetrade inpeople—andhumanparts—that colourful humanskulls that rest at thecentre ofsomany blossoms.Like ‘strange fruit’, appears to becarried forward onashoalofmysterious, strangely-shaped of continents and cultures; hisoccupation as Rob’s life experiences stretch across anumber together offunction. intheservice white glimpses ofdetail provisionally adhered triangular patchwork oftones—white andoff- fragile indigo skinhasbeenstretched. Itssailisa back to amere skeleton across which anew, squall. Itshullhasbeenradically simplified, pared vessel lists to onesideasifcaught inasudden the accoutrements oftheaffluent. Hislightweight cultural movement, are now associated withbeing efficiency and (for some) affordability of trans- responses to the exotic altered by the rapidity, associations of‘travel’, together with changed contemporary world where changed ideasand Rob usestheseconnections to refer to a realms andadventurous sojourners. closely associated withsailors andseamen,exotic of thepublicandpress, tattooing was most of Europe by thenineteenth century, inthemind Although thepractice spread to theupperclasses James Cook’s return from theSouthPacific. derivative ofthe Tahitian ‘tatau’ after Captain was introduced into theEnglishlanguage asa cultures right around theworld, theword ‘tattoo’ are evident intraces ofarange ofprehistorical Douma’s Grounded.Althoughtattooing practices tattooing istraced in Townsville-based artist Rob The longconnection between ships, journeys and contemporary world. past continue to inform our experiences inthe remind usthat thepassages andhistories oftimes ageless urge to migrate towards better futures,” years ago, today allkindsofspeciescontinue that futures. Like theCretacean creatures millionsof demarcation-line for identity”. used—for better andsometimesfor worse—as a overseas have madehimaware oftheway skinis andvariedrich experiences and inAustralia situationsandcontexts.of challenging Rob’s oil rigsanddrillshipsbroughthiminto arange post-army careerfollowed by employment on an international andhis securityconsultant, of continentsandcultures;hisoccupationas “Rob’s life experiences acrossanumber stretch papers, Rob bringstogether aplethora ofdesigns a collage ofpre-used tattoo carbon transfer By claddingthehull inanindigo skinmade from the world beyond. where theinterior bodycan exude outwards to perimeter at whichtheoutside isallowed in, and serves asasemi-permeablemembrane; the that enfolds andsupportsprotects andthat of itas‘skin deep’suggests; rather, itistheorgan complex thanthecommon literal understanding largest organ inthebody, theskinisfar more the bodiesinto whichthey are inscribed.Asthe their incorporation into the corporeal matrix of the titlealludes to thelongevity of tattoos, and through whichto cheat death. At thesametime cultural groups that tattoos willprovide ameans ironic. The artist cites thebeliefs held by many Proof Tattoo—is atitlethat isashonorificit The businessnameofhistattoo studio— to realise thedreams andambitionsofothers. the necessityofhaving to extend yourself inorder territories’ that offers apositive exercise through predicament heviews asa‘crossing ofaesthetic distorted through therequests ofhisclients, a of aesthetics are stretched and at times creatively skills asadraughtsman andhisown innate sense this practice andhis role asanartist; in fact,his tattoo artist, theartist sees a continuity between demarcation-line for identity. Asaself-employed used—for better andsometimes for worse—as a overseas have madehimaware oftheway skinis rich andvaried experiences inAustralia and of challengingsituations and contexts. Rob’s oil rigsanddrillshipsbrought himinto arange post-army career followed by employment on an international security consultant, andhis Death

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230 at Umbrella Studio Contemporary Arts (2019) Arts Contemporary Studio Umbrella at Hoffie: Pat | Installations TPP nations peoples of Australia havenations peoplesofAustralia dealt”. many thefirst comingsandgoingswithwhich coming ofthewhite-man asyet anotheramong her whitewashed vessel cleverly locates the as indicators of the momentousmost of occasions, “Rather thanprofilingthe words of Cook’sjournal ship, shesays, isonethat keeps travelling, guidedby thosewhotime has forgotten. skeleton-sail perfectly suited to thecontours andpurposeofaghost ship.Theghost skeins. Theknotsandcriss-crossings suggest theoutline ofamainsail—akindlinear network ofsinews—light, white ropes woven together inasystem ofinterconnected The hulloftheboat ispropelled by asailthat hasbeenreduced by theartist to a dealt. among many comings andgoings withwhichthefirst nations peoplesofAustralia have whitewashed vessel cleverly locates thecoming ofthewhite-man asyet another the words ofCook’s journalasindicators ofthemost momentous ofoccasions, her voyagers andseamenlongbefore thearrival ofEuropean sailors. Rather thanprofiling As Gail’s work reminds us,thecurrents andseaways offAustralia’s coastline carried boat’s ongoing transformation. artist. Through thisprocess, thescript is rendered into playing asubliminal role inthe account isoverwritten from theperspective and forthepurposes ofa first nations an ironic reversal, thescript sothat thehistorical Gailchoseto ‘white-out’ European entriesthe diary ofCaptain JamesCookwhenhetravelled to Tasmania andHawaii. In Partnershipping Project a Tasmanian artwork Aboriginalman,as partofhisown that utilisedtheboat in beneath transparent layers ofpaint. Thescript was originallywritten by Greg Lehman, (Tagai) through itscast shadow more thanthrough itsmaterial presence. GailMabo’s Journey Behind Rob’s boat, towards thebackofroom, analmost invisible vessel emerges directions by working through collective navigational strengths. vessel in The work points to theinnate strength ofcollective community; theartist seesthe collective—a skein that willprovide the vessel’s power to move forward”. of thesetogether ina single format bringsindividualidentification together into the In thewords oftheartist, thesailis comprised of“used tattooing stencils; the joining their lives. and by, thosecommunities, andservesasanersatz historical recording ofdetails of community. Assuch,theboat ‘floats’ onaskinofgraphic registrations provided for, of communities anddemographics andsub-cultures withintheimmediate regional a thintransparent ‘hide’madeupfrom thedesignsofmany members from allkinds he hasmadeover thepast three years. thevessel’s Insodoing, skiniscomprised of consists ofawhite-washed hullbearing faint traces ofhandwritten script The Partnershipping Project in Burnie,Tasmania. Inthat work, Greg traced words from asametaphor for setting outinsearch for new The as anallusion to bullionbars burned asofferings own Hmongculture folds josspaper inthisway ‘boats’ willbeseenasvessels, even though his devastation. Anthony is aware that thepaper people, children, war equipment anddetails of made from grainy, pixelated images featuring rivulet; they are longand thininproportion, and of rice-stalks inthehullof theboat like anervous Other papervessels undulate across thesheaves set afloat onsmallerfragile paper vessels. growing crop seedlings appearasif ofegg-plant carried alonginthebow-wave beneath itshull,a stalks. Sprouting from potsacross itsseats, and hull swells sheaves withthedry ofharvested rice- hang intheplaceofasail,whilefat bellyofits out bamboostems stuffed with soilandseedlings the bounty ofagriculture andculture. Hollowed- a richorganic potential—a vessel expanding with (carry-plant-live), theinstallation gives witness to with acargo ofhorticulture. Titled ev-cog-ciaj Vanghoua Anthony Vue’s wooden boat isslung Alongside Gail’s white ghost-ship, themast of always guideus”. ancestral spiritsthat are always withus—who me”, says theartist, “theseshadows are like the extended through theshadows itcasts. “For appears minimal,itspowerful presence is towards thefuture. Althoughthisinstallation continues to guide Torres Strait Islandpeople that trace outthecelestial pattern of Tagai that is marked by blackknots—punctuation marks The skeletal white knotted sailofGail’s boat since thenon-Indigenous invasion ofthecountry. bynullius—a landowned no-one—established case that endedthefictionofAustralia asa terra father Eddie Koiki Mabo, was thelandmarklegal in 1992.Thisground-breaking win,ledby Gail’s Islands before theFullBenchofHighCourt claim for establishing Meriamrights to theMurray Torres Strait were ableto argue andwintheir the meansthrough whichtheMerpeopleof oral tradition, understanding ofthe Tagai provided Passed from onegeneration to thenext through and tradition for peopleofthe Torres Strait. network that underpinstheintegration ofculture The stars oftheTagai provide aconstellation among others. Scorpius, Lupus,Centaurus, CruxandCorvus represented by alarge constellation that includes fruit inhisotherhand.Thestars oftheTagai are canoe withafishingspear inhisleft handanda a fisherman-hero; anupright figure standing inhis In Meriamculture, Tagai can beseenintheskyas on”. when toplant,huntandmove people, Tagaiisacelestialcalendarthattellsus the SouthernCross sits.For we Torres Strait Island is alsothenamefor theconstellation withinwhich the onewe follow to leadusonourjourney. Tagai “For us”, shesays “Tagai isthat spiritinthesky— possibilities ofshared futures. it’s acogent reminder ofthetransformative walk thestreets thanmost otherAustralian cities, where ahigherproportion offirst nations people cultural collaboration. Inacitylike Townsville, visitors alike ofthepositive benefits of trans- boat oftrawlwoolway Gough’s Te Waka altrawlwoolway ortheCanoe/ stitched kangaroo peltsail ofDave mangenner regional capital’s small-city streets, themassive, And outinthefoyer, right ontheedge ofthe artists. shared by thework ofthe North Queensland chimed inwithconcerns aboutlandmanagement in Townsville, thetragic appealofSelena’s work deforestation in Tasmania. Joininginwiththefleet a grimreminder ofthedevastating costs of flag ofSelenadeCarvalho’s 100Year Flood agricultural bounty, thetattered blackplastic Sailing before Anthony’s wooden boat bearing of Far NorthQueensland. contribution oftheHmong communities tothelife boat’s harvest isarichindication oftheongoing market-gardens andvegetable markets. Thelittle by hismotherinbetween working inandfor local with hisfather; theeggplant seedlingswere raised his parents—the bamboowas harvested andcut collaborative endeavour between theartist and ev-cog-ciaj (carry-plant-live) he hasleft behind. practice that links him to thoseplacesandpeople father blowing into aleaf, atraditional singing melancholic, breathy musiccreated by Anthony’s Parts ofthevideoare lacedthrough by haunting, and community they have left behindpersists. new lives together, thelongingfor home,family children. Yet inspite oftheirsuccessinbuilding building anew life for themselves andtheireight remembered skills;onesthey set to good usein arrived withlittlemore thanmemoriesand which they could notreturn. Anthony’s parents with itsfamiliar resonances to thehometo North Queensland’s wet tropics soonbeckoned eventually to refugee status inAustralia, where Far parents into refugee camps inThailand,and This war was theimpetus that forced Anthony’s and costly investments. Cold War superpowers at thetimemadeheavy “Secret War inLaos”, oneinwhicheachsideofthe Laotian Civil War (1959–79)alsoknown asthe screens clips anddetails ofalittle-known war—the of Cairns,where the artist grew up.Theother rivers, streams, pools,waterfalls—in thevicinity bears images ofarange ofidyllicwaterways— screening cluesaboutthework’s origins—one two innergreen ‘wings’oftheboat carry iPods organic nature ofotheraspectstheinstallation, to ancestral spirits.Insharpcontrast to the 2019 Pat Hoffie reminds passers-by and was constructed asa offers

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233 234 and Vanghoua Anthony Vue with Nathan Slater, Gail Mabo, Selena deCarvalho, Leigh Arnold,Penny Evans, Dave mangenner Gough Aris Prabawa, HiromiTango, Karla Dickens with 2 FEBRUARY 2020 7 DECEMBER2019– GALLERY LISMORE REGIONAL

235 236 burning”. bushlands are cleared pasturelands, All aroundthe scarred, film ofsmoke-cloud. inablanket- country the water-starved down close to envelop the skyhassettled summer,particular Andonthis parched. is now cracked and verdant creek-beds, in windingdark that meettogether its greenfolding hills area,famous for“The different dreamings. Inthe centre ofthefleet, with bounty andportents from otherplaces; from of theboats have re-assembled, the convoy laden the exhibition space glitters withlight. Thehulls Installed inanupstairs room, the chilleddarkof Project #3 the background context for ThePartnershipping daily airwe breathe. This,then,provides partof the borderlines ofevery settlement pervade the a disaster ofanotherkind:thefires burningon Right now, however, thecountry isinthegripof of risingflood-levels. reminder ofthefragility ofallbuildingsintheface after thefloods,that asa pyloninsideserves space annexed by theUmbrella staff in Townsville resilient thanthetemporary sanctuary basement Lismore Regional appearto Gallery offer amore behind itandto theright ofit,thecontours ofthe corner ofRural Street andKing Street. And while spread ofgrass outsidethegallery, right on the has found itsnext temporary camp onaflat The Partnershipping Project it’s been but a few short months. Emblazoned with thefloodsin art insideit,survived Townsville. Yet since theproject’s shippingcontainer, andallthe It seemsalongtimeago—an entire mindset ago— The Partnershipping Project anew. of windsthat chopandchange andfan thefires grassfires are fanned by anerratic weather-pattern and inland,suddenoutbreaks ofbushfires and burning. For thelength ofAustralia’s coastline, scarred, cleared pasturelands, bushlandsare in ablanket-film ofsmoke-cloud. Allaround the down close to envelop thewater-starved country And onthisparticularsummer, theskyhassettled verdant creek-beds, isnow cracked andparched. folding hillsthat meet together inwindingdark for avery longtime.Thearea, famous for itsgreen side oftheroad are evidence there’s beennorain uphill towards Lismore, thepaddocks oneither But in2019,asthedrive from thecoastline winds those claimsagain, sometime inthefuture. land inthepast, andthat they willsurely make seasonally come down to make theirclaimonthe insistence of therivers’ reminders that they have made: onethat acknowledges theseverity and some extent andpurpose,akindofpacthasbeen fact that it’s beenkept there suggests that, to relationship the town haswithitsrivers, andthe reached. It’s kept asareminder ofthelong ‘careful graffiti’ demarcating the leveleachflood the year thehigh-tidemark was registered; a removed. Next to eachline,anumberdocuments to amore upmarket lifestyle, forgot to have grungy oldtattoo that someone,whonow aspires thewritten linehasthequalityofa building, length. Withinthepristine spacesofthenew different shades,different sizes, running upits Regional hasaseriesofshortmarks Gallery in One oftheground level pylons ofthenew Lismore . logo, thecontainer hasmoved to Lismore. embryonic, becoming. a rock and ahumanbodyfolded into itself— what theform might be—somewhere between palette—rounded andsmooth,it’s unclearjust peace. Onlyasingleform diverges from thegreen fecund secret place;aplaceof tranquillity and from thecanopy ofleaves above; it’s awet, Mosses andferns are dappledby thelight coming reveal afern gullyinarich,verdant rain-forest. the smallblackboat beneath. Images inthepanels triangle ofthree panelscast arichgreen glow onto Suspended inthefar-right corner oftheroom, a oceans ofsadnessacolonial past. of unknown galaxies andwhispers ofthedeep humilities ofbroken dreams. Itspeaks oftheseas between unfathomable potential andthe The work rocks seascaught ontheimaginary even destinies, have beenlost intheprocess. that things:lives, ambitions; directions, perhaps vessel isapowerful reminder—in any culture— has hadto beoverturned. Andanoverturned in order for itto ‘function’initsnew form, a vessel unconquerable. Andyet, astheartist reminds us, grand gesture ofthecraft at first make itseem and challenging.Thescale, thefinish, artist’s colleague LeighArnoldare impressive loving details ofthehull-galaxy painted by the The dynamicstreamlining ofthecockpit, the objects to new ways ofbeingintheworld. material relationships in ways that coax these a reworking ofsurfaces andare-positioning of misunderstood, themistreated, often demands working withthediscarded, theundervalued, the overlooked potential. Andher commitment to outlying dumps; she’s areclaimer withaneye for Dickens salvages agreat dealofhermaterial from straightforward politico/cultural historical critique. the issuesraised eclipse thedimensionsofa unlimited. Yet, like somuchofthisartist’s work, the processes ofcolonialism are ongoing and as strange asaliens.Andshereminds usalsothat land, thefirst white invaders must have appeared reminds usthat, to theoriginalpeoplesofthis Artist Karla Dicken’s ColonialBottom Feeders For what kindofmissionhasitbeendesigned? What isthisstrange craft? Andwhere isit going? fat rope. old, polishedbonesandloopinglengths offilthy inside, thehead-torso isstacked withabounty of is insect-like, other-worldly, covered indots.And snub noseforward andupward. Itsred mono-eye smoothness ofastranger kindofcraft points its repurposed; inserted into thefuturistic itscurve, But theupturned hullappears to have been dimensions ofthegalaxy like inhibiting restraints. from strips ofrusty tin.Thebandswrap the side to sidewithUnion Jack-like stripes fashioned unknown galaxy, boundfrom aft to rear andfrom underbelly isscattered withthedetails ofan one vessel seemsto float upturned. Itscurving

