COVER

VICTORIAN INDIGENOUS ART AWARDS 2005 Published by Arts through EXHIBITION DESIGNER AND HANGER the Deadly Arts Business program – Kimba Thompson a collaboration between Business ARTISTS’ STATEMENTS AND BIOGRAPHIES Network and Arts Victoria to further the supplied by the artists development and awareness of South East Australian Indigenous Art. EDITORIAL TEAM Elizabeth Liddle, Lowanna Norris, Lainie Kluska and The views expressed in this publication Shelly Gorr, Arts Victoria are based on information provided by third party authors. Arts Victoria does not VICTORIAN INDIGENOUS ART AWARDS necessarily endorse the views of a JUDGING PANEL Jason Eades, CEO Koorie particular author. All information Heritage Trust, Judith Ryan, Senior Curator contained in this publication is considered Indigenous Art, National Gallery of Victoria, correct at the time of printing. Vicki Couzens, Kirrae Wurrung artist and previous Deadly Art Award recipient, and Arts Victoria Aunty Dot Peters, a Yarra Yarra elder and Postal Address: traditional weaver Private Bag No. 1 South 3205 VICTORIAN INDIGENOUS ART AWARDS Victoria STEERING COMMITTEE Elizabeth Liddle, Lowanna Norris, Stuart Koop, Eleanor TELEPHONE 03 9954 5000 Whitworth and Debra Jefferies, Arts Victoria; FACSIMILE 03 9686 6186 David Clark, Aboriginal Affairs Victoria; and TTY 03 9682 4864 Simone Brotherton, Koori Business Network TOLL FREE 1800 134 894 (regional Victoria only) PHOTOGRAPHY Ponch Hawkes and David Marks EMAIL [email protected] CATALOGUE DESIGN Actual Size WEBSITE www.arts.vic.gov.au PRINTED BY Bambra Press Koori Business Network Postal Address: Thank you to all artists who entered the awards. Level 37 Special thanks to all the artists who worked 55 Collins Street with us to develop the Victorian Indigenous Art Melbourne 3000 Awards exhibition and permitted us to profile Victoria Australia their work in this catalogue.

TELEPHONE 03 9651 9158 © Copyright: The artists, photographers and FACSIMILE 03 9651 9004 the State of Victoria 2005 EMAIL [email protected] This publication is copyright. No part may WEBSITE www.business.vic.gov.au be reproduced by any process except in EXHIBITION CURATORS AND PROJECT accordance with provisions of the Copyright COORDINATION Elizabeth Liddle, Senior Act 1968. Arts Industry Officer – Indigenous Arts, Front Cover Image: Richard Hosking, Arts Victoria/Koori Business Network Outsider Films. Photograph taken at Mitta and Lowanna Norris, Indigenous Project Mitta River, Victoria. Thanks to Uncle Albert Officer, Arts Victoria Mullet and Richard Hoskings for permission CURATORIAL ASSISTANCE Stephen to use this image. Gilchrist, Senior Curator of Indigenous The VIAA exhibition runs from Art, National Gallery of Victoria 11 October 2005 to 31 January 2006, Arts Victoria, Level 6, 2 Kavanagh Street, Southbank. The exhibition is free and open to the public. All artworks featured in the VIAA exhibition and catalogue are available for purchase, with all proceeds going directly to the artists. CONTENTS

Message from the Minister for the Arts 02

Message from the Minister for Small Business 03

Deadly Art Award winner 04

Lin Onus Award winner 06

Finalists 08

Artists’ Biographies 33 FROM THE MINISTER FOR THE ARTS

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The Victorian Indigenous Art Awards arts event. I thank the Melbourne (VIAA) are an exciting new initiative International Arts Festival for their to celebrate, recognise and support support and partnership. Indigenous artists working in Victoria. Thank you to the Aboriginal In their first year the awards have Artists Development Trust for their attracted entries from visual artists sponsorship of the Award, across the state, across artistic styles and and to the family of Lin Onus for their mediums, and across generations. The support and involvement. The calibre finalists, presented in this catalogue, of works short-listed for this important reflect the breadth and strength of award, open to artists 30 years of age Victoria’s Indigenous arts sector. or less, points to an exciting future for Victoria’s Indigenous arts sector. Victoria’s Indigenous artists have an established history and are among the I would also like to acknowledge the most creative and exciting in the country, support of the National Gallery of producing high quality, diverse and Victoria who have lent curatorial distinctive work, as evidenced throughout expertise and materials to the exhibition. this exhibition and catalogue. Thank you to Aboriginal Affairs Victoria’s Indigenous artists are beginning Victoria for their invaluable advice to to gain the recognition they deserve. This the Victorian Indigenous Art Awards has been helped through the ground- Steering Committee. breaking Deadly Arts Business initiative, I commend and thank the panel of a partnership between Arts Victoria and judges, who brought to the task a wealth the Koori Business Network. Previous of expertise, knowledge and passion: Deadly Arts Business projects, including Jason Eades of the Koorie Heritage Trust, the Tribal Expressions exhibition series Judith Ryan of the National Gallery of and the Deadly Expressions catalogue, Victoria, Vicki Couzens, accomplished have provided direct benefits to Indigenous artist and 2003 Deadly Art individual artists and have assisted in Award recipient and Aunty Dot Peters, raising the profile of the sector. Indigenous community Elder and The inaugural Victorian Indigenous Art respected fibre-craft artist. Awards ceremony is another exciting Finally, I extend my warmest milestone for Deadly Arts Business, and congratulations to the award winners it is hoped that this event will grow and and short-listed artists. develop into a significant new fixture on Victoria’s annual arts calendar. The 2005 ceremony is placed within the prestigious context of the Melbourne International Mary Delahunty MP Arts Festival, providing an important Minister for the Arts international platform for Victoria’s Indigenous artists at our State’s flagship FROM THE MINISTER FOR SMALL BUSINESS