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238 at Lismore Regional Gallery (2019–2020) Gallery Regional Lismore at Hoffie: Pat | Installations TPP world beyond theroom provided ample empathy knowledge, theirbackground understanding ofthe not have yet beeninpossession ofsuchcontextual And althoughthosewhoare new to thiswork may materials ofthework around her. a form that could notbeextricated from the a seed;smallcurled-upform ofpossibilities; that night itwas asiftheartist herself hadbecome cradling herbouquet ofverdant spore-seeds. On grandmother’s kimonos, asshelay inherboat, wrapped inseveral thin,fragile layers ofher night willremember theartist’s sleeping form, who were present ontheexhibition’s opening the richlyinventive forms shecreates. Andthose an aspectoftheartmakingprocess for herasare and collaboration, andwillknow that it isasvital artist’s commitment to conversation, community fabrics andtwines.They willalsobeaware ofthis reconstituting her precious personal bootyof Roots willrecognise herdelicate methods for Those familiar withthework ofHiromi Tango’s one ofherfragile, meticulously detailed kimonos. regeneration and fecundity, she would be wearing she entered that horticultural commitment to abundant potential each year. And every day make sure hergarden was ableto fulfilitsfull seasons andpests, infertile soilandpillagers, to fight her own personal horticultural battles against grandmother; atiny woman who would fiercely that onceenfolded thebodyofartist’s fashioned, we are told, from thesilkkimonos have beenmeticulously andtime-consumingly The spores inthisparticularlittle blackboat creatures. through adheringto thebodiesofselected On otheroccasions they choosetheirtransport air currents, orare carried alongby water flows. stalkers, soundlesslydispersed by thefaintest of their survival isassured. They travel like night- until they are able to reach conditions where in regulator that allows themto stay dormant harsh conditions. Many spores have abuilt- dimensions, are extremely capable ofsurviving and fungi,that, despite theirmicroscopic organisms produced by non-flowering plants Biology tells usthat spores are single-cell between theshiny blackplanks ofthelittleboat. might have mushroomed upmagically from fungi-like nodules;asifthesespores ofdreaming possibilities inthe form oftiny mushroom-and spawned herself into athousandmicro-organistic borne by theboat; asifthefigure intheimage has forest hassomehow materialised into thecargo gentle greens. It’s asifthefecund magicofthe rainforest floorabove, and woven through with reflect those worn by thecurledfigure onthe spore-forms are fat andfull;theirpastel colours sinuous hand-boundfabric tendrils. Therounded small, spore-like forms are wound through by from precious heirloomkimonosilks, clusters of The boat’s cargo isequallyelusive—handmade cultural action to leverage positive change. commitment to thecapacity ofcollaborative places—you chooseto live, andheretains astrong social andpolitical implications oftheplace—or Lismore andJogjakarta. Arisiswell aware ofthe a life andacreative community that spans with Jadeandtheirtwo children, hehasfabricated partner Jadeseventeen years ago, andsincethen, Suharto regime. Aris moved to Australia withhis as ameansofresisting thevicissitudesof fang ofthericeseedling),heusedcultural practice artists andactivists called regimes. Asafounding memberof thegroup of is well versed inthe willto opposerestrictive The artist, ArisPrabawa (Shadow onbigheart) capable ofsustaining new potentials andoptions. forest ofindigenous speciespromise future forests nurtures otherpossibilities—behindthematiny their feet stand onsoil.Andthesoilthey stand on of thedarkpasts from fled.But whichthey’ve chattering skulls inmilitary caps, reminding them contoursjagged oftwo headsface eachotherlike and before them,inthebilge oftheboat, the willing to share thetasks aheadof them.Beneath make itseemasthoughthey are ready and smiling; theirempty hands,theirvigilant pose vessel slowly reveal otherdetails: thefaces are But longer observations ofthiscrowded little the littleboat forward to seek refuge. of othercultures, allunited intheirwillto move they stand, clearlyagroup ofpeoplefrom arange into thecategory ofcoming from ‘elsewhere’. Here of eachtheirfaces are all-too-easily dismissed that onlytheirfaces are revealed. Andthefeatures sway—each ofthefigures are swathed inblackso inspection, thesenseofdread continues tohold new arrivals withfear—even terror. Oncloser is whispered between new reports that connect nightmare.shadowy Thekindofnightmare that of thecraft onwhichthey stand coalesce into a forms, thespiked tree-forms andthefullcontours energy ofalightning bolt.Together theseflat zigzag behindandbetween themlike thesharp group ofeight. Thebranches ofaleafless tree in proportion to theactualscale oftheassembled shadows they cast are huge—long andlooming— forms stand asifinanticipation ofalanding.The The darksilhouetted shapesoftheflat, upright that cast longshadows across thewall behind. boat carries a gathered group ofstanding figures In theadjacent backcorner, asmalldarkblue the currents offuture possibilities. spores ofhopeand theregeneration of care into rainforest corners, thelittleblackboat carries Beneath themagical green glow ofthesecret impact onthisassaultourdream-places. the artist speaks ofthepersonal and communal are cornered, reduced; many dying.Andinside the deepest secret recesses oftherainforests Outside thecreek-beds have rundry. Outsideeven from whichto draw: outsidethefires are burning. Taring Padi (literally, the , song. Thoseof usunfamiliar with the age-old rhythms ofthesecultural forms are evokes acultural connectedness capable ofbringing together theland,bodyand The simplearrangements of theforms suggest ameasured cadence—a rhythm that connecting string. to thescar tissue ofthehospital bed andinplaces carefully bound to eachother by bleached ‘bones’bearthe marks ofstriations andscarring. They have beensutured create aspacein whichasmallpoolofsandhasbeenmeasured. Theseencircling middle ofthebed,above where thevital organs might lie,intersecting curved forms dark red material hasbeenbaked, take uparange of patterned intersections. Inthe Below that, thecurved forms, somebearingwhat appearto beincisionsinto whicha form alight haloaround theovoid ‘skull’. smaller bonesoftheupperribs. Withinthem,river sand has beencarefully placedto row perimeter ofcurved forms that suggest boomerang-shapes, orperhaps the a half-shell ovoid form hasbeencarved anddarklystriated. It’s encircled by adouble- created, together they connote asenseofsomekindbody. At theheadofbed, where they have come. Butwhether boneorceramic, whether found orretrieved or the precision ofceremony. Itisnotclearexactly what theforms connote, orfrom Along thelength ofthesingle-bedmattress a system of forms hasbeenlaidoutwith the entire mattress andits contents might be levitated upwards. slightest movement ofair. Asthey undulate andquiver, italmost seems possiblethat found onemus.Thelight, semi-transparent ofthefeathers lacery catch even the stitched allaround theedges ofthismattress runthedouble-quilled feathers only appears to beaslenderskein ofwound-dressing. Andcarefully, tenderly, lovingly The mattress that lieson top oftheold,interwoven bed-springs isthin,cladinwhat hospital bed,together they offer what seemslike aprecarious palanquin for theailing. chipped wooden rails ofitsperimeter carry theequallybattered frame ofametal fleet. Flat-bottomed and fragile, it tips itsnose towards the oncoming swell.The For thisiteration ofthe exhibition, Penny Evan’s tiny white, battered boatleads the collective determination of realising new futures into being. something ofourselves intheirretreat from danger; we can recognise thehopeand steadily more familiar withthefaces ofthelittlebright-eyed travellers, we can see it casts loomwiththedarknessofobscured fear. Butinsidetheboat, aswe become and ‘elsewheres’. Itmoves forward onabow-wave ofbarbedwire, andtheshadows beginnings, changed awakenings and exciting inter-connections with all kinds of ‘heres’ the seed-spores inHiromi’s boat, thelittleblack-clad figures offer the promiseof new Aris’ boat isalsofilledwitha cargo ofhopeandaballast offuture potential. Just like cultural actionto leverage positive change”. commitment to thecapacityofcollaborative you to live, choose astrong andheretains political implicationsoftheplace—orplaces— Arisiswell awareJogjakarta. ofthesocialand and acreative communitythatspansLismoreand and theirtwo hehasfabricated children, alife seventeen years ago,andsincethen,withJade “Aris moved Jade to withhispartner Australia

Installations | Pat Hoffie: TPP at Lismore Regional Gallery (2019–2020) 239 240

241

242 at Lismore Regional Gallery (2019–2020) Gallery Regional Lismore at Hoffie: Pat | Installations TPP the country”. the currentecologicaltragediesunfolding in shared by somany burdenedby theirawareness of exhaustion—analso speaksofapersonal emotion silent,waterless, stands exhausted. Theartist mismanagement. Asaresult,thelandnowstock processesofextractionand equallybrutal and followed years ofill-conceived cotton farming describesthisdevastation ashaving artist “The residue of itscargo ofburnt forests are re-loaded into itsbilges. the grubby little vessel grows even more dirtywith every exhibition, asthedust and current globalecological disasters. Flying adarkblacktoxic flagof tattered shame, and critically self-questions the weight herlife andart-making might contribute tothe implication, deCarvalho’s poem takes upthechallenge ofherpersonal responsibilities harvesting theemissionsfrom her vehicle. In awry exercise ofself-confessed- Year Flood joined by two from Tasmania—Selena deCarvalho’s heavily ladenlittle vessel (100 The vessels withcargo created by theartists from theNorthernRivers region are the precious cluesto former bodiesofknowledge towards adoubtful future. the landiswell overdue, itisastart that must bemade.Thelittlewhite boat carries acknowledgement oftheinextricable links between ourown well-being andthat of land inaprecarious balancefor over thousandyears sixty may betoo late, andwhile while aturntowards theteachings ofthosewhoheldtheecological balanceofthis newsreels ofunfolding unprecedented ecological calamity. Astheartist suggests, Even so, thecurrent globalenvironment crisisisonelike noother;we dailywatch overcoming theravages offire andflood have been evidencedand recorded over time. that repeatedly regenerates andhealsitself. TheCountry’s fortitude in andthen facing, reduced, bruised,diminished, Yet ifthetitlesuggests that theland,andthosewhoactasitscustodians, have been tragedies unfolding in thecountry. emotion shared by somany burdened by their awareness ofthecurrent ecological stands silent, waterless, exhausted. Theartist alsospeaks ofapersonal exhaustion—an brutal processes ofextraction and stock mismanagement. Asa result, thelandnow this devastation ashaving followed years ofill-conceived cotton farmingandequally patterning theartist hasbeenusinginher work forsomedecades. Theartist describes gathered from the now-dry creek-beds andriver-ways; theceramic forms continue the scars ofcenturies ofagricultural mismanagement. Thesandusedinthework was Lismore to spendprecious timewith fellow custodians onalandthat bears thedeep Evans hasmadeto herancestors’ ten Country; hourdrives long, from herhomein The work, cultural cadence that liesat thevery heartofthecountry. non-indigenous Australians have beenincreasingly pulledby themagnetism ofthe nevertheless drawn to the simplegeometry oftheirlogic,andover theyears many ) thesidesofwhichhave beenpoison-pennedby theartist herself through Patient, was created inresponse to asuccessionofjourneys artist Penny Patient alsoevokes thetimeless forbearance ofCountry detailing Captain Cook‘s voyages, completely obscure thehand-painted entries diary washed planks insidethebellyofboat fail to of thefar northofourcountry. Yet thewhite- Torres Strait islandpeoplenegotiate the waters the navigational cartography through which the ‘Tagai’—the spiritconstellation that provides skeletal rope-sails theblackknotsdelineating Gail Mabo’s work (Journey Tagai In stark contrast, thepristine white ghost-sail of world. Wherever they are given spaceto settle, Vietnam andinexpatriate communities across the community pockets exist across Thailand,Laos, East Asia.TheHmonghave noonehomeland; that oftheir adopted homelandsinSouth- to anenvironment that more closelyresembled families whoheadedup to Far NorthQueensland they were partofasecond movement ofHmong refugees, andnotlong after theirarrival in Sydney, our shorelines. Vue’s parents were among those have madethelongjourney from war-torn Laosto and white photographs ofHmongrefugees who these littleofferings have beenmade from black fragile boats. Constructed from folded paper, is thecarrier ofhundreds ofsmaller, even more Vanghoua Anthony Vue’s vessel (ev-cog-ciaj From the Cairnsregion inFar North Queensland, final form. cultural references brought together to secure its strange, andonethat benefits from themedley of and cultural detail, onethat isboth familiar and future. Theresult isacreation richinpersonal better negotiate ajourney toaculturally shared working together to re-build avessel that might two men determine to take onthechallenge of of awrangle for possession,butinstead, the For amoment, astand-off suggests thepossibility an item offlotsam washed inonthehightide. beachcombers coming across thevessel’s hullas screened ontheboat’s pelt-sail documents two as anexercise inshared cultural homage. Avideo mate Nathan Slater, Goughre-purposes theboat cultural collaboration. Working withhis Maori (Te Waka atrawlwoolway and details ofDave mangenner Gough’s vessel In front ofGail’s ‘star ship’, thekangaroo-pelt sails guided andorder maintained. offers apattern through whichjourneys canbe Fisherman, theTagai, whosecelestial constellation Nation peoples,Gail calls upthespiritofGreat and still remain asoffering guide-lines toFirst the guidanceofancestral spiritsthat have to bedisputed inanumberofways. Callingupon land-mark Indigenous land-rights claimcontinues However, despite thishighcourt decision,the her father, Eddie Mabo’s successful challenge. was overturned inthehighcourt asaresult of Southern Landpriorto European occupation, for anextensive periodoftimeintheGreat later that assumption, that no-onehad existed a “Terra Nullius”. Ashistory tells us,many years he first laidclaim to what was falsely describedas ) are atribute to cross- )weaves into its 1 written when ) 1 2019 Pat Hoffie concerns, fears andhopesofentire communities. art to actasalanguage capable ofarticulating the boats continue to bearwitness to the capacity of weather might take. event’ Andthefleet oflittle in anticipation ofwhat formthe next ‘extreme the tongue, andtheentire country holdsitsbreath the fires are still burning;the taste ofashis stillon had more thanitsfair share offlooding.Instead, in Lismore today, even thoughthistown, too, has Townsville seemslike adistant andfar-away place Paradoxes abound.Thedeluge that overwhelmed move towards theforefront ofconsiderations. time the context changes, particular concerns interests andcelebrations into themix.Andeach from different places launch their hopes, concerns, the fleet alters andtransforms asdifferent artists In eachiteration of waterways feature asalife-line ofsustenance. just outsideCairns.Ineachofthemwater and South East Asia,others ofVue’s family home of thevessel’s prow—one showing images from Two tablet screens have beenaffixed totheinside and new life. symbolising thepositive potential of regeneration from thecentral mast contain soilandseedlings, family, andhollowed-out bambootubesslung cut ricesheaths grown andcutby Vue’s own market gardeners. Thelittlepaperboats lieacross much local produce hasbeentended by Hmong craftworks. Asinthe rest ofthe world, inCairns, sites for remarkable crops andextraordinary groups, andtransform theminto production and wastelands overlooked by dominant cultural the Hmongmake themost oftheborderlines Regional Gallery) Partnershipping Project initial useduringthe Tasmanian iteration of These words hadbeenleft ontheboat after its The Partnershipping Project . (seeprevious essay onBurnie The

Installations | Pat Hoffie: TPP at Lismore Regional Gallery (2019–2020) 243 244 Installation view at Lismore |photo:Regional Gallery Vanghoua Anthony Vue

245 246 Prabawa, and Penny Evans Gail Mabo, VanghouaCarvalho, Anthony Vue, Aris mangenner Gough with Nathan Slater, Selena de Hague, Sera Waters,Damien ShenwithRobert Dave 6 MARCH–24 MAY 2020 ART GALLERY RIDDOCH

247 248 extreme challenge”. emerges intimes of way only thatoften to thesethingsina life isdirectlylinked matter. Our qualityof the peoplearoundus andthat are matters, notice thatwherewe impossible notto pandemic, itis COVID-19 global ofthe uncertainty allthe “Through brought withitstories from other parts ofthe to its local surrounds andstimuli, exhibition. Changing at every venue, responding Partnershipping Project I was reminded that from itsconception Despite, ormaybe because oftheplants demise, morphing unchecked into anunwelcome state. disrepair, decaying insilenceasorganic matter could picture thisexhibition falling slowing into end for thoseplants. Inmy mind,day by day I next, Iknew onethingfor sure, itwould bethe home, uncertain ofwhat was going to happen we shutthedoors andwere sent to work from duration ofthisiteration ofthe exhibition.When However thelock-down was adeath knellfor the going to struggle to survive ingallery conditions. and Vanghoua Anthony Vue’s boats were always that thelive plants featuring inbothAris Prabawa Partnershipping remain instasis whilethedoors were closed, the country, inmany galleries exhibitions would public for atotal of16days and,though across The Partnershipping Project Federal, State andLocal Government. As aresult, the publicon23March, following advice from hadtoRiddoch ArtGallery closeitsdoors to Flattening thecurve however meant that the flattening the infectioncurve to date. challenge, asevidenced by Australia’s successin safe. For themost part they have risento the must adapt andwork together to keep eachother the importance ofimmediate communities, which spotlight ontheweaknesses ofglobalisation, and are at theheartofourexperience. Ithascast a of homogenisation, ourlocal communities really experiencing it.Itreinforced that, despite thefear it, very much dependedonwhere they were over timethat anindividual’s experience of a globalpandemic,itbecame more evident This isto say that, whileitmight have been and cityto city. differences from country to country, state to state tostruggle, highlight whilealsoserving vast effect humanityundera common ofbothunifying this globalpandemichashadthecuriousbinary destablising national autonomy andidentity. manufacturing industry andmany seeitas It isamajorforce behindthecollapse ofthe economies, andlargely, ourstandard ofliving. For decades, globalisation haschanged our head. we knew) aboutourinterconnected world onits turned almost everything we knew (orthought during theCOVID-19 pandemic.Thevirushas matter’, has taken onadditional levels ofmeaning asks thequestion ‘inaglobal world doesthelocal The premise ofThePartnershipping Project ofCOVIDin theTime Partnershipping was slowly decaying. Ihadfears

hasalways been aliving was ondisplay to the Partnershipping The , which 2 Yet, 1

and draws onacombination ofher own history relationship withAustralia, Waters’ practice calling into question herunavoidably colonial that flows throughout this region. Frequently her work, sheconnects to anundercurrent Adelaide, grew upinMount Gambier, andthrough Sera Waters, anaccomplished textile artist from for thislegoftheproject. Robert Haguebecame theplacemakinganchors Waters andthecollaboration ofDamienShenwith in theSouthEast ofSouthAustralia, artists Sera inMountRiddoch ArtGallery Gambier, located of locality andimmediacybutto expand it.For the in sodoingsought notto reduce theconversation meant itcarried amultitudeof voices withit,and stop. Itwas theproject’s unstable nature that continent, reinvigorated and reshuffled at every dark caves that underpinit,creating asenseof stitching, and reusing contrasts withthe wild and The traditional domestic practices of sewing, in? unexplored, hidden, waiting to draw the unwary space. What darktendrils lieunderthecity the unknown, we are drawn into thismysterious light. Reminiscent ofthosesettlers forging through inviting theadventurous withaflickering warm and tangling around themselves intheshadows, her becoming darkwoven arms,reaching out these underground caves have travelled with dwarf humanexistence. Intheartist’s psyche insecure material andformed intimelinesthat speaks oftheuneasegeology made from capricious andprone to collapse. Waters’ work of years andexposure to water, limestone is formations remind usthat over thousands is aprecarious material. Thesegeological that formed many ofthesecaves andsinkholes, Mount Gambier, limestone, thevery feature Once thecore ofbustling industry in primary catchment for ourdrinkingwater. landmark isavolcanic crater that forms a for entrepreneurial gin makers, ourmost iconic provide recreational swimming or wellsprings throughout thisregion, andthesinkholesthat ground. Alongsidethefamous caves dotted to consider what happensunderneath the the dark,inMount Gambieritisnow unavoidable following rabbits ordogsasthey disappeared into While many settlers found caves by accident, the curiousinto thedepths. however, liesadarkandtangled space,beckoning tent ormound.Underneath thisordered surface of herwork, wrapped over theboat like adomed designed by colonial settlers, forms theouter layer region. Thiscarefully parceled outlandscape, and dormant water-filled volcanos, iconic to this plantation pine forests, farmland, sinkholes second-hand textiles, Waters stitches inthe topography ofMount Gambierthrough dyed, Partnershipping Cave Thinking , isnoexception. Mappingthe , thework shehasmade for

Installations | Serena Wong: Partnershipping in the Time of Covid I TPP at Riddoch Art Gallery (2020) 249

250 at Riddoch Art Gallery (2020) Gallery Art Riddoch at I Wong: Serena | Installations TPP Covid of Time the in Partnershipping linked to place”. the ongoingjourney ofbecomingisinextricably where we are,wherewe have comefromandthat reminding usthatknowing whowe areisboundto posesitsquestion, Project The Partnershipping times ofextreme Itis timelythen,that challenge. these thingsinaway onlyemergesin thatoften us matter. Ourqualityoflife isdirectlylinked to where we andthatthepeoplearound arematters, global pandemic,itisimpossiblenotto noticethat oftheCOVID-19 allthe uncertainty “Through rise-and-fall-of-an-idea-that-swept-the-world published Fri14Jul2017,https://www.theguardian.com/world/2017/jul/14/globalisation-the- 2 1 2020 Serena Wong place. have come from andthat theongoing journey ofbecoming isinextricably linked to question, reminding usthat knowing who we are isbound to where we are, where we of extreme challenge. Itistimelythen,that ThePartnershipping Project of life isdirectly linked to these thingsinaway that often onlyemerges intimes notice that where we are matters, andthat thepeople around us matter. Ourquality Through alltheuncertainty oftheCOVID-19 globalpandemic,itisimpossiblenotto into onecollaboration. the ‘invisible’ similaritiesthat have formed theirfriendshipand forged theirpractice face ofthefactual ‘science’ they present. Instead, what hasbrought themtogether are starts andanotherstops isnotdiscernable.Theirbond,theirpartnership, flies inthe and Hague’s work isfaultlessly blendedandinsomecases where oneartist’s hand Despite thisbleakvisage ofabandonment, itisastory ofjourneying together. Shen (terrible) fate. there isthesenseofabandonment, ofpeoplefleeingunsuccessfully andleft totheir RaftoftheMedusa painting, cast-offs ofamore sinister project. Inpart,itseems to echothe famous Romantic head, armandfoot looklike dismembered ordiscarded parts,perhaps theabandoned of sand,strewn withpiecesoflimestone andorganic detritus. Themultiplesofeach casts ofShenandHague’s heads,hands,armsandfeet scattered throughout abed The centerpiece oftheirmultimediainstallation, theboat, features deepruby red resin and white fiberglass boat. heartbeats overlaid, playing through thegallery, andwith their cast limbs intheorange In somecases theiressenceismixed, withtheirprojected DNAsequence,ortheir in view ofeachother, always participating inthepushandpullofapartnership. there isamatching partnereitheropposite ornext to, sothecollaborators are always Four backlitx-rays are ondisplay, two eachfor ShenandHague.For every tintype, Nearly every work they display in problematic scientific practices that fail to capture adeepand personal relationship. Hague, aNew Zealand migrant ofIrishandEnglishstock, to challenge thehistorically heritages, Shen,aSouthAustralian man of Ngarrindjeri andChinesebloodlines, our ideasofsameanddifference. Through scientific methodology they explore their tintype portraits, traditional ShenandHaguemodify scientific techniques tochallenge ancestry tracking,mapped DNA, resin mouldsofbodyparts,x-rays oftheirheadsand scientific data todescribewho we are and how we relate tothe world.Usingtheir and thebuildingblocks oftheirphysical selves, to destabilise theauthorityplacedon Adelaide andHaguebasedinMelbournehave brought together theirartistic practice, and Robert Haguehastapped into that premise inavery personal way. Shen,basedin mutual benefit. The collaborative work between titledWhereWe Meet, DamienShen the ensuingcollaboration between companies from neighbouring countries for their The premise ofPartnershipping truth oftheviolenceandforce that allsettler descendants must, andshould,sitwith. underneath thesurface ofourordered parcels ofland,isthedarkanduncomfortable reflects thesubtle narrative that frequently underliesmuchof Waters’ work,that experiencethe binary that white Australian history often fails to address. Thisbinary Ibid Saval, Nikil.Globalisation: theriseand fall ofanideathat swept the world, TheGuardian (1818-1819)by French painter Théodore Géricault was partiallyinspired by theHanseatic Leagueand Partnershipping hasaShenandHagueversion. posesits — ,

Installations | Serena Wong: Partnershipping in the Time of Covid I TPP at Riddoch Art Gallery (2020) 251 252 Installation view |photo:at RiddochArtGallery Michael van derLinden

253 254 for theproject’sfinal iteration. returned to Gallery Burnie Regional Art The fleet assembled and exhibited inMt.Gambier DECEMBER2020 30 OCTOBER–12 ART GALLERY BURNIE REGIONAL

255 256 Installation view at Burnie |photo:Regional ArtGallery Rick Eaves

257 258 ESSAYS

259 260 experiences isanimportant starting placefrom A simultaneous apprehension ofboththese the concept oftime isnotnecessarilyuniversal). specificity oftimes(with anunderstanding that their precise conditions and contexts) andthe ideas aboutthespecificity ofplaces(with tendencies, theterm ‘local’ isassociated with term ‘global’ suggests in (i.e. onthedetails oftheimmediate). Whilethe (i.e. theconcerns about‘everything’) on diversity of questions abouttheimpactofhomogenisation The topic ‘global/local’ immediately suggests araft local? extent might itbepossibleto bebothglobaland implications for what happenselsewhere. To what the specific,local, theimmediate allhave is inter-connected. We understand that thetiny, local concerns. Butwe alsoknow that everything presented inthemediaasbeyond thescope of of globalenvironmental andsocialproblems is too local, too trivial to matter? Theenormity details ofourlocal lives madeto seemtoo small, relation to thesechanges? Orare these everyday local, to thehere-and-now ofcommunity, stand in lives? Where doourrelationships to ‘place’; to the of what’s right-in-front-of-us inoureveryday able to recognise thelittleidiosyncratic differences touch withwhat’s globalaffect the way we are communities’? Doestheemphasisonbeingin what extent isitstill important to bepartof‘local are allexpected to be‘global citizens’. But to We live inanincreasingly globalisedworld. We MATTER?) (DOES PLACE STILL BELONGING PATTERNS OF AND CHANGING GLOBALISM TRANS-LOCAL, clusive andhomogeneous these nations. regional communities diverse, sustainable andinter-active local and now threaten thesustainability oftheculturally These surges inpopularity ofauthoritarian leaders benefits ofnationhood are being revisited: culture. However more recently, ideasaboutthe way ofclaimingunified control, communities and beginning to seemlike anout-moded, out-paced past. Asglobalisation advanced, nationhood was epithet of‘nation’ hovers like aghost from the Between theconcepts of‘global’ and‘local’, the cared-for locales orregions. linked, diverse, contextually-specific andlocally world iscomposed ofaconglomerate ofinter- which to work towards understanding that the distant andunresponsive international bodies”. the perceived surrender ofnational sovereignty to to massimmigration, cultural liberalisation, and populist impulsesthat include“public opposition controlling iterations ofnationhood driven by to theemergence ofsomeconservative, Recent climates offostered fear have contributed referendums provide ampletestimony ofthejustness of the thesis,withmillionsvoting to pushback, for better or for worse,against thecampaigns andinstitutions globalisation”. Theresultsofthe2016electionsand In his2011bookTheGlobalisation Paradox, Rodrik democracy, nationaldetermination, and economic concluded that“wecannot simultaneously pursue

that promisedmoreglobalisation. 3 that were oncepart of 1

Essays | Pat Hoffie: Trans-local, Globalism and Changing Patterns of Belonging (Does Place Still Matter?) 261

262 Pat Hoffie: Hoffie: Pat | Essays Trans-local, Globalism and Changing Patterns of Belonging (Does Place Still Matter?) Still Place (Does Belonging of Patterns Changing and Globalism Trans-local, sixteenth century to themid-twentieth century period that extended, roughly from speaking, the emerged asaresult oftheEuropean colonial Many oftheworld’s current nation-states binding entity of‘nationhood’. social, economic andcultural diversities into the frameworks ofbelongingare partofwhat binds As inter-dependent trans-national corporations legislations was faced withanother world order. their own boundariesandtheirown trade the power ofnations to control their own destiny, In thedecades following thesecond world war, trans-localism andbelonging post(?)nationalism, that encouraged andprotected diversity. others established tiers of governmental directives recognition ofplural identities and expressions; mandated cohesiveness through restricting varied from nation to nation; whilesome nations acceptance ofintra-national cultural diversity within thesenew parameters. Recognition and ranked thediverse cultural groups included However, there were still value-systems that creole emulations oftheir former colonisers. recognised assecond-rate orhybrid orpidgin their differences instead ofhaving them policies that affirmed, enshrinedandcelebrated independence, nations embraced self-directed upon theprocesses ofde-colonisation. Aspartof as theircolonies seized theopportunityto embark home’, thecountries andterritories they’d claimed powers to issuesofself-preservation ‘closer to second World War moved thefocus ofcolonial But allhubrishasitsuse-bydate; andasthe common visualandwritten languages. past theirdifferences through theirembrace of cultural, socialandethnic groups whocould see group composed ofpeoplesfrom arange of defined anation asan“imagined community”—a Political scientist andhistorian BenedictAnderson iterations ofthe nation-state changing regional diversity andthe follows: through colonial power hasbeendescribedas first phaseofthecreation of national identities public matters to the colonising country. The were boundby trade andtheadministration of of Australia was partofthat process. Thecolonies the Americas andthePacific. TheBritish invasion when colonies were established inAsia, Africa, Colonialism isarelationshipbetweenanindigenous(or often defined inadistant metropolis. Rejectingcultural invaders. Thefundamental decisionsaffecting thelives colonizers areconvinced oftheirown superiorityand forcibly imported) majorityandaminorityofforeign of thecolonized peoplearemadeandimplemented by thecolonial rulersinpursuitofinterests that are compromises withthecolonized population, the their ordainedmandate to rule.