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The Victorian Indigenous Art Awards I would like to take this opportunity (VIAA) celebrate the significant and to congratulate the award winners ongoing contribution of our Indigenous of the Deadly Art Award and the Lin art to Victoria’s rich cultural heritage. Onus Award for their outstanding prize winning works. This art is not only a dynamic creative force within the Indigenous community, I would also like to acknowledge the equally importantly, it is helping fine works submitted by the finalists as to generate exciting business and shown within this exhibition catalogue. economic development opportunities in I hope that you find this catalogue to the Indigenous arts sector. be not only a fitting memento of the The Victorian Indigenous Art Awards awards but a tribute to the excellence in are linked to a broader Victorian art produced by Indigenous Victorians. Government program initiative, Deadly Arts Business. Now in its third year, Deadly Arts Business is a successful partnership that has been developed between the Koori Business Network André Haermeyer MP and Arts Victoria. Minister for Small Business Deadly Arts Business aims to progress the development of distinctively Victorian Aboriginal arts practice while helping to build sustainable economic opportunities for all Indigenous artists living and working in Victoria. The awards program has served to provide increased promotional and development opportunities as well as increased commercial opportunities for both the award winners and finalists. PAGE 04

DEADLY ART AWARD WINNER PAGE 05

DEADLY ART AWARD WINNER PAGE 06

LIN ONUS AWARD WINNER PAGE 07

LIN ONUS AWARD WINNER PAGE 08

Adrian Austin | Blue Streaks of Light 2005 | Oil on canvas | 61 x 51cm | At the moment I like working with abstract imagery that flows from my mind. This is a spiritual painting. The face of a Dreaming spirit is included in the body of the painting. I don’t think about painting, it just comes out. Painting comes naturally, but only when I get in the mood to paint. It just happens. Painting takes a lot out of me as there is a spiritual element in my paintings. It’s not a reproduced style; it’s my own art, every time.

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Lorraine Austin | Encounter 2005 | Oil on canvas | 120 x 120cm | Palawa My paintings deal with submission, a consequence of violence – the site of the body as the object and the surface. My work is a dialogue that describes desire and violence of experience – a site of action, an abstract aerial map. Desire and violence record history; violence changes into desire. There is an aesthetic violence that comes from a marginalised and abused site. This painting is an abstraction of desire rather than images of violent events. The painting records its own fragmented history.

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Mandi Barton | Pathways to culture 2005 | Synthetic polymer paint on canvas | 100 x 75cm | In the middle of the painting is the river running through Yorta Yorta country. The circles represent clans and family groups. There are canoes and tracks, which depict the crossing of the river for ceremonies and bartering. On the land there are also tracks leading to the river and other clans. The freedom to be able to express my connection with my culture, along with the ability to pass that down to my children, inspires me. I think my art is different and unique, but I do tend towards representing traditional cultural values in my work.

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Kunda-Beamo | Rock Art 2005 | Acrylic on canvas | 100 x 75cm | Yamagi This work was inspired by a vision of ancient cave paintings. I have painted the images of animals on a cave. The sun is setting and has lit up the cave producing a vibrant colourful display. My work represents people, elders, spirits, dancers and animals portrayed in a combination of both contemporary and traditional techniques.

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Turbo Brown | Kookaburras being cheeky to kangaroos 2005 | Acrylic on canvas | 91 x 123cm | Latje Latje This painting shows an early morning in Halls Gap. The kookaburras have come out to laugh at the kangaroos and the joeys. The mother kangaroo, on the right, laughs back at the kookaburras. I grew up in Mildura where I used to camp out bush by myself on the river and watch all the birds and animals. They were my friends and looked after me during the bad times. I think a lot about the Dreamtime, where there was lots of food and water for them. This is why I like to paint birds and animals, especially kangaroos and pelicans, as it reminds me of this good time.