4 Inclusive 6

national corporations: nations whileincreasing thepower ofthetrans- and tariffs, weakening thepolicy-making holdof the rulesbindingnationally controlled trades The move towards trans-global trading softened need to readjust theparameters oftheiridentity. nation-states again were challenged withthe gradually emerged asglobalcontrollers ofcapital, While theinternet’s role insecuring global reduced theglobalcosts oftransportation. for international freight transport significantly of thisproduction possible;and containerisation the offsite organisation ofthe varioussequences shipping container. Internet communication made this movement possible:theinternet and the cooperation. Two major‘inventions’ madeall flow, global information flow andglobal research work patterns and workforces, globalisedmoney national boundaries,has resulted inchanges in the flows ofmoney and goods andpeopleacross described asthestage ofcapitalism that fosters The economic trans-nationalism that hasbeen ofchange instruments after we move on. somet smallplot of local-ness onto someoneelse small butdo-ablejobofmakingsure we pass temporary custodians eachofusisdelivered the else—by someoneelse,sometime else.As inhabit isgiven to usby the‘there’ ofsomewhere awareness—a mindfulnessthat the‘here’ we way to beginto respond isthrough atrans-local planet, perhaps for most oftheplanet, thebest figures andnews stories aboutthecrisesof issues; confronted withthetsunamioffacts and given, we have limited time to devote to limited share that land.Intheshortlife each ofusis and ourrelationship with thosewithwhom we ideas aboutourcommunal custodianship ofland to placewillplay pivotal roles inre-thinking of globalecological crises,ourlocal connections place? Because surely, inanera that faces allkinds extent isitpossibleto buildnew connections to toexperience, what andbelonging, memory must, ofnecessity, suture together scraps of with theneedto buildideasofourselves that bifurcated, hyphenated, provisional identities, our cultural origins.Withtheemergence ofsuch of the ‘there’ ofour past; orthe‘this’and‘that’ have left behind;orthe‘here’ ofthepresent and of community andthe‘there’ oftheplaceswe least two placesat once:whether inthe‘here’ were ‘grown here’, we’re aware oflivinginat live. Whether we are refugees, immigrants or in atrans-national world, nomatter where we Increasingly, we allexperience livingourlives the states thatseekto regulate them.Throughmergers rapidly andsomeofthelargest TNCsnow haveannual Many corporations are richerandmorepowerful than and acquisitions corporations havebeengrowing very profits exceeding theGDPsofmany low andmedium income countries. 8 produce bridges for international migration. between industrialised anddeveloping countries new economic, cultural, andideological links changes to thework forces across theplanet as of goods hasbrought systematic structural through the internet andcontainerisation Globalisation’s trans-national market penetration shipping containers. produced to precisely alignwiththedimensionsof which andinwe live are now designedand of containers: thesizes ofsome of theobjectswith manufacturing itselfhasevolved to take advantage in allsortsofways, includingthefact that Containerisation affects our everyday lives of dockworkers whoformerly handledcargo. of containers hasdisplacedmany thousands reduced theneedfor warehousing. Theuse for themanualsortingofmost shipments and Containerisation did away withthespaces needed number ofemployees neededfor theprocess. semi-trailers, andthushave reduced the on specialisedcontainer ships, rail carts and dimensions meanthat they can betransported of transport to another. Theirstandardised distances, andtransferred from one mode stacked andtransported efficiently over long Shipping containers can be loadedandunloaded, demand. has played inbreaking oldcycles ofsupplyand less awareness ofthepivotal role containerisation communication is well recognised, there’s been The shippingcontainer outsideofLismore Regional Gallery. Photo: ColinLangridge larger than theimaginedthreat of‘refugees from The globalmovement ofpeopleismuch,much fairs. epitomised inthebiennales,triennalesandart global celebrations ofcultural concerns are sporting competitions like theOlympics, while and traditions is exemplified in international are exchanged. Theglobalsharingofvalues, rules transactions through whichideasandmeanings and transnational socio-cultural activitiesand economic, socio-political andcultural activities, new diasporicregions withinterconnected country orcountries ofresidence; they create that linktheiroriginalcountry with theirnew These immigrants create new ‘social fields’ more closelyintouch withtheirhomecountries. members ofdiasporas can better afford to keep communication become more affordable, And it’s notall‘badnews’—as travel and others someplaceelse. that what happensinonelocale directly affects who live withintheawareness ofcontingency— communities-in-transition. They are communities ‘here’ and‘there’—of ‘before’ and‘now’. They are by theirvery nature are founded onexperiences of activities oftheir respective diasporas. Diasporas of exchange isdependent upontheeconomic that are inextricably linked into theseprocesses whole. Thedevelopment ofmany ofthenations population growth in western countries asa Today migration accounts for three fifthsof

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264 Pat Hoffie: Hoffie: Pat | Essays Trans-local, Globalism and Changing Patterns of Belonging (Does Place Still Matter?) Still Place (Does Belonging of Patterns Changing and Globalism Trans-local, world order we live in.Buttheselection of what engaging witheachother andwiththechanging in shared discussionsabout new possibilitiesof templates through whichcommunities can engage the visual,verbal, auditory andperformative Artists—and othercultural workers—create power ofartandculture. principles, isprovided through thecommunicative to others whorespond to, andthen share those those principlesto individuals,andthenacross lines—buttheemotional gluethat binds boundary formed by legislation—by rulesand templates and place, that are formed by artists. Yes, they are also words that bindpeople to people,andpeopleto are dependent images ontheimaginary and communities” described by BenedictAnderson affected the way artisproduced? The“imagined to place,communities andnotionsofbelonging So how have thesechanges inourrelationship globalised world andmakingplaceina art we seetheworld. national cultural activitiesis re-forming the way global flows ofculture andtrans-local, trans- within theglobalSouth.Theimpactofthese migration, whilethirty-seven percent migrate work, thiscontributes to forty percent ofglobal South to theglobalNorthby professionals seeking of international immigration is from theglobal another country’. Whilethefastest growing tide 9

cultural even more pressing. Shewrites, need to supportandgenerate local andspecific trans-national cultural conglomerates makes the the juggernaut-flattening ofcultural diversity by critics, like Professor JulianneSchulz,argue that models beableto survive into thefuture? Some extent willlocally specificand responsive cultural we can ‘imagination’ ourselves into to what being, steadily shapestheway we dream andtheway Netflix andGoogle).Asglobalentertainment acronym ofFAANG (Facebook, Apple,Amazon, collectivised undertheappropriately alarming is increasingly controlled by globaloligarchs knowledge andinformation gets disbursed area we Australians knew very littleabout at made upofcountries oftheAsia-Pacific—an hunch that somewhere out there in ‘theregion’ Triennial ofContemporary Artwas basedonthe The audaciouspunt to host thefirst Asia-Pacific relatively small, regionally-based state art gallery. by thehorns from theimprobable position of a tookArt Gallery thecultural bull ofglobalisation it innew ways: backin1993, theQueensland capable ofenfolding theglobalandre-presenting from, by andfor local andspecific communities is And sometimes thedrive to produce culture Fang, we’re allglobalcitizens, whichthreatens to make national culturalinstitutions bothmorevulnerable,but In theAgeofFAANG, weneedto findpersuasiveand national andlocal arenow irrelevant. IntheAgeof creative ways to answer thosewhoarguethat the also moreimportant thanever. 10 and theUnited States had blindsided(withthe distance cultural focus ontheUnited Kingdom relative insignificance. Secondly, Australia’s long- made sure cultural issueswere regarded asof decades ofconservative Queensland politicshad collection was relatively insubstantial, andthe was regarded asa cultural axis ofmetropolitan Australia, Brisbane fact that, interms oftheSydney/Melbourne to therest oftheworld. Thefirst lay inthe region’s cultural relationship—at thetime— relationship to theAsia-Pacific region;andthe Brisbane’s relationship to Australia; Australia’s Triennial were acutely aware ofthree things: The members ofthecuratorium ofthat first responsive asartists can beanywhere, any time. were asinformed andsophisticated andcritically from thespotlights ofglobalmetropolitan centres part init;andthat artists working along way away was exciting; that Australia change; that thecultural diversity oftheregion equal; that tradition was nottheantithesis of witness to thefact that notallmodernismswere launched to theworld anexhibition that bore first Asia Pacific TriennialofContemporary Art The hunchproved to beagood one,andthe traditions oftheir own cultures. of globalisation whilewrestling withthechanging of artists engaged in responses to the ‘elsewhere’ might very possiblyexist, fueledby thepassion the time—thrivingpockets of contemporary art regional outpost: the state could (might) play a Panel discussionat BurnieRegional ArtGallery, 2018.Photo: ColinLangridge either ethnographic orexotic innature. region, ithadbeenrepresented, onthewhole,as had given attention tocultural production inthe some northernhemisphere cultural institutions contemporary cultural counterpoints. Andwhile was geographically situated might offer lively to thepossibilitythat theregioninwhichit exception ofa artists)few visionary the country production. Inthefirst APT catalogue he wrote, he’d witnessedinregionally basedAustralian art issues propagated by the‘international art world’ and critical responsiveness to theimages and would alsogenerate thekindofenergy, vitality regionally-produced artoftheAsia-Pacific region shared, withhiscuratorium, aconviction that the Bendigo between ArtGallery 1980and1987.Hall his role at QAG, he’d worked astheDirector of based culturalproductioninAustralia importance ofrecognising theenergy ofregionally at thetime,DougHall, was well aware ofthe The Director oftheQueensland ArtGallery driven, itcan onlyforce orexacerbate thenow numbing it exists andisheld inhighregardby it,itisofnolesser intrinsic valuebecause anurban-basedintelligentsia is regionally specific,relevant to the community inwhich perpetuating argument destined toreinforce isolation and separation.Ifartproduced in particular areasis If theregionaldebate fails to beimage-orpractice- argument ofthecentre andtheperiphery, aself- largely unaware ofit. 12 ; priorto 11

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266 Pat Hoffie: Hoffie: Pat | Essays Trans-local, Globalism and Changing Patterns of Belonging (Does Place Still Matter?) Still Place (Does Belonging of Patterns Changing and Globalism Trans-local, Europe provided theframework from whichthe The partnerships developed duringmedieval historical origins oftheterm ‘partnershipping’. Associations withmaritime trading provided the wooden boats that carry theartists’ work. all fillthe cargos ofthe eight ‘tenders’—the little contribution to local, national andglobalissues feeling valued, includedandcapable ofmakinga connectedness; issuesrelated to thenecessity of come; issuesofmental health andcommunity and stories alive for usandfor generations to and diasporas andtheneedto keep memories the land;issuesofgender; issuesofimmigration to traditional knowledge andcustodianship of Issues to dowiththeenvironment; issuesrelated must beaddressed locally aswell asglobally. of thecommunities they reflect and are partof the region for many generations. Andthe concerns region, andothers have families whohave lived in settle inthe regions, others are Indigenous to the order. Many of them have come from elsewhere to addressed intheirwork reflect thechangingglobal Project The artists participating in those ofthelocal. regional orthat separate globalconcerns from go beyond tired concepts ofmetropolitan versus is vital to developing modelsofengagement that regionally specific,locally-conscious artproduction first Asia-Pacific TriennialofContemporary Artthat something more. Itshares theconviction ofthe of theexhibition, eachnodeoftheproject willadd tailored to theideathat eachstop, eachiteration efficiencies andsmooth transactions, the projectis Unlike products fitted tothedemandsof exchange agencies into trans-local, trans-regional directions. on harnessingfundingfrom national cultural container. Thesuccessofitsproposal was reliant relies—digital communication andtheshipping share two ofthepillars onwhichglobalisation The parameters of makingplace partnershipping: new home. of globalisedcultural practice have become their next, asifthetrans-national, trans-cultural sites travel from oneinternational exhibition to the in thetrans-global artworld. Many ofthemnow Triennials are now international householdnames own shorelines to make work at thefirst three had travelled for thefirst time beyond their Since thoseyears, many oftheartists who was evident bothwithinAustralia andbeyond. andthepopularityofexhibitionchallenging, been anticipated, explosively vital andcritically them. Thework was, even beyond what had their placeandto the traditions that bound they includedrelated to theircommunities, to were driven by curiosityabouthow theartists subsequent Triennials, thosefirst three projects attuned to thespecificsof context. More than The first three Triennials were cultural explorations are eachregionally based;buttheissues The Partnershipping Project The Partnershipping

2018 Pat Hoffie interdependence ofourplacesandcommunities. that are acutely aware ofthetrans-local which relies ontransformational approaches unified, interconnected system, thefuture of comprehend theworld we now live inasone languages through whichwe can simultaneously role ofvisionarieswhosuggest new visual and healthconcerns. Artists can perform the concerns, world famine concerns, globalmedicine environmental sustainability, world peace multiculturalism andtrans-culturalism, global problems that includehumanrights, of vital importance inaworld absorbed by place—and to eachother—remain asissues set afloat inthebelief that connections to particular iteration was of‘partnershipping’ connections between peopleandplace.This and eachneedsnew ways ofre-establishing alignments andmovements ofpeoplesandideas, Each era experiences changingpatterns oftrade sixteenth century itwas moribund. disintegrated into irrelevance. By theendof the partnershipping oftheHanseatic League far-flung shorelines into European connections, the Age ofDiscovery brought trade from new, Times passandglobalorders change, andas be essential for new futures. recognition that new connections were going to time andmoney, butjust asimportantly, onthe The association was builtontheneed to save share cargos withothermembers oftheLeague. the coastlines ofthosecountries that agreed to League referred literally to theships that traversed century, thepartner-shipping oftheHanseatic right through until themiddleoffifteenth evolved inthethirteenth century. From thenand Commercial Revolution oftheEuropean economy 13 necessitate globalcooperation”. not respect national sovereignty, and,therefore, they and climate change are globalphenomena.They do greatest threats. Pollution, terrorism, pandemics, basis for statecraft obscures thenature ofhumanity’s wealth from energy markets. Butthenation-state asa a backlashto globalisation andasa result ofgrowing arbiter oflaw. State power iseven ontherise,partlyas are floodsorinvading armies.The state isalsothefinal and mobilize against common threats, whether they people to pool theirresources for thecommon good clear. organising Itisanecessary principlethat allows one that isfuzzy, thenation. Theutilityofthe state is conflates two ideas,onethat is concrete, the state, and state/2008/0902mythstate.htm nation-state “The myth State, https://www.globalpolicy.org/nations/ Nationalism Communities; Reflections ontheOriginandSpreadof com/time-person-of-the-year-populism/) not boundby anestablished globalorder”. http://time. renegotiation andthe interests ofthe nation-state are the international agreements ofthepast are up for topic/Hanseatic-League Trading Organisation Art Gallery, p.130. Triennial ofContemporary Artcatalogue, Queensland tech-giants-58724 act-now-to-preserve-its-culture-in-the-face-of-global- Agency.https://theconversation.com/australia-must- History atMacquarie Universityand theCopyright version oftheBrianJohnslecture,Centre for Media Western artists inthe exhibition. sufficiently far away from the exoticization ofnon- a great dealofnegative criticism forits failure to move ‘primitive’. However, the exhibition ultimately attracted art world’s representation ofnon-European art as attempt to challenge theinternational contemporary Grande Halleat theParc delaVillette in Paris, was an Martin, at theCentre Georges Pompidou andthe 13 12 11 10 9 8 7 6 5 4 3 2 1 images/0024/002470/247089E.pdf) 2017,(http://unesdoc.unesco.org/ January ANALYSIS OFROOT CAUSES ANDPOLICYIMPLICATIONS corporations-2-6.html globalization-of-the-economy-2-1/transnational- https://www.globalpolicy.org/globalization/ Publishers, p.16. Colonialism: ATheoretical, Markus Overview Weiner maintained by eight countries. there are sixty-one countries intheworld currently the-collapse-of-the-center-left/ chaos/2018/03/08/the-rise-of-european-populism-and- https://www.brookings.edu/blog/order-from- populism andthecollapse ofthecentre-left rise-and-fall-of-an-idea-that-swept-the-world_ theguardian.com/world/2017/jul/14/globalisation-the- fall ofanideathatswept theworld,(https://www. UNESCO, MIGRATION ASADEVELOPMENT CHALLENGE Global Policy Forum. Transnational Corporations Stewart, Devin T. 2008, Osterhammer, Jurgen, trans. ShellyFrisch,(2005) Although at thisstage ofthetwenty-first century Anderson, Benedict,(2016,revised) Shuster, Simon, Galston, 2008,The WilliamA., Saval, Nikil,(14July2017)Globalisation:theriseand Hibbert, Arthur Boyd, HanseaticLeague,German 1993, Hall, Doug, Magiciens delaTerre Schultz, Professor Julianne,May2,2016.(anedited (Bloomsbury, London) The Populists, “Itisaworld where Tradition andChange https://www.britannica.com/ , (1989),curated by JeanHubert The Myth oftheNation The Myth riseofEuropean Imagined , Asia-Pacific

Essays | Pat Hoffie: Trans-local, Globalism and Changing Patterns of Belonging (Does Place Still Matter?) 267 268 your eye could follow, andblueringed octopus blood, transparent shrimps that darted faster than the rock poolsfor anemonesthecolour ofclotted up. Mymost cherishedyears were spent exploring It was onthecoastline ofBass’s Strait that Igrew the othersideofthat stretch ofwater. died. Thesewere theconsequences oftravelling to because that’s where hewas whenyour aunty was why your unclewas now uncommonly sad— older sister was going next week to get ajob.It where your cousins lived now. Itwas where your explaining absence. ‘Away over theotherside’is phrase would notbeuttered. It was a way of action. Withoutthesetwo components, the than that. Thenamerequired aperson andan mainland. Actuallyitwas abitmore complicated coast ofTasmania, we had anothernamefor the Where Igrew up,inUlverstone onthenorthwest before they left. confidence that madenosenseofwhothey were with ahabitofspeakingmore quickly andwitha somehow taller, orricher. They would beequipped they would bedifferent. On return they would be family willgo there andnever return. Orifthey do, big; unimaginably big. So big that members of your tosubservience anotherplace.TheMainlandis exist, according to thisdefinition, inasortof call thesedays ‘theislandness’ofmy home.We sentences, are thenutsandboltsofwhat people call therest ofAustralia. There, intwo short Strait. And‘theMainland’iswhat Tasmanians Tasmania isastretch ofwater namedBass’s The crossing between ‘theMainland’and THE OTHER SIDE the source ofallourarts.Withoutmemory, withoutthe stories andnonovels, notheatre,poetry. is Memory “Without memory,“Without withoutthepast, thereareno past, wehavenointerior life”. 1 It was from over that horizon that the convict dreams swirling intheanxious pitofmy stomach. at theunknowable horizon; half-remembered that rocky shoreline ofmy childhood,gazing out approach oldage, Istill find myself standing on complicated affair. Yet, after allthese years, asI To beaTasmanian Aborigine today isa and aninevitable “well, Idunno…“. response was predictable; ashrugoftheshoulders much simpler. There was nopoint inraising it.The carry away all that was known. The future was shore; breaching thedunesto floodthelandand distant past, inwhichgigantic waves poundedthe wanted to know. At night Iwould dream ofamore discussed. No-oneknew how or, itseemed, even and Aborigines.Noneofthesethingscould be to learn,was populated by Germans,convicts and comfortable subject.Thepast, Iwas soon was beingdiscussed;onto amore mundane furtive glancesandaquickshifting from whatever of. Aclumsy ornaïve question would bemet with was nopast orfuture. Thepast was notspoken arrive. IntheTasmania ofmy childhood,there of unboundedvastness that ourfutures would travelled far enough.Anditwas from that place horizon iswhere thepast could befound ifyou embrace ofareassuring present. Outbeyond the from somewhere else.At home,we lived inthe with itstories ofchange. Change, you see,comes Anything that came from beyond that linebrought voyage away. line ofhorizon, just theoddshipreturning from its distant mountains to break theimpossiblecurving our world was geometrically pure. There were no gazing northwards across thewater, theedge of their weedy lair. Standing atop arocky point and that flashedsilent fear as your fingers brushed by

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270 Greg Lehman: Lehman: Greg | Essays The Other Side Other The the bonesare to beseen strewed ontheground.’ whole lineofthecoast, butwhat numberasoftheunfortunate native have beenshot: Augustus Robinson wrote inhisjournal1832,‘there isnotaboat harbouralongthe how many were killedinresisting these raids, butthenumbers were significant. George was sealers who first brought the violence of European trade Itto thisisland. is notknown the establishment ofthefirst officialBritishbeachheadofthe colony atRisdon Cove,it Tebrekunna were there to trade—with thepersuasive currency offorce ifneeded.Before Land thefirst slaves were Aboriginal bunchofsealerswomen, andtherugged landingin labour to becarried outthat was more suited to thework ofslaves. InVan Diemen’s Strait inthelate 1790s.Sealsandwoman. Like allcolonial frontiers, there was always the abundanceofsealsontheseislandsthat first attracted European seafarers toBass’s the FurneauxIslandsthat lay to thenorthbetween Tasmanian andtheMainland.Itwas blank lineofhorizon, ashortclimbto thetop ofthesanddunesmade it possibleto see up. From atop thedunesofTebrekunna Bay, thehorizon was different. Instead ofthe for athousandgenerations before. This was abeachfurther to theeast ofwhere Igrew past thebreakers onabeachwhere hisown children hadbeenborn,alongwithbabies Another ofmy ancestors oncestood onashore like this,watching awhaleboat heave to German revolution. Geiger, ontheimmigrant shipMontmorency. They were economic refugees from afailed vineyards ofLehrensteinsfeld inBavaria, Jacob Lehmanfledwithhis young wife, Catharina murder. Myfather’s grandfather alsoarrived from afar. ViaLiverpool, from theRhineland transportation to Van Diemen’s anative of Land.Chugg, Devon, wassentenced tolife for There was nopick-pocketed handkerchief, poachedpheasant orstolen sheepbehind his ship Caledoniabrought my mother’s great grandfather, convict Richard in1820. Chugg somehow taken theyoung woman Woretemoeteryener asoneofhis In oneofthesewhaleboats was George Barely Briggs. twenty years had ofage, Briggs of thisregion. Amidst themurderous raids, daughter’s name was Woretemoeteryener. Heandhisbrother were chiefs, orBungana The manstanding ontheshore watching thewhaleboat heave to was Manalargena. His many Outer Islandstheirexpertise inthehunting ofseals couldbe exploited. removed at least seventy Tasmanian Aboriginalwomen to theFurneauxislands.On or through amore amicable arrangement ofallegiancewithherfather, andhislike Briggs wives’. (kidnappingoflocal Indigenous peoplefor Eitherby ‘blackbirding’ labourorsale), just afew decades theBungana It was onthishorizon offractured hopethat anew generation ofAborigines was born.In extending their future into aworld socruelandoutside oftheircontrol. killed. Most bore children to theirmasters; too often resorting to infanticide, rather than remote frontier ofglobaltrade. A few marriedtheir captors, butmany were tortured or women’s clansfolk, became broken andredundant. The with othersealers. Theoriginallabouragreements, withtheirpromise ofareturn for the the meantime, many sealers converted women intheirservice to chattels, trading them aware of theeffect of theirmuskets—and actively sought them fortheir ownpurposes.In party’s like seemedto Briggs’ have apreference for peaceful transactions, thechiefs were seal-catching. Buttheterms oftrade were hardly free. Thesealers were armedand,while were accepted inexchange for seal,kangaroo andswan meat, ortheloanofwomen for trade withthenew arrivals. Dogs,tobacco, flourandsugar were valued by thechiefs, and boots were almost wiped outtoo. Globaltrade madeshortwork ofallitencountered. in Chinafor tea, porcelain, or shippedto Europe for useasmaterial for coats, hats and and Tyrelore Bungana were gone. Theseals, whosefurwas traded 2

like Manalargena hadcommenced tyrelore were marooned ona tyrelore , or‘island , John Webber, Anativeof Van Diemen’s Land Allport Library andMuseumofFineArts,State Library ofTasmania. , New Holland,1777,drawing,

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272 Greg Lehman: Lehman: Greg | Essays The Other Side Other The inspire andinfluence adaptation andchange. Butin Tasmaniathemoment waslost. into contact, diverse technological approaches to thetask oftraversing waterways would across thegulfof millennia.Elsewhere across theglobe,wherever seafaring nations came was displayed by theyoung mancould have marked thebeginningofacreative exchange This was amoment ofgreat potential. The fascination withthesmall French boat that maker afew hours before. Hewrote inhisjournal, bark, tied together with hehadprobablystring. Without realising, already met a canoe- Tasmanian maritime technology. Francois Péron describeda canoe madeofthree rolls of first morningoftheFrench expedition’s arrival, his zoologist stumbledupon examples of Captain NicholasBaudin,arrivingin1802,hadalsoread Dampier’s description. Butonthe sketch. portrait ofonethesemen.There isnothingmiserable orbrutish to beseeninhis for hisships. Theship’s artist, John Webber, recorded thesceneandmadefirst known he met at Adventure Bay withmedalsandpigs,was assisted by themto cuttimber Five years later, JamesCookarrived onthesameshores. Hepresented theNeunonemen breached. years sincetherisingseasat theendoflast IceAge. Now, theirislandrefuge hadbeen Tasmanian Aborigineshadbeenisolated from therest oftheworld for ten thousand allow himto landagain. Determined to take onwater andtimber, hefired onthem. for theoccasion. Assoonashedid,was attacked.Pydairrerme The then refused to met them ontheshore, to accept aflaming torch andset fire toapileof woodassembled Fresne who, onarrival inVan Diemen’s Landin1772,was invited by thePydairrerme who navigator to visitAustralia over thenext two centuries. Amongst themwas MarionDu condemnation was widely read, influencing the prejudices ofalmost Europeanevery the World… setting asidetheirHumaneShape,they differ butlittle from Brutes.’ This the World Dampier greeted thisaffable gesture ofridicule by writinginhis at hisunsuccessful attempt to gain theirlabourin barrelscarrying of water to hisboats. he wrote that thenatives stood around ‘like statues’ and ‘grinn’d like somany monkeys’ When WilliamDampierbecame thefirst Englishman to arrive ontheAustralian continent, Violence ismanre-creatinghimself. generations—haunting our dreams andlurkingjust beyond bluehorizon.every Not just lives andculture, buttimeitself was ruptured withatrauma that haslasted for forgotten inthecitiesofAsiaandEurope that grew richontheplunderofour world. Generations ofchildren like me were left, like flotsam,on distant shores that were soon signs ofinterest andreflection …hemade several attempts topushoffthechaloupe,butsmall with, oreven noticingtheseamenwhowereinher, heseemedquite absorbed inhisnew subject. work. Hisphysiognomy hadnothingfierce oraustere, his eyes werelivelyand expressive, andhis characteristic of hisnation,andwhichweshall take occasion tospeakinthe conclusionofour masts, in silence, thesails,heobserved andwithgreatattention, andwiththemost unequivocal and after examining ussomeminutes, hejumpedinto theboat:there,withouttroublinghimself Moreover, ourchaloupe(ships boat) seemedto attracthisattention stillmorethanourpersons, The thicknessoftheribs andplanks, the strength oftheconstruction, therudder, theoars, hawser whichfastened it,madehisefforts ofnoavail,hewastherefore obliged to giveupthe attempt and to return to us,after givingusthemost strikingdemonstrations of attention and ‘He wasayoungmanoffromtwenty-two to twenty-four yearsofage,astrong general appearance, havingnootherdefect thantheloosenessofjoints ofhisarmsandlegs, (1697) that, ‘theInhabitants ofthisCountry are themiserablest People in manner displayedatonce bothpleasureandsurprize. reflection.’ 3 4 New Voyage Around 4 3 2 1 2018 Greg Lehman he willmake, andwhere hewillgo. of theribs andplanks, thestrength ofthemast, thespread ofthesails.Iwillaskhimwhat gaze into hislively eyes andinquire ofhissurprise.Iwillaskhimwhat heseesinthickness I must, instead, speakwithayoung manwho, like meisneitherfierce noraustere. Iwill child-self still stares anxiously out to seafrom amongst the rock poolsof my birthplace. I have questions that my tyrelore,convict andimmigrant ancestors cannot answer. My affirm theirwisdom. connections to ourCountry andourpast. Mylingering dreams ofhungry, rising waves warn usthat suchmaterial wealth can donogood—only draw usfurtheraway from our exotic treasures, distract from thepainofourhistory, butthey donotheal.OurElders shores. Theships arrivingat ourportstoday, ladenwithcars, televisions, andother the horizon. Itwas brought to my ancestral islandhomeacross seasfrom more distant of ancestral lives. Each onehassomething incommon. Thesource offracture lay beyond irrepressible driven murmurofwarning, deepinto my genes through multipletraumas much more thananaïve fear oftheunknown. Itistheimprint ofadeeperpast. Afaint, side’, Istill feel thesame familiar acheinthepitof my stomach. ButIknow now that itis who pondered withexcitement andfear what theworld might belike ‘over theother As Istand onthat sameBassStrait shore today, halfacentury distant from thechild Tasmania beingreduced from apopulation of over 5000 to fewer than500. set for anescalating conflict that, withina generation, had resulted inthe First Nationsof opened fire onanAboriginalhunting partyofmen, womenand children. Thescene was beachhead at RisdonCove by September ofthefollowing year. Withinmonths, they had of theFrench visit,hastened to sendacolonial expedition andhadset upamilitary return orto establish amore permanent presence. TheBritishhowever, uponhearing was onefocussed onscientific discovery, andthe French madenoimmediate plans to construction—even collaborated withtheFrench sailors onthe task. TheBaudin voyage French boat-building; how hemight have experimented withthesenew ideasonhisnext I can’t helpbutwonder what that young man might have absorbed ofwhat hesaw of p. 174. (Launceston: Tasmanian Historical Research Association, 1966).p.111. François Péron, Voyage ofDiscovery to theSouthernHemisphere(London:Richard Phillips, 1809). Frantz Fanon, Brian Plomley (ed.),Friendly Mission:TheTasmanian JournalsandPapers, 1829-1834 Alex Miller, ‘Truth inFictionandHistory’, (Melbourne:Victorian Writer’s Centre, 2006). The Wretched oftheEarth (London:Penguin, 1965).