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Lorraine Connelly-Northey | The Gatherers 2005 | Iron; netted fencing and barbed wire; emu feathers | clustered within 150 depth x 50 width x 30cm height | Waradgerie Over a period of time, the gatherers, like the hunters of the traditional Australian Aboriginal tribes, developed tools and implements that enabled them to exert less energy in a lifestyle based on survival, where they could reliably gather, collect and prepare 85% of their diet. With a deep desire to undertake traditional Aboriginal weaving I returned to the source of my childhood environment – namely the and the Mallee – to rediscover what my father taught me about life in the bush, in particular the plants of Aboriginal usage. During our travels throughout the bush, Dad and I would visit old rubbish dumps seeking out hidden treasures and items of interest and use. This was no doubt a deadly skill Dad had acquired as a ‘man on the land’, under the skilful eye of his Irish farming Dad; that in a piece of discarded material could be found another use. Now this skill has been handed down to me. My only limit is my imagination.

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Jenny Dunne | Condah Cloak Motifs 2005 | Pigment and ochre on canvas | 50 x 50cm | Kirrae Wurrung/ Gunditjmara This painting depicts traditional motifs from the Lake Condah region in my great-grandmother’s country. The designs are based on original designs that were on a possum skin cloak from Lake Condah. This work reflects Gunditjmara land and culture. A respect for culture and my ancestors inspires me to create. My aim is to revive and keep culture alive and that is why I prefer to use ochre in a traditional way. When I think about painting, it is, for me, a spiritual journey. I put my heart into it and it makes me feel relaxed. I am inspired by the landscapes of the western district, as well as respect for my elders.

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Mick Harding | Cultural Charge 2005 | Ink pen and felt-tip pen on paper | 42 x 59cm | Taungurung Cultural Charge is about real power in the land and sky. The lightning charges everything that it touches and sends a reminder to us all that we belong to, and are a part of, the same cycle. I am passionate about my culture. I feel the need to tell people about it by demonstrating in any medium that communicates my message. It is my right and responsibility as an Indigenous person. I have been communicating my passion for culture by drawing different designs and artwork in order to express my feelings as an Aboriginal person.

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Gail Harradine | Banksia Country 2005 | Acrylic on canvas | 120 x 100cm | Wotjobaluk This painting is about sinews holding Wotjobaluk country together from the spirit of Mother Earth reaching out to plants and animals. It is also about our plants such as the Banksia tree, that are hardy and strong. My artwork reflects my strong sense of country, Wotjobaluk country, also known as the Wimmera region in Victoria. My art represents layers of meaning, whether it is country, identity, linkages to family or impacts on life and culture. I like to work with strong bright colour, to reflect the positive view of who I am and my place in the world. However, underneath the layers, I am conscious of more serious considerations such as our lack of control of our cultural heritage in a world of ‘majority rules’. I try to represent what inspires me and also what makes me despair about the world in which we live. I feel strongly about looking at art from a community perspective. Art is integral in life and culture and has to be nurtured in our communities.

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Eileen Harrison | Women Dreaming (possum stitch design) 2005 | Hard-ground etching with aquatint, printed in red ochre ink, from one copper plate in an edition of ten. Drawn on the copper plate by the artist. Etched and printed at Australian Print Workshop, Melbourne | 62 x 44cm | Kurnai The etching depicts an image of my life’s path and my journey into the art world, with all my blood sisters. Layer by layer, the many circles show that there is not only one woman but there are many women – past, present and future – who have taught me in my day-to-day life. It shows our journey and the strong lines that bond us together. Using traditional symbols and designs, my paintings keep this dream alive. When I go to places around , like Lake Tyers, I have a strong feeling that I am connected to such places. Painting is very important to me as it takes me back to these areas.

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Jirra Lulla Harvey | Daya, garra (Here, now) 2005 | Acrylic on canvas | 90 x 70cm | Yorta Yorta/ This painting is about cultural survival and progression. The diamond patterning, resembling a traditional Victorian style, structures the rest of the image. Ochre tones create the base, and bright colours and contemporary patterning show our culture’s evolution. We are here, now, or in , ‘daya, garra’. I always aim to reflect the diversity of my own community. I am a proud Koori woman living in a contemporary urban environment. My lifestyle has not been limited and neither will my art.

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Lisa Kennedy | Dreaming of the landbridge 2005 | Mixed media triptych | 3 x 35 x 27cm | Trawlwoolway This work is a spiritual and imaginative exploration of the ancient pathways and dreamings of the land that once connected Wilson’s Promontory and . When the floods rose and covered the land, with what is now called Bass Strait, the whales and dolphins became the carers of those sites. I am passionate about creating cultural and spiritual awareness of our deep connection to living, breathing Mother Earth, and the importance of knowing how our own personal growth and well-being is dependent on our care for the land. As my family and I are helping to replant the bare hills and gullies in steep wet forest Country in South Gippsland, my inspiration is fed by the spirits of the land. I am directing this into a body of work called ‘The Earth Speaks’.