Essays | Greg Lehman: The Other Side 273 274 known to race alongthedune-grasses, in2002 fringe ofwaste plastics. Fire, never previously onto thesandsand instead Icleanaway atideline middens. Storms nolonger heapseaweed kelp to expose pre-colonial Indigenous peoples’ sandhill coast ofthefamily farm hasbeeneroded humans. Over the years sincechildhood,the under unkindmanagement by thoughtless behaving differently, and at timesdangerously, animals, earth,water, airandfire—are all observe that theother parts ofnature—plants, However, onmy secludedshore Ican’t help philosophy ofhumankindnessandforgiving. Of course one doesn’tabandontheChristian confidently ‘pagan’. of beachandocean.Here Ihave become more on rocky dolerite headlandsthat frame aview out from sheoakgroves ofAllocasuarina littoralis and pre-settler-minded. Myparticularsite gazes the size ofSicily, it’s avery island-mindedplace, Britain two centuries ago andmore thantwice near my birthplaceinTasmania. Colonisedby I amnow retired andlivingwith rocks andtrees and spread theChristian religion. Roman empire hadconquered theWestern world, island colonised by Greece longbefore theancient from Sicily, aMediterranean ( familiar withwhat came first. Especiallyaman Only anItalian, Ithought, would beimmediately trees”. beat: “Oh, they’re theoneswhoworship rocks and “I’m apagan”. TheItalian–Australian didn’tmissa quite serious, to adelicate about religion: enquiry Adelaide Isurprisedmyself witharesponse, not In barbershops, intimacies grow. Oneday inNorth RIVIERA MY TASMANIAN SPIRIT OFPLACE: Centre ofEarth ) Salvador Dalí’s, emphasised thecreativity of Art history teaches that Surrealism, notably dancing orrolling. mostly meditating, butsometimes standing, became rocks lookingoutat fellow rock-creatures, floor, doingwhatever we wished,humansthereby time insidethebigbags. On a raised polished from outside,andtheninstructed usto spend cloth fineenough to seeoutfrom butnotinto to bearock. Sheissuedbody-sized ‘Eye Bags’of by Yoko Ono, inwhichIsensedhow itmight feel entered aparticipatory sculpture, or‘happening’, thirty years earlierinNew York’s East Village Ihad rocks at HamelinPool alsoreminded methat most successful animals.Theencounter withliving quarter ofa million years were amongtheworld’s trilobites. They were crab-like creatures that for a pondered deep timeandthe total of extinction upstream onPort Sorell to fossil cliffs where we adults onaFieldNaturalists Society excursion child at my ancestral place,Ihadembarked with There Iremembered that eighty years ago, asmall cyanobacteria that looklike water’s-edge rocks. our first ancestral life-forms. Stromatolites are world’s largest remaining group ofsurvivors from evolved 3.5billionyears ago. They constitute the once visited ‘living-fossil’ stromatolites that had At HamelinPool, SharkBay, Western Australia, I important geographical feature. determines cultures. Andcoastlines are ourmost global,actlocal”.“Think Geography rules;it informed by knowledge ofvery smallplaces: Micro-regional management oftheearthisbest, built house. threatened to climbagullyandattack my newly

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276 Daniel Thomas: Thomas: Daniel | Essays Spirit of Place: My Tasmanian Riviera Tasmanian My Place: of Spirit John Glover, Swilker Oak Plains, Deddington, Tasmania. CollectionClarendon House,National Trust ofAustralia, Tasmania, nearEvandale Tasmania. After pen&inkand wash drawing, Needwood John Glover, TheBathofDiana,Van Diemen’s Land Collection National ofAustralia, Gallery Canberra. , 1840,oiloncanvas 76x114.5cm,painted at Patterdale, Mills Forest, Staffordshire, mid-1790s. , 1837,oiloncanvas 76 x114cm. Bartholomew Thomas hadstarted asheepwalk in in 1831was where my great-great-great-uncle The NorthDown Beachthat Glover sailedpast Now let’s consider thechildhood placeitself. work hasfurtherreinforced my senseofplace. and to amodernartist, BeaMaddock,whose is “dolerite heaven”. We willreturn to Glover, in most oftheworld, butfor geologists Tasmania It’swhere hefinallysettled. anuncommon rock Hobart, where helived first, andLaunceston, near stately dolerite mountains above thecitiesof gone for more iconically Tasmanian rocks, the of Sheffield. Glover inthe1830s had promptly conglomerate rock risingabove thesmall town portrait ofMount Roland, atoo-picturesque Tasmanian coastal sheoaks andalsopainted a Australian artist, inhisfinal years took to A century later, Tom Roberts, anothergreat my own sandhills. foreground, protecting agrassy coastal plain,are my sheoakgroves nearPort Sorell, andinGlover’s clearly depictsMount Roland, whichisvisiblefrom present-day Burnie;intheinlandbackground he Round Hillpoint”. Round HillenclosesEmuBay at birthday, heinscribedasketch as“ and on17February 1831,aday before his64th sailing alongmy northernTasmanian Riviera his first sight ofhisnew home was from aship him to Hobart.Inasouthern-hemisphere summer, late inlife to joinfarmer sonswhohadpreceded A native oftheEnglishMidlands,Glover emigrated our spiritofplace. elemental edges butalsocultural pressures create than Dalíherecognised that notonlynature’s colonial artist, JohnGlover; acentury earlier of Tasmania includesAustralia’s greatest early- evolution onlittoral edges. Theparticular history John Glover, HobartTown, taken from theGardenwhereIlived Collection Dixson Galleries,State Library ofNSW, Sydney. Eastward of sheltered anunusualopencrater, thePunchbowl. elms—and an unusualhill,theSugarloaf, that black andred soils, mature trees—mostly English islets, dunesand wetlands, foreground farmland, comprised seaand distant rocky headlands and the suddenrevelation ofa visitors arrivingat NorthDown exclaimed about micro-characteristics, that created wonder. All and excursions, itwas thechildhoodplace,its However, more than associated stories andpeople Devonport, thefar endoftheNorthDown plain. Aboriginal rock engravings ontheMersey Bluff at and Iremember my father solemnlyshowing us inevitably gain intimate knowledge oftheirland, example: Shakespeare’s AsYou Like It.)Farmers trees. Orlando stage, where love messages frequently appearon messages hungontrees hadcome from the Royal, Iwondered iftheBlack War ideaofpeace- a seasonofHobartBaroque inthe1830sTheatre years later, attending Handel’s opera Orlando Tasmanians to live peaceablytogether. (Eighty trees withapicture-story askingblackandwhite were alsoaware ofthepainted boards hungon populations caught onlytwosmallboys. We swept across thesettled areas to net Indigenous the Aborigineswere clever skill. OfTasmania’s BlackWar, we knew chiefly that Namatjira at Hermannsburg anddulyadmired his where we met thefamous Aboriginalartist Albert twin brother spent awinter inCentral Australia the great ‘infantile paralysis’ epidemic,Ianda part oflife inthepast. Aged seven, to escape Bartholomew’s death butthought ofit as anatural In my 1930s childhood Iknew ofUncle Tasmania’s so-called BlackWar. his overseer, by Aborigines—the last deaths in 1828, andafter three years was killed,alongwith , 1832,oiloncanvas 74x150cm. brought to mindthebest-known : theBlackLinethat beautiful view. It in

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278 Daniel Thomas: Thomas: Daniel | Essays Spirit of Place: My Tasmanian Riviera Tasmanian My Place: of Spirit edge ofthegarden, already ahundred years old birth. Most wondrous was “ pair ofNorfolk Islandpinesplanted for ourfather’s taught to recognise sycamore and ashtrees, anda into thePunchbowl. Closeto thehomestead Iwas were huge pre-settler eucalypts lookingdown were gathered in hedgerows andclumps. There Most ofmy childhoodtrees, themature elms, was thenextreme solitude. of theplaceasreason enoughfor living inwhat Real Landscape. Bartholomew wrote ofthebeauty Studying Pictures,for thepurposeofimproving Sublime andtheBeautifuland,OnTheUseof Essays OnthePicturesque,ascompared withthe Price’s 1790shandbooks for landedgentry, his Thomas family hadbrought withthemUvedale to explore. Years later Ilearnedthat theimmigrant tree, mulberry weresurviving still there for achild fifty years butitssoft-brick ruins,anda bravely first NorthDown House was abandoned after elevated site where Iwas born. Bartholomew’s than that from hisnephew SamThomas’s more and withaview asbeautifulthoughless sweeping of ahousesite, closeabove acapacious spring, slope. Itexplained UncleBartholomew’s choice horizontal paths for grazing onthesteep Sugarloaf why sheephadcreated thestrange rib-like prevailing north-westerlies raged. That explained Punchbowl was apleasant mystery when The calm warmth insidethenortheast-facing of self-centredness. and botany were enoughto liftachild’s mindout conviviality andlight-headedness, butthegeology world, andrealised thewords signifiedhuman hills and‘Punchbowl’craters throughout the Later Irealised there were many ‘Sugarloaf’ John Glover, Mount Wellington andHobartTown fromKangaroo Point , 1834,oiloncanvas 76x152cm. Collection Tasmanian Museum&ArtGallery, Hobart,andNational ofAustralia, Gallery Canberra. The oaktree ”, at the troubles and unhappinessare caused by self- trees, illustrates Rousseau’s idea that humankind’s sophisticated gentleman absorbed into earthand holding abookby Rousseau. Thepicture, ofa loosened Londondress inawoodland glade, himself reclining full-length infashionable but Derby thebizarre two-metre-wide portrait of in 1781commissioned from Joseph Wright of Rousseau’s Confessions fifteen months in Staffordshire, hepublished Jacques Rousseau duringtheFrench philosopher’s Sir Brooke Boothby. Boothby befriended Jean- scientist-activist andErasmus Darwin farmerpoet scientific andliterary life, centred around Lichfield was ahotbedofeighteenth-century Down. which in2018still grows inthe garden at North airborne onthelow-slung armsofagreat oak, regional memories,just asIremember reclining Glover found spiritualsustenance inhismicro- generosity andeaseofoaks. or splash.Sothenameemphasisedoutgoing worked asanartist, andthe word means to spill Needwood Forest andLichfield, where Glover first in theBlackCountry dialectofStaffordshire near final home.)Google tells that occurs“swilker” only house, Clarendon Homestead, closeto Glover’s now hangsin Tasmania’s most beautifulhistoric 1840 heproduced alarge canvas. (Thepainting then celebrated asover 600years old,andin Oak, NeedwoodForest; itwas aparticulartree returned to amid-1790ssketch captioned Towards theendofhislife inTasmania, Glover that welcomed thepresence ofsmallchildren. and withstrange low, long, horizontal branches inLichfield in1780,and Swilker most spiritualoftrees, Ionce learned,for the centred uponan extremely graceful sheoak—the and HobartTown fromKangaroo Point, 1834,is of hislargest colonial canvases, sheoaks. Andthemost philosophically ambitious in hissketchbooks hewas equallyinlove with ofnativesnearMills Plains, A Corrobery neglect eucalypts, which feature inhissmalloil As for Australian trees, althoughhedidnot animals, minerals andplants aswell ashumans. it. Hisartandlife demonstrate atactile love of Rousseauesque return to nature; henever left A farmer’s son,Glover didnotneedto make a woodlands butalsooftravellers andcrossways. Diana was incharge notonlyofhunting and Glover doubtless knew that thechaste goddess place. Itwas alsoonanAboriginaltrackway and on anintermittent stream across a plain, a good of hissons’properties; it was permanent water out from Hobartto afarm hehadbought nearone encountered andsketched by Glover whenriding Actæon. Thepoolanditsinteresting rocks were stag, asintheancient Roman myth ofDianaand for theimpropriety by metamorphosis into a surprised by ahuntsman; hewillbepunished their designated bathing pool,where they are named Tasmania) depictsAboriginalwomen in Van Diemen’s Land learning focuses uponrocks. Glover’s onlyAustralian canvas to display Classical removal from theworld ofnature. Launceston, September 1831,pen&ink,inkwash, pencil.sheet 18.5x23cm.Dixson Galleries,State Library ofNSW, Sydney. Sketchbook no.43 , 1837(thecolony was notyet , page 40.Top left Aborigines The BathofDiana, Mount Wellington 1832, Colammanea Indigenous artist JulieGough teases methat my ancestral connection to theBlack War. Tasmania’s artists andhistorians allknow about became “kunanyi policy, Hobart’s great dolerite rock officially please himthat in2013,under anew dual-naming at MillsPlainswhere hefinally settled. It would for BenLomond Glover noted “Tudema Tura, theNativename reconnaissance ofnorthernpastoral country, names ofplacesandpeople.In1831onhisfirst He took aninterest inthespecificity ofAboriginal continuing accommodation between the nations. for theFirst Tasmanians, andhishopefor a and-a-half canvases hedeclares hisdeeprespect to settle ontheirland,butinthispairofmetre- War hadconcluded at thetimeofGlover’s arrival voyagers meet. Theunpleasantly unsettled Black the harbourto aseaportcitywhere worldwide populated Aboriginal cultural happinessfor theislandcolony. Thehighly constitutes anoptimistic propositionoffuture bi- taken fromtheGardenwhereIlived same-size reciprocal view, titledHobartTown, Kangaroo Point was preceded by acompanion Mount Wellington andHobartTown from dancing joyously. Glover accompanied thetrees withAborigines the Palawa ofTasmania. Inboththesepaintings, Kaurna peopleofAdelaideandmaybe, too, for , Maccame, andWarwee ”, themountain above thefarm Mount Wellington”. andothers at coronial hearing, Kangaroo Point gazes across . Thepair

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280 Daniel Thomas: Thomas: Daniel | Essays Spirit of Place: My Tasmanian Riviera Tasmanian My Place: of Spirit land away. somehow makingapersonal apologyfor taking fact ofinter-racial stress. Itenablesathought of snatched rifle,and tea-tree spears, enrichesthe two white settlers, withblows from a waddy, a names ofthethree blacknatives whokilled spirit-of-place. Knowing thefaces andmelodious The colonial ideaof‘Conciliation’ ispartof my stone today. North Down House;hisgrandchildren care for the Down church oncestood, closeto theoriginal re-erected itinacemetery where thefirst North transported thegravestone from Launceston and and converted into asportsground, my father the 1950s,whencemetery was closeddown ISLAND /together withafaithfull Attempt to Conciliate /TheblackNativesofthis B. THOMAS political inscription fortheir gravestone: “BART. Street cemetery inLaunceston, andcomposed a of hisbrother andtheoverseer intheCypress grandfather JocelynThomasarranged theburial equivalent to adeath sentence. Mygreat-great- islands. Alongwithmany others, itwas anexile the three menwere shippedto theBassStrait The Attorney General declined to prosecute, known by thenameofBigRiverbelong, tribe”. residue ofthetribeAboriginesto whichthey coroner’s finding was murder “assisted by the brought infrom Port Sorell butnotaccused.The probably theremaining members ofthetribe Beach. Theotherthree, achildandtwo men,are near Port Sorell ontheway to NorthDown and Timbruna,whohadhelpedfindthebodies Nonganeepitta, thechief witness at theinquest, that thetwo women unnamedby Glover are Art historian Eagle Mary furtherproposed Colammanea, Maccame, Warwee held for themurder—and provided theirnames: eight Aboriginalportraits includingthethree men his overseer JamesParker, andthere sketched intoenquiry thedeath ofCaptain Thomasand in September 1831,hadobserved thecoronial that Glover hadhappenedto beinLaunceston Picturesque andstartled mewiththeinformation exhibition andbook historian David Hansenwas preparing hissplendid her peopleoncekilledoneofmine.In2003,art HIS MAGESTY’S SERVICE / / ARMIGERI[soldier] John Glover andtheColonial Wholost hislife inan / FRIEND . Late a Cap …”. In tn in / / course ofhalfacentury. collection ofseventy-three essays by Thomas over the Art, 2020,FinkandMiller(eds.)Thames &Hudsonisa Adelaide. Thepublication Recent Past: Writing Australian to 1990was director ofSouthAustralia, oftheArtGallery the National ofAustralia, Gallery Canberra, andfrom 1984 art. In1978hebecame founding headofAustralian artat eventually became chief curator andheadofAustralian at ofNew theArtGallery SouthWales, Sydney, where he Australia, was in1958thefirst-ever curatorial appointment Daniel ThomasAM,EmeritusDirector ofSouth ArtGallery 2018 Daniel Thomas accepted. some mirth.Today Ithinkitisatruthuniversally The statement was provocative, and generated as theGreeks re-conquered theancient Romans”. are re-conquering themindsoftheirinvaders, just Aboriginalpeople Australian Museum, that “The the approval ofspecialist curators from theSouth Bicentennial Authorityexhibition, Iwrote, with of art1788–1988 Thirty years ago, for CreatingAustralia: 200years could become “lutruwita Tasmania”. “kunanyi in 2000became of Port Sorell, theAsbestos Range National Park Place namesare powerful. Ontheopposite shore of significant interior places. great cloudsofAboriginal names,incurlingscript, bestowed placenamesat theedge ofthesea,are sky, floating highabove the obscure settler- wedgetail eaglesstill soar. Inthe the Port Sorell tribe’s word for “highwind”; that Igaze at from thehouseInamed below Eagles Lookout . Thelast isaheadlandrock Water Rat, Northdown Beach,HandsomeSugarloaf inconspicuous typeset lettering, thesettler names Sheet no.30from TERRASPIRITUSincludes,in presence. mostly placenames,aretrieval ofAboriginal late landscapes are filledwithAboriginal words, of theentire coastline of Tasmania. AllMaddock’s in Launceston, anddepicts,in52sheets, profiles earth, minedfrom theartist’s personal ochre pit pale, 1995–97,emphasisesthemateriality ofred titled around theisland.Herportfolio of stencil prints, Aboriginal trackway alongmy coast andelsewhere small tools that remain scattered ontheonetime panel paintings conceal secret stone objects, small ships circling anunknown land.Hermultiple- strange panoramic landscapes, asifseenfrom Australian artist, became inlater life amaker of Bea Maddock,Tasmania’s great twentieth-century TERRA SPIRITUS—withadarker shadeof Mount Wellington”. Thewholeisland whichisarodent-shaped rocky islet Narawntapu. We already have , thecatalogue ofanAustralian TERRA SPIRITUS Loeyunnila , andThe ,

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283 284 PROJECT PARTNERSHIPPING PARTNERSHIPPING European explorers. from Polynesia around four hundred years before the Maorisjust happenedto arrive inNew Zealand to question claimsofindigeneity by peopleslike countries. Butalbeitinhushed tones, itistenable and now recent dispossessionoftheirlandsand this question, given theirancient possession, dare to affront Australian Indigenous peoplewith Notmanyindigenous?” peoplewould doubt or to beinaparticularplacebefore you get called of stand-up comedy: “How longdoyou have and thecouching ofthequestion hasthering It isadelicate subject,butrelevant nonetheless, ABOUT THOUGHTS largest countries withproportionately theleast proportionate to population, as one ofthe As themost urbanised country onearth mild pejorative ofprovincialism andisolation. meaning (aregion isany placewhatever) isthe is “regionality”. Weighing against thegeneric Another loadedterm for Australia inparticular identity andhome. the changeable bitstill omnipresent concepts of ways inwhichtheseflows constitute andshape transactions that are coaxed or coerced, andthe and exchange between cultures, theflows of Pat Hoffie, attest tothemanifold states ofmobility the titleThePartnershipping Project their own right. Theseries ofexhibitions under are enoughto constitute smallnation states in people existing inapermanently transitory state now alegitimate world, whilethenumbers of and exigent, thanever before. “Refugeeism” is of peopleare more plentiful, ifnotmore visible threat. Yet we are livinginanage whentheflows justification which ariseswhenpeoples areunder its justification and contestation lieintheneed for explosive notion for the reason that the grounds of is arelative term, it continues tobeapotentially 1 Thenagain, ifindigeneity , curated by THE THE in four regional galleries are thenmediated the principle of eight boats that intheirsiting conceptual receptacle, organised according to better thought ofasacipher, a material and The Project elisions that are conveniently maintained. equalisation masks anumberofblind-spotsand still have more rights thanothers. Therhetoric of we are all“global citizens”, butthenagain, some becomes allthemore noticeable. We are told that out ofconformity, what cannot beassimilated, of overlap withtherest oftheworld, what is way, now that remote communities have asense stratosphere, can besopronounced. Putanother universalising butstill wildlydispersed information causes andsocialisolation, andwhat occurs inthe difference between what transpires from natural less “named”. Itisalsoinsuchplacesthat the because they are lessperceptible, lessvisited, be seenasprivileged locifor observation, notleast places—the more intermediate zones—can now in more populated places.Andperhaps these both theirown status andofthosewhooperate once deprived ofitawhollynew perspective on has afforded thoselivinginplacesthat were The new, indiscriminate status ofinformation works (anotherdelicate subjectfor Australians). urban, provided that theinternet connection to nodiscrimination between regional and Amazon andGoogle—ensure that there isnext from news andfake news to theNetflix, Facebook, participate init.Theamenabilityofinformation— andinparticularthosewhochose to “regionality” of “globalisation” have changed theperception of flows ofinformation that compriseourunderstand unassailable andlast ofall,undesirable. Butthe other implications ofwhat is forbidding, remote, amount ofarable can carry land,“regionality” was notstrictly atouring show, but

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286 Adam Geczy: Geczy: Adam | Responses Critical Thoughts About the Partnershipping Project Partnershipping the About Thoughts addition), it will live on asa web presence, adding as taking place into perpetuity, accreting witheach lives onasapregnant hypothesis (the exhibition equinox intherevolutions of theplanet. Whileit ad infinitum, asifthe gallery were a symbolic but rather to suggest thenext set ofexhibitions Art Gallery. This isnotsomuchto closethecircle place where itwas launched,inBurnie Regional the finalpartof exhibition willbeheldinthe particular character andidentity. Importantly, assure that placeandcommunity maintain its a form ofosmoticsocial resistance that seeks to with what isspecific to thelocal placeinquestion, forces, buttranslating these force to integrate the way inwhichregions may respond to outside change andperpetuity inbalance,this case space andtime.Philosophically the project places in transit, andto theperegrinations ofobjectsin coffee. TheProject packaging, to itseventual dissolutioninacupof far, from thesugar cane to itsrefinement and as suchorbutonepoint initsevolution thus can eitherconceive ofablockprocessed sugar kind oflateral thinkingwhenhesaidthat one the philosopherBergson whoproposed asimilar then anaxe andthenfirewood andash.It was a pieceofwood might beastaff thenaspear the previous incarnation to thenext, muchas run itscourse, eachboat of bringsthememory the local world outside.After one venue has imbricating theinner walls ofthe with gallery some involvement withthelocal communities, invent. Theartists inthe exhibition all have according to theimpulseto intervene andto iterations, orbetter, dimensions, are connected the inexorability oftime,where thedifferent place. The“exhibition”, then,bears witness to different modesofactionand reactionineach of asoneexhibition, connected according to the Seen thisway, theexhibitions are better thought passive subject”. informs anaction, rather thanonethat actsasa being orhaving orhelpingword’—a word that rather thananoun.That is,it’s akindof‘doing, project like to thinkoftheword asaverb, ‘art’ act. Sheadvisesthat “thoseofusinvolved inthe on mobilityalsoextends to artasacontinuous states inherexhibition statement, theemphasis with theirimminent disappearance. AsHoffie atolls intheSouthPacific are brought face to face box soare isrising, thecoastlines, suchthat many While thenumberofmessages inyour emailin- to seasonalfloods,risingtidesandsea levels. changeable nature ofthelandscape itself, subject different cultures andsocialgroups. Andthird the a vehicle for communicative mobilitybetween virtual level. Second, theway artcan beusedas cultural exchanges that alsonow occurona centuries andmillennia,nowseenagainst the First, themigratory patterns ofpeople over mobility, understood onanumberoflevels. the connecting element, theemphasis was on upon by anew set ofartists. Withtheboats as 2 speaks to objectsand being any lessauthentic. being invented, that doesnotmake suchidentities the flows oftime,placeandlanguage. Despite us theextent to whichidentity isinvented across one another. Thepresent moment brings home to but alsosubjective anchors that bindpeople to forcefully floating identifiers, avatars of identity, memory, oncepresumed rooted inplaceare now place. Language, aswithfamily, association, and the case that societies are deployed from place to but asaresult ofexternal impositions.Itisalso and lives inEngland) willbefar lessofachoice waswho identifiesLebanon, in born as Palestinian, multiple identity (take theartist Mona Hatoum only accelerate. Thecurrent state ofdual, oreven condition isongoing andpromises not to abate, because ofnatural orhuman-madefactors, the unprecedented peopleshave beendisplaced price ofoverpopulation andclimate change. While entertainment come at theasyet notfullyfelt availability for communication, information and age ofglobalisation, where the cost for the nothing new, hasrenewed resonance inthe exile, therefugee, thedisplacedperson, while The condition oftheenforced or voluntary freely. identificatory traits—what makes themassuch— in exile that they can manage to express their or Iranian, inforeign countries. Itisindeedonly artists) identify asa national suchas Palestinian especially considering that many people(and exoticism anddifference as “Transorientalism”, of “Orientalism” was can more broadly thinkof internal that precipitated thesechanges. Instead process, andthekindsofpressures, external and and translated others, theselectiveness ofthe ways inwhichdifferent countries absorbed is “exchange”, where thefocus ismore onthe terms usedundertherethinking ofOrientalism give themaparticular national edge. Oneofthe trade, whilealsoharnessingsignifiers that could themselves attractive to foreign tourists and means ofopeningglobalmarkets andmaking engaged intheirown self-Orientalising asa countries asdistinct asJapanand Turkey actively oppressor-oppressed. Many so-called Orientalist so one-sided,norwas itsoneatly characterised as relationship between Occident andOrient was not revisionist tack hasbeento emphasisethat the as well asresidual Western guilt.Onesuch contributed inlarge partto cultural revisionism, Orientalism political decision-making.Sinceitspublication, simplifications, ranging from linguistic usage to West through thepropagation of stereotypes and a specialisedform ofcultural repression by the Edward Saidtheorisedtheterm Orientalism as The late cultural literary and cultural theorist presences that pushagainst themolar. to themultiplyingpresences of “small”, molecular 3 hassparked heated debate and themes already discussed,theseincluded: the catalogue to theexhibition, inaddition tothe exhibition more salient still. AsHoffie wrote in to surmount themmadethesalient issuesofthe venue. Recent upheavals andtheefforts made in atemporary spacenotfar from themain future ofthespace.Theexhibition finallyopened off-site and were anxiously uncertain as to the floods, the staff ofthe gallery were made to work but ruinedthevenue, Umbrella Studio.After the Townsville after thedevastating floods that all edition, As ifinsomekindofreckoning, initssecond three venues. Butithaslong beencommented back inSydney, TheNational were to beexpressed inart.At thesametime. important issueto thefore, whichwas how these Partnershipping Project In addition to allofthese concerns, The overpopulation andclimate change”. come attheasyet notfullyfelt priceof communication, information andentertainment forglobalisation, wherethecost theavailability for new, hasrenewed resonanceintheageof whilenothing the refugee,displacedperson, exile, condition oftheenforced“The orvoluntary listen to Indigenousideasregardinglandmanagement; migrant communities aremaking to the country; issues about thewaysinwhichtraditionalknowledges might dealing withminingandland-clearing;aboutgender country might bebrought to bearonfutureplanning concerns abouttheenvironment; abouttheneedto reconsiderations aboutthewayalongerhistorical be ableto addresscritical environmental futures; for thecountry’s aridnorth;issuesthatcentre on and education andthenecessity of consultation, awareness ofthegeography andgeologyofthis immigration andrefugees,the contribution The Partnershipping Project communication and collaboration. brought another was on exhibit in arrived in 3 2 1 2019 Adam Geczy poignant. number ofviewers remains stronger andmore and unlike thebigshow, infewer theirmemory Big Show, they are lessseenand lessknown, less prepossessing ofarrangements. Unlike the of artandexhibition liesinthe more fragile, not theonlyonewhobelieves that thefuture transforms cultural criticisminto vaudeville. Iam promises to beanotherentertainment event that commentary. TheBiennalewhichcomes next the “real” events andasmeansofauthentic become increasingly toothless intheface of agendas andtheirmarketing apparatus, have that suchlarge exhibitions, withtheircuratorial Bloomsbury, 2019. Film: Inventions ofIdentity, LondonandNew York: Christian missionariesintheearlynineteenth century. trade, New Zealand began to be settled inearnest by ventured to New Zealand in1642.After decades of at between 1250 and1300,whileAbelTasman accessed 6June,2019. ed0bcc_1523d1b00ce8443091c270672a878ed0.pdf; https://docs.wixstatic.com/ugd/ See my Transorientalism inArt,Fashion and The arrival oftheMaorisfrom Polynesia isestimated