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Kye McGuire | Warraman 2005 | Pastel on paper | 110 x 74cm | Ngoongar Warraman is based on the concept of disrespect of one’s self and one’s culture. The figure pictured is of a lawman whose role it is to remedy the loss of identity, self-respect and pride that has come about through alcohol abuse and self-harm. Warraman is from my collection of works called ‘old-fellas’. I spent much of my upbringing in Broome, in the Kimberley region of . My ancestry and family have had a large impact on my work. Since I was very young, I have used art as a personal outlet. My preferred medium is pastel and my art depicts my identity as an Aboriginal person.

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Benjamen McKeown | Colin 2005 | Acrylic and charcoal on linen | 120 x 100cm | Wirangu This painting is inspired by my grandfather, who was taken away from his mother, after his father passed away. It is about innocence and the loss of childhood. My inspiration has come from my environment and my youth, as well as my life, both in Australia and overseas. Animals also play a part in my narrative, inspired by the ‘rabbiting’ and ‘marlu’ (kangaroo) hunting of my early teenage years. Through my art I can connect with my family and my heritage. I think my art can be used as a tool to promote urban Indigenous practice.

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Brian ‘Tabulk’ McKinnon | When two worlds collide 2005 | Acrylic, oil and wax on canvas | 91 x 183cm | Wongai This painting tells of how I see the coming together of the Indigenous peoples of Australia and the Europeans. I object to the mining of Kakadu and am concerned about the renewed interest of the French in relation to Kakadu. The painting shows the pristine skies of the and the story of the seven sisters and their three husbands. Orion’s Belt, in the centre, sees the two peoples coming together under a sunset. This creates a muddy and confused horizon under which is a misunderstanding represented by my interpretation of radioactive fall-out. I was born to a Yamatji woman and a Wongai man. Through the customs of my people I take my beliefs from my father’s people. The name ‘Tabulk’ is in respect for my great, great, great grandmother (Tulbak) who was one of the last of the Swan River people in Western Australia.

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Makia McLaughlin | My Yolngu/ Yorta Yorta Dreaming 2005 | Acrylic on canvas diptych | 2 x 51 x 40cm | Yorta Yorta The snake wrapped around the sky represents the Rainbow Serpent. The boomerang is symbolic of the returning of the land to the people. I have framed the image with Arnhem Land designs from my father’s people. Underneath are designs from my mother’s side, from Yorta Yorta country in Victoria. My work is inspired by my life experiences and by my father’s people, the Yolgnu people from north-east Arnhem Land, and my mother’s people, the Yorta Yorta people from Victoria.

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Jennifer Mullett | Bruthen Dreaming 2005 | Lift-ground etching with aquatint, printed in black ink, from one copper plate in an edition of ten. Drawn on copper plate by the artist. Etched and printed at the Australian Print Workshop, Melbourne | 44 x 61cm | Gunnai/ Kurnai Black mountains, night stars and river-hole. This work is concerned with the emergence of memories. The construction of symbols embody a cultural essentialism – embodied through a series of changes, by interlocking external and internal worlds. By articulating my Aboriginal consciousness in this way, I can maintain an Aboriginal ‘body’. The representation of identity and the construction of symbols sustain the art. Reconnecting memories, experience and emotions form a context, one which rejects the fragmentation of assimilation and colonialism.

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Jida Murray-Gulpilil | Yepenyun – Dancing ceremonial ground 2005 | Bark etching | 33 x 65cm | Wemba Wemba/Dja Dja Wurrung/ Mandalpingu This bark etching, using traditional methods, depicts two clans under the working together for an initiation ceremony. ’s shadow appears at night on the ground, as he had come to take the boy and deliver the man. A songman from each group, with boomerangs, is in the centre, leading the singing and dancing. Two tribes collaborate in song and dance. On each side of the songmen each initiate is singing and dancing, showing his influence and power as part of a nation to the uninitiated and Bunjil, while bearing shields and stone axes. One uninitiated holding two spears, has led the uninitiated into the ring place for the final ceremony. The uninitiated will soon be ready to dance and sing the story as men. My artwork comes from 22 years of sharing the understanding of my Victorian cultural heritage. What inspires my work is my people’s strength and knowledge of our connection to land, country, people and places. By teaching and leading I am also inspired to impart this knowledge. Inspiration comes from my family’s past, land and country, my people and special places.

DEADLY ART AWARD FINALIST PAGE 26 irene wangudu o’loughlin | Summer down the point 2005 | Acrylic on canvas | 122 x 89cm | Narungga The Narungga people enjoyed long stays down the point during summer. Seafood and bush food were plentiful at this time. This painting depicts the warmth and colours of the local plant life. I grew up at the Point Pearce Mission Station in , but have lived in Melbourne since 1962. I draw inspiration from my heritage and return regularly to the ancestral areas of the York Peninsula. I also draw inspiration from remembering the place where I was born, where I was brought up and where we spent a lot of time as children. My ideas come from memories of mission life and Narungga culture and how I remember plant life and bush tucker from the York Peninsula.

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Lorraine ‘Bunta’ Patten | My Country 2005 | Charcoal on paper | 49 x 69cm | Djabwurrung/ Gunditjmara This is a drawing of Mt Abrupt in Gariwerd (Halls Gap), my traditional land. My artwork honours the memory of my ancestors. When I visit my country I feel their spirits watching over me. My tribe is the Gunditjmara East and my great, great, great grandmother’s tribe was Djabwuruung who shared the Grampians with the . I have a very strong connection to this country and it inspires me to paint and draw. I like using charcoal in my drawing. This reminds me of the years I lived on the mission and we had to use charcoal to clean our teeth, as toothpaste was unheard of. We also crushed it up to stop tummy aches. I am very proud of my Aboriginality and the spirit of my ancestors flows through me when I go back to visit my country.

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Roy Patterson | of the Spirit World 2005 | Ochre on chipboard | 87 x 54cm | Taungerong My work depicts the Dreaming of the spirit and the soul of our ancestors. We have the night sky, the spirit and the soul in which the stars that look down upon us at night protect us while we sleep. I am a Taungerong elder from Healesville. I collect my ochres in Healesville around the Black Spur, and the Chum and Myers Creeks. I use all colours: green, orange, purple, yellow, red, white, brown, black and charcoal wood ash in my works. Many of my paintings depict animals and scenes from Dreamtime stories.

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Wayne Quilliam | Lowanna (beauty) 2005 | Photograph printed on canvas | 160 x 120cm | Palawa Lowanna is an image of Aboriginal beauty – both land and people. An Aboriginal woman’s body melded with an image of the Central Desert signifies the association of Aboriginal people with the land. I use contemporary artistic practices to promote positive images of Indigenous Australia through both digital and traditional print methods in my work. My defining style is the fusion of images from outback Australia into more contemporary settings including the human form.

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Bronwyn Razem | Mother & Father 2005 | Sand and acrylic paint on canvas | 59 x 45cm | Gunditjmara Mother and father are united, yet their ancestry divides them. Two souls have merged together to create the family unit. Although one is white and one is black, they only see each other. Two cultures, one mind, nurtured by the diversity of their lives. A lot of the time my work is inspired by my journey into my Indigenous roots and cultural heritage of the Gunditjmara. I find this journey of great value; it is exciting to continually learn about my heritage. I frequently use sand in my work. Sand is representative of Warrnambool, where my parents met, and representative of the Gunditjmara peoples.

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Jennifer Solomon | Sunset along the Gippsland Lakes 2005 | Acrylic on canvas | 100 x 80cm | Thangatti This painting reflects the sunsets around the Gippsland Lakes, at Inverloch. I love sunsets and sunrises, as I feel closer to my spiritual ancestors when I stand and feel the warmth of the sun’s rays on my face and body. That is how I see and feel the warmth and love of the ancestors. My cultural and spiritual connection to the land and sea is my inspiration. My grandmothers on both sides have always spoken to me of their homelands – through the sea and the land, how we are connected to them and how they feed and protect us. I feel my ancestral grandmothers are always with me.

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Peter Waples-Crowe | Where spirits fly free 2005 | Mixed media on canvas | 46 x 76cm | Wiradjuri/ This painting is from a series of six works about a sacred place, a place of great peace. In the last 220 years the Australian landscape and Aboriginal culture has changed. It has become cluttered with junk, waste and other ‘useless’ things of Western consumer culture. This painting is about an ancient power that is alive in both the landscape and myself. No matter how much ‘stuff’ gets in the way, deep inside the land and in me lies a connection to a really powerful Indigenous energy, a place where spirits fly free. I have always used art as a way of expressing my ideas and commenting on life. I have balanced my artwork by working in Indigenous health in communities throughout NSW and Victoria for over ten years. By interacting with other mobs, I learn about the diversity that is Aboriginal Australia. It also feeds into my own identity and art-making.

DEADLY ART AWARD FINALIST ARTISTS’ BIOGRAPHIES

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ARTIST Adrian Austin Selected exhibitions Gunditjmara 2004 Dangerous Times (solo), RESIDENCE Preston Forty five downstairs, Melbourne TITLE Blue Streaks of Light 2005 2002 Latex and Light (group), IMAGE Page 08 Conical, Fitzroy 2000 In the Elevator (group), Adrian Austin was born in Carlton in Brooklyn Artist Space, New York 1966. Adrian has been painting for 15 years and is self-taught. However, he Selected collections is currently developing his skills by The Pratt Institute (New York), various studying the Certificate III in Aboriginal private collections and Torres Strait Islander Art and Design at Northern Melbourne Institute of TAFE. Adrian works in oil, ochre and ARTIST Mandi Barton pokerwork. Yorta Yorta RESIDENCE Melton Selected exhibitions TITLE Pathways to culture 2005 2005 Gathering of the Land (group), IMAGE Page 10 A-Space, NMIT, Preston 2005 Sorry – It’s not so hard to say (group), Mandi Barton was born in in Bundoora Homestead, Bundoora 1976. She completed a Bachelor of Arts 2005 Long Ago, Here Today (group), Degree (Fine Art) at Deakin University Latrobe St Gallery, Melbourne and is currently studying Aboriginal and Torres Strait Islander Art at RMIT Selected collections University, Bundoora. She also runs Northern Metropolitan Institute a small art and craft business. Mandi of TAFE, Whittlesea Council, works with acrylic on canvas, utilising private collections spray paint, gloss and matt acrylic. Selected exhibitions ARTIST Lorraine Austin 2005 Sorry – It’s not so hard to say (group), Palawa Bundoora Homestead, Bundoora RESIDENCE Yarraville 2005 Urbaninity 2 (group), TITLE Encounter 2005 Dante’s Gallery, Fitzroy IMAGE Page 09 2004 Western Suburbs Indigenous NAIDOC Art Show, The Incinerator, Moonee Ponds Lorraine Austin was born in Euroa in the Strathbogie Ranges in 1956 and Selected collections grew up in . She completed Koorie Heritage Trust, private a Masters of Fine Art at the Victorian collections College of the Arts in 2004. Lorraine is a sessional teacher at the Victorian College of the Arts. PAGE 34

ARTIST Kunda-Beamo Selected exhibitions Yamagi 2005 Melbourne Affordable Art Show RESIDENCE Frankston (group), Royal Exhibition Building, TITLE Rock Art 2005 Melbourne IMAGE Page 11 2005 Grugidj (White Cockatoo) (group), Faculty Gallery, RMIT University, Kunda-Beamo was born in Melbourne Melbourne in 1941. He is a self-taught artist who 2004 Turbo Brown (solo), Koorie Heritage draws inspiration from reclaiming his Trust, Melbourne identity and culture. Kunda-Beamo’s 2004 Gumbri: White Dove, Indigenous Art work has been included in numerous Prize (group), Bundoora Homestead, exhibitions, museums and art awards Bundoora in , around Australia and overseas. Selected collections City of Darebin, Koorie Heritage Trust, Selected exhibitions National Gallery of Victoria 2005 NAIDOC exhibition, Pakenham Cultural Centre, Pakenham 2003 Southern Indigenous Artists (group), ARTIST Lorraine Connelly-Northey Frankston City Council Gallery, Waradgerie Frankston RESIDENCE Swan Hill 2001 Indigenous Aboriginal Art (solo), TITLE The Gatherers 2005 Deira City Centre, Dubai IMAGE Page 13 2000 Minjunbal (group), Horizons Fine Art Gallery, Tweed Heads Lorraine Connelly-Northey was born in Swan Hill, Victoria, in 1962 and is self- Selected collections taught artist. In October 2003, Lorraine Various private collections was short-listed for the prestigious Kate Challis RAKA award.

ARTIST Turbo Brown Selected exhibitions Latje Latje 2005 Cross Currents (group), RESIDENCE Mill Park Linden Art Gallery, St Kilda TITLE Kookaburras being cheeky to kangaroos 2004 Narr Bongs (solo), Swan Hill Regional 2005 Art Gallery, Swan Hill IMAGE Page 12 2002 What’s Going On! (group), Mildura Arts Centre, Mildura Turbo Brown was born in Mildura in 1967. He is currently completing a Selected collections Diploma of Art (Visual Art) at RMIT Karen Woodbury Gallery, Koorie University. In May 2005, Turbo was Heritage Trust, National Gallery of accepted into the finalist exhibition of Victoria, Swan Hill Regional Art Gallery the 22nd National Aboriginal and Torres Strait Islander Art Award in Darwin. PAGE 35

ARTIST Jenny Dunne ARTIST Gail Harradine Kirrae Wurrung/Gunditjmara Wotjobaluk RESIDENCE Mill Park RESIDENCE Pascoe Vale TITLE Condah Cloak Motifs 2005 TITLE Banksia Country 2005 IMAGE Page 14 IMAGE Page 16 Jenny Dunne was born in Melbourne in Gail Harradine was born in Dimboola, 1962. She is currently completing 1966. She holds a Diploma in Fine Certificate III in Koori Art & Design at Art and has completed post-graduate RMIT University and a Certificate in studies in art education and curatorial Community Development and practice. She has a background working Management at Swinburne University. in museums, galleries and cultural Jenny uses traditional ochre in her work. centres. As well as painting, Gail has been involved with silver jewellery Selected exhibitions making, murals, sculptural carved poles, 2005 Sorry – It’s not so hard to say, Bundoora illustration and graphic design. Homestead, Bundoora Selected exhibitions Selected collections 2005 Sydney Affordable Art Show (group), Findon Primary School Fox Studios, Sydney 2005 Urbaninity 2 (group), Dante’s Gallery, Fitzroy ARTIST Mick Harding 2005 Walert: Possum, Manningham Gallery, Taungurung Doncaster RESIDENCE Churchill 2004 Barenji-Gadjin – People and Places, TITLE Cultural Charge 2005 ARTrium, Bayside City Council, IMAGE Page 15 Sandringham Born in Collingwood in 1960, Mick Selected collections Harding belongs to the Yeerun-illam- City of Stonnington, Dale Spender Balluk clan of the Taungurung Tribe, Collection, Koorie Heritage Trust, Gippsland. Mick is a self-taught Melbourne City Council, National artist who predominantly works with Gallery of Australia, Nolan Gallery wood and on paper. He also works in (ACT) artefact production. Mick has recently been commissioned to produce a series of custom-designed Wangim (boomerangs) telling the story of Bunjil and Waang. Selected exhibitions No previous exhibtions Selected collections Koorie Heritage Trust PAGE 36

ARTIST Eileen Harrison Selected exhibitions Kurnai 2005 Winanggaay (group), George Paton RESIDENCE Warragul Gallery, The , TITLE Women dreaming (possum stitch Parkville design) 2005 Selected collections IMAGE Page 17 Ian Potter Collection, National Gallery Eileen Harrison was born in Lake Victoria Tyers in1948 . Eileen has completed her Certificate IV in Aboriginal & Torres Strait Islander Art & Design ARTIST Lisa Kennedy at GippsTAFE. In 2004, she won the Trawlwoolway Victorian Indigenous Artist of the Year RESIDENCE Toora through the NAIDOC Week recognition TITLE Dreaming of the landbridge 2005 awards. IMAGE Page 19 Selected exhibitions Lisa Kennedy was born in Melbourne in 2005 Blood Country (group), 1963. She has completed a Diploma of Australian Print Workshop, Fitzroy Visual Arts at East Gippsland TAFE. 2005 Sydney Affordable Art Show (group), Lisa has also completed a Post-Graduate Fox Studios, Fitzroy Diploma of Visual Arts at the Victorian 2005 Belong to Country – Loongwurk (solo), College of the Arts, followed by a year Latrobe Regional Gallery, Morwell of learning puppetry and performance. 2004 Tribal Expressions (group), Lisa is an author-illustrator of children’s Arts Victoria, Southbank books. Selected collections Selected exhibitions Baw Baw Shire Council, Koorie Heritage 2005 Blood Country (group), Trust, Latrobe Regional Gallery Australian Print Workshop, Fitzroy 2005 Songlines & Dreamings (group), Bunjilaka – Melbourne Museum, ARTIST Jirra Lulla Harvey Melbourne Yorta Yorta/Wiradjuri 2004 Tribal Expressions (group), RESIDENCE Collingwood Arts Victoria, Southbank TITLE Daya, garra (Here, now) 2005 2003 New Work (solo), Upper Yarra Valley IMAGE Page 18 Arts Centre, Warburton Jirra Lulla Harvey was born in Selected collections Selby, Victoria in 1983. She is Koorie Heritage Trust, Melbourne City currently completing a Media and Council, Royal Children’s Hospital, Communications Degree at The South Gippsland Shire Council University of Melbourne. Jirra Lulla was named the 2004 NAIDOC National Artist of the Year. PAGE 37

ARTIST Kye McGuire Selected collections Ngoongar Archive of Humanist Art, Australian RESIDENCE Flemington Print Workshop Archive, National TITLE Warraman 2005 Gallery of Australia IMAGE Page 20 Kye McGuire was born in Perth in ARTIST Brian ‘Tabulk’ McKinnon 1980. Kye has been drawing from the Wongai time she was very young and completed RESIDENCE West an Associate Degree in Contemporary TITLE When two worlds collide 2005 Aboriginal Art in 2003. IMAGE Page 22 Selected exhibitions Brian ‘Tabulk’ McKinnon was born 2005 Indigenous New Media Lab, in Geraldton, Western Australia, in Australia Film Commission, Brisbane 1957. Brian has been practising art all 2003 Showcase of New Works (group), his life and has been taught through Curtin University, Perth information passed down from his Selected collections family and self-exploration. Brian Private collections currently works as an Indigenous Education Officer at the National Gallery of Victoria. ARTIST Benjamen McKeown Selected exhibitions Wirangu 2005 The Geelong experience (group), Little RESIDENCE Clifton Hill Malop Street Gallery, Geelong TITLE Colin 2005 2005 Brian McKinnon (solo), Geelong IMAGE Page 21 Gallery, Geelong Benjamen McKeown was born in the 2004 Gordon Gallery Regional Art Show, Adelaide Hills in 1976. He works across Gordon Gallery, Geelong several mediums, including sculpture, 2004 Qualitalia Exhibition, Museum of lino print, and mixed media on paper Science, Italy and canvas. He has created several Selected collections public art installations around the Department of Immigration and using varied Mulitcultural and Indigenous Affairs, materials such as stone, wood and Geelong Performing Arts Centre, ceramic tiles. Benjamin was a semi- Narana Creations, various private finalist in the Young Australian Of The collections Year Award for two consecutive years. Selected exhibitions 2005 Urban Yarns (group), Counihan Gallery, Brunswick 2004 Walking Barefoot (solo), Counihan Gallery, Brunswick 2003 Art and Humanist Ideals (group), Counihan Gallery, Brunswick 2000 Art Towards Reconciliation (group), Gernika Museoa, Spain PAGE 38

ARTIST Makia McLaughlin Selected collections Yorta Yorta Bunjilaka Aboriginal Centre – RESIDENCE Lalor Melbourne Museum, Latrobe Regional TITLE My Yolngu/Yorta Yorta Dreaming 2005 Gallery, National Gallery of Victoria IMAGE Page 23 Various private collections within Australia and overseas Makia McLaughlin was born in Victoria in 1989. Makia is currently completing Certificate III in Aboriginal and Torres ARTIST Jida Murray-Gulpilil Strait Islander Art & Design at NMIT Wemba Wemba/Dja Dja Wurrung/ Preston. Mandalpingu Selected exhibitions RESIDENCE Belmont 2005 Gathering of the Land (group), TITLE Yepenyun Bora – Dancing ceremonial A-Space, NMIT, Bundoora ground 2005 2005 Sorry – It’s not so hard to say (group), IMAGE Page 25 Bundoora Homestead, Bundoora Jida Murray-Gulpilil was born in 2004 Gumbri: White Dove (group), Paddington in 1974. His artistic skills Bundoora Homestead, Bundoora have been developed through a variety Selected Collections of sources, especially by traditional Faculty of Further Education, NMIT learning practices through family relationships. Jida is also a dancer and song maker who carves and paints. ARTIST Jennifer Mullett Selected exhibitions Gunnai/Kurnai No previous exhibitions RESIDENCE Bairnsdale TITLE Bruthen Dreaming 2005 Selected collections IMAGE Page 24 Private collections Jennifer Mullet was born in 1955, into a large family of artists and ARTIST irene wangudu o’loughlin wood craftsmen. She has undertaken Narungga a Bachelor of Fine Arts at Monash RESIDENCE Mooroolbark University. Jennifer works in painting, TITLE Summer down the point 2005 ceramics and printmaking; however, IMAGE Page 26 working with installations is her preferred medium. irene wangudu o’loughlin was born in Point Pearce in South Australia in Select exhibitions 1944. irene was originally taught to 2005 Blood Country (group), draw by family members. A versatile Australian Print Workshop, Fitzroy artist, she is also skilled in European- 2004 Urbaninity (group), Queens Hall, style portraiture and landscapes. irene Parliament House, Melbourne works with acrylics, oils, pastels and 2003 Tribal Expressions 11 (group), watercolours. Arts Victoria, Southbank 1999 Overview (group), Linden Gallery, St Kilda PAGE 39

Selected exhibitions nature to create his works. The majority 2005 Down the Point (solo), Walker St of Roy’s work is produced on boards, Gallery, Dandenong sometimes covered in animal hides, 2005 She – Who Inspires (group), Walker St using natural ochres. Gallery, Dandenong Selected exhibitions Selected collections 2004 Roy Patterson (solo), Swinburne Greater Dandenong City Council, University, Healesville campus various private collections 2004 Tribal Expressions (group), Arts Victoria, Southbank Selected collections ARTIST Lorraine ‘Bunta’ Patten Koorie Heritage Trust, various private Djabwurrung/Gunditjmara collections RESIDENCE Mill Park TITLE My Country 2005 IMAGE Page 27 ARTIST Wayne Quilliam Lorraine Patten was born in Melbourne Palawa in 1941. Lorraine has recently RESIDENCE Point Cook completed a Diploma of Arts (Visual TITLE Lowanna (beauty) 2005 Arts) at RMIT University, Melbourne. IMAGE Page 29 In 2004, she was awarded the Tertiary Wayne Quilliam was born in Hobart Acquisition Art Prize at the City of in 1963. He is an accomplished, self- Darebin Indigenous Arts Prize. taught photographer who runs his own Selected exhibitions business. Wayne works with printed 2005 Grugidj (White Cockatoo) (group), images on silk and canvas. RMIT University Faculty Gallery, Selected exhibitions Melbourne 2004 Shades of Black (solo), Kluge-Rhue, USA 2004 Emerging Artists (group), 2003 Postcards (group), Linden Gallery, Koorie Heritage Trust, Melbourne St Kilda 2003 Gumbri: White Dove (group), 2002 Baygul Touring Works (group), Bundoora Homestead, Bundoora Adelaide Fringe Festival, Adelaide Selected collections 2000 Postcards (solo), Hamburgisches National Gallery of Victoria Museum, Germany Selected collections Hollows Foundation, Kluge-Rhue ARTIST Roy Patterson Aboriginal Art Collection, Lawson Taungerong Menzies, Melbourne City Council, RESIDENCE Healesville National Gallery