Critical Responses | Adam Geczy: Thoughts About the Partnershipping Project 287 288 Van Dieman’s Land in1777.Thedrawing depicts Webber, theartist whotravelled withCook to This research was focused onasketch by John invitation seemed to fit. research Ihadbeen engaged infor sometime.The make aswell aswrite—retuned meto alineof point inthediscussion—the invitation to actually during theconversation with thecurator a key my plate to keep mebusy andengaged. Andyet, was oneofreluctance. Ialready hadenoughon The Partnershipping Project Two years ago, whenIwas invited to bepartof world culture. aspects of Aboriginal culture and itsrelationship to as atrail ofmystery and intrigue into thevisual steadily into arthistory. Thisresearch hasunfolded or aniterative process, andthisiswhat led me at thisprocess deeplyandslowly. Itisacumulative we are presented withby thearchive. to Itry look past, butalsothrough acareful decoding ofwhat of history through notonlyinformation ofthe proceed isby progressively learningthelanguage Aboriginal artandculture. Central to theway I into aspectsofmy own relationship with driven inpartby my ongoing personal exploration Heritage. Itremains aconsuming fascination, Aboriginal CommunityDevelopment, Artsand in arange ofpositionsand roles that related to lived inTasmania allofmy life, I’ve beeninvolved Greg Lehman:Asahistorian andwriter whohas ThePartnershippingto ? Project invited to participate, what was itthat drew you Pat Hoffie:Lookingback towhen you were first Pat Hoffie. Burnie Regional inaninterview ArtGallery with Partnershipping Project Greg Lehmanreflects onhisparticipation in WITHOUT REGRET) (NO PLEASURE MEMORE VOLUPTAS NULLA SINE onitsconclusion at the , my initial response The destinations. Even thoughthere isadigital record, number ofartists comes to anend at each ofthe Also challengingwas thefact that thework ofa sense ofourmadworld! from themercurial impulsesofartists to make the sameway that artcreates material presence commonly perceived aseconomically rational—in the inherent chaosofglobalisedtrade that is part oftheproject’s appealandsomehow capture The unpredictable elements ofthejourney were to unfold at eachofthefour exhibition locations. of art,whilenotreally knowing what was going boats asavehicle andalocation for themaking a complex challenge: the ideaofusingeight small appeared to berelatively simple,but was in reality to itsoriginalmission,whichat asurface level about theproject isthat it’s succeededinholding intention, was upheld.What I respect most the exhibition, as well astheproject’s original Greg Lehman:It’s clearthat thefinal form of years on? Regional Gallery. How doyou feel aboutittwo Pat Hoffie:Thefleet has now returned toBurnie synergies for me. The Partnershipping Project These are thepoints at whichtheobjectives of global trade. it alsopowerfully echoedsomeofmy ideasabout colonialism inthelandofmy Aboriginalancestors, diplomacy, represented thebeginningsofBritish was performed asakindofabstract, faux actof trade andcommodification. And whilethe event of theFirst Nations peopleof Tasmania inglobal simple image was thestart oftheinvolvement that oneofthemany thingssuggested by that people. Irealised through ourconversation Cook offering amedal to agroup ofAboriginal presented interesting

Critical Responses | Greg Lehman with Pat Hoffie: Nulla Sine Memore Voluptas (No Pleasure Without Regret) 289

290 (No Pleasure Without Regret) Without Pleasure (No Hoffie: Pat with Lehman Greg | Responses Critical Nulla Sine Memore Voluptas Voluptas Memore Sine Nulla people, bracketed off; exoticised or categorised and exhibition withinwhich we are, alsoas mercy ofamarket and aculture ofreception identified asIndigenous. Todosoputs us atthe It’s nowonder that many artists refuse to be intentions oftheartwork survive those processes! and we’re luckyiftheoriginalmotivations and re-translated, re-contextualised, andre-made, that globalswirl oftrade, itgets re-presented, tangible work ofart. Butwhenyou drop itinto of theworld—finding ways to express thisasa does—it’s aboutpursuing an idea,astory, aview is littledifferent tothe workthat any otherartist has notbeendonebefore. Ourcreative practice Partnershipping Project in globaltrade inaway that isillustrated by The First Nations peopleinAustralia are caught up re-engineered. has beenchanged. Itsvery meaninghasbeen translated by asuccessionofprocesses. Itsvalue as theoriginalproduct. It’s beentranslated andre- around aflat screen TV. It’s nolonger recognisable that thislater comes backto usasacardboard box woodchipped andexported. What escapes usis clearfelled; we understand that ourtrees are being An obvious example iswhenaTasmanian forest is Commodities are remade andtransformed. what happensinthebusinessofglobaltrade. of what happensthroughout theproject emulates of what comes next. Andinthat sensetheprocess way each of the previous works forms a palimpsest the text I’d appliedto theinsideofhull.Inthis a way that incorporated awhitewashed version of selected by GailMaboinTownsville, sheuseditin exhibition. Whenthehullof my own boat was versions oftheircompatriots from theprevious most oftheboats travel forward withghost globalised”. of theextent market hasbeen theart to which current COVID-19 crisis—bringaboutarealisation been broughtto agrindinghaltasresultofthe into themilieuoftrade—andthathavedrag art that their communities.Allthoseinfrastructures of functional the and lifecentral part of people and andthelocal—asa relationship withthepersonal into itsnaturalplace—intoslips back acloser art “During timesofcalamityorcatastrophe, —perhaps inaway that the local—as afunctionaland central partof the into acloserrelationship withthepersonal and catastrophe, artslips backinto itsnatural place— Greg Lehman:Duringtimes of calamity or Partnershipping? think theseevents impactonprojects suchas and, most recently, thepandemic.How doyou immensely disruptive, withnatural disasters Pat Hoffie:Thepast yearor two have been re-trace journeys across time. resonances andlayered stories asthey trace and art objects—move through history, accumulating object, orabouthow theseobjects—inparticular, might explore ideasaboutaparticularimage of offers ameans of following new pathways. These collaborations to occur. For me, collaboration creating space for new conversations and expose how globalisation exploits usall,while Partnershipping and commodification ofIndigenous culture. were putinplaceto legitimisethe exploitation people from everyone else—processes that processes that function to separate Indigenous Partnershipping and geopolitical settings. Inthe creative settingof occur across work by artists from different cultural of embracing thesynergies andcontrasts that means ofworking through it.It’s apractical way way ofavoiding otheringbutitdoesprovide a inherent partoftheproject, might notoffer a Greg Lehman:Theprocess ofcollaboration, an How well didthiswork in Aboriginal artists asbeing extremely important. collaboration between Aboriginalandnon- Pat Hoffie: You have often said that yousee categorisation. great strengths isthat itinhibitsthat kindof as something Other. Oneoftheproject’s reframes theseprocesses to thishelps to disrupt postcolonial Partnershipping? behind Giesz. Thepicture planeissprinkled with Pleasure WithoutRegret]—next to aset ofscales personal motto— reading ofthework, andinscribesthe merchant’s He incorporates contradictions into any simple As anartist, Holbeinisnotblind to thisdimension. community. It disregards place.Itis ruled by commerce, not and security. World trade today isequally amoral. simply energise theseglobalsystems ofpower loved that tree. Traded commodities are there to which itcame, or thepeoplewhohonoured and systems cares aboutthetree, ortheplacefrom trade that isimportant. Nooneintheseglobalised do notmatter. Itistheir value inthese systems of that are stripped from theplaceswe call home In thesameway, thenature ofthecommodities immaterial. not thegoods that hetrades. They become merchant. Butitisthe securitythat isimportant, the viewer that heisacompetent andsecure example, isaset ofkeys, placedthere to assure of thetime.Hangingon wall behindGiesz, for trade, indexing themoral andethical framework surrounded by theaccoutrements ofmercantile the wealthy andpowerful. Thesubjectispainted at atimewhenthis was the exclusive domainof The painting promoted personality andcelebrity complicit inglobaltrade andcommodification. an example ofhow anartist andhisartbecame One oftheways you can lookat that painting isas success (andhisattractiveness asasuitor). intended asameansofreflecting themerchant’s of themembers oftheLeague.Theportrait was (1497–1543) painted a portrait of Georg Giesz, one of theserelationships, Dutch artist HansHolbein their relationships withartists. Asa resultofone fascinated by theseearlymerchant cartels and art traditions at Oxford I too hadbecome into theideologiesemerging from Renaissance means offurtheringtrade. Duringearlierresearch formed inthetwelfth century asa collectivised the undertakings oftheHanseatic Leaguethat catalogue traced theoriginsofglobalisation to Greg Lehman:Theproject’s initialpremise inthe through your art-historical research. Project. You seemto share aninterest inthis in theoriginalcatalogue for ThePartnershipping Pat Hoffie:I wrote abouttheHanseatic League journeys inaplacewe can feel at home. this return. We can shake offthedust ofourglobal practice, andourperspectives canbe refreshed by step forward to pickupthegame. Ourart,our gallerists, artsorganisations and communities who like these,thecirculation ofart returns to local the artmarket hasbeenglobalised.Intimes bring aboutarealisation ofthe extent to which halt asaresult ofthecurrent Covid-19 crisis— trade—and that have beenbrought to agrinding infrastructures that drag artinto themilieuof life ofpeopleandtheircommunities. Allthose Nulla SineMemoreVoluptas [No these deeperprocesses ofbeing. too many projects that reach quite sofar into now to consider what’s transpired. There aren’t stories, reflections, documentation and analysis framework. We can lookbackonthoseimages, revealed rooms withinrooms aspartoftheoverall As ThePartnershipping Project realities ofhis own time. just asHolbeinwas bringinguscloserto the of theproject asartpullsusthat littlebitcloser, and they allbecome entangled inthecentral core things aboutbeingalive—about beinghuman— boundaries oftheunknown.Theseare thereal and ofthisbroader process ofcrossing into the as thecurator ofthisproject over thistime, immensely. AndIthinkofyour own experience aspect ofmemoriesplacethat matters aren’t lost; rather, they reinstate artanessential summon thecollective memoriesofthisproject These beautiful,fragile, transient works that quietly over time. of placeintheseimages—conceived slowly and Tasmanian shoreline. There’s sucharichsense records ofherquiet meditations onthenorthern Kelly’s installation oftiny, beautifully intimate Another work that was “left behind” was Joan version ofthisproject’s internal memento mori. work’s role into that ofanersatz contemporary behind, asthefleet moved forward, moved the and sadness.Andthefact that ithadto beleft artist ofsuchhuge standing, was oneofbeauty to Australia’s history andculture. Thiswork, by an reconsider thecontribution ofChineseimmigrants for example, reflected aneloquent appeal to Leong’s work for theinitial exhibition inBurnie, the works reflect sadnessanddeeptragedy. Greg everyday impactsofglobalisation. Somany of the painofpresent-day realities, through the artists, ThePartnershippping Project Greg Lehman:For many oftheparticipating experience oftheartists in Pat Hoffie:Do youthinkthishasalsobeenthe between commerce andhumanity. a pictorial tension between thesubjectandlife; of thesehumanemotionsasameansholding and love. Holbeinincludesthereference to each and wilting carnations theimpermanenceoflife memento mori—aglassvase suggesting fragility Partnershipping? hasunfolded, it’s reflects

Critical Responses | Greg Lehman with Pat Hoffie: Nulla Sine Memore Voluptas (No Pleasure Without Regret) 291

Curator: Pat Hoffie Pat Curator: Associate Curator: Rosemary Miller Curator: Associate Edited by Pat Hoffie Pat by Edited by the Minister for the Arts. for the Minister by ISBN: 978-0-947335-21-2 Printed by Liveworm Studio Liveworm by Printed All works of art © the artists All works Design by Vanghoua Anthony Vue Anthony Vanghoua Design by catalogue were provided by the artists. the by provided were catalogue Published in 2021 by Contemporary Art Tasmania Contemporary in 2021 by Published All texts © the authors, except where noted otherwise noted where except © the authors, All texts and by the Contemporary Art Tasmania Exhibition Development Fund. Exhibition Development Art Tasmania the Contemporary and by Except where specified, details of images used throughout the used throughout of images details specified, where Except www.thepartnershippingproject.net.au is a Burnie Regional Art Gallery exhibition toured by Contemporary Art Contemporary by toured Art Gallery exhibition Project is a Burnie Regional The Partnershipping Burnie Regional Art Gallery is supported by the Burnie City Council. This project has been assisted by the by has been assisted the Burnie City Council. This project by Art Gallery is supported Burnie Regional its principal arts funding body, by the Visual Arts and Craft Strategy and is assisted through Arts Tasmania Tasmania Arts through and is assisted Strategy the Visual Arts and Craft by its principal arts funding body, Australian Government’s Visions of Australia program, the Australia Council, its arts funding and advisory body Council, its arts funding and advisory the Australia program, Visions of Australia Government’s Australian Contemporary Art Tasmania is supported by the Australian Government through the Australia Council, the Australia through Government the Australian by is supported Art Tasmania Contemporary Tasmania. , all those involved were left left were , all those involved The Partnershipping Project The Partnershipping

for consideration in 2015, I argued for a curatorial premise to premise for a curatorial I argued in 2015, consideration for Pat Hoffie Pat December 2020 examine the cultural contradictions and synergies emerging when the emerging synergies and contradictions the cultural examine the up against come of localism processes ground-truthing deeper, slower, behemoth of globalisation. diversity-engulfing fast, vast, matter?—suggested still does place extent what question—to The central stay to still be able might to which artists extent about the other questions and the ‘elsewhere’ or regionalism of localism both the ‘here’ with in touch that At the time, I had no idea ways. productive of globalism in positive, this question to respond in the wings, poised to a global pandemic stood global centre-stage, onto burst COVID And when special way. in its own communities depend on local still which we to of the extent evidence as a emerged ad support-systems, and their jurisdictions, their initiatives many. surprise for larger. themes loom even close, these same massive the project’s at Now, of the broader underpin our understanding the themes that These are by the pandemic, but not only wrought to the damages issues contributing and fires floods and by caused disasters of natural the succession also from warming. of global creep slow and the continuing droughts in resilience community glue to the cohesive that know now And we the stories— were lockdown COVID of weeks the worst of the face overwhelming tales of unfolding; were things of how accounts collective that narratives unfolding care; by shared to responded responsibilities as individuals we make the choices about how ways in multiple spoke communal selves. of our the survival affect ultimately the end of the By I’m writing this in the final month of 2020; at the end of a year where year where at the end of a of 2020; final month writing this in the I’m the globe. Some across right all our lives, rocked changes’ ‘unprecedented The Partnershipping for the proposal forward when I put earlier, years five Project but the stories vanished, have may The work ways. in profound changed continue. and the connections POSTSCRIPT

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REGIONAL ARTISTSREGIONAL NON-INDIGENOUS AUSTRALIANS

#RADICAL REGIONALISM #RADICAL #COLLABORATION #COLLABORATION #CULTURAL DIVERSITY #CULTURAL #HISTORIES #HISTORIES #COMMUNITY #FIRST NATIONS/ #ENVIRONMENT

#AUSTRALIAN #AUSTRALIAN #PLACE MATTERS MATTERS #PLACE

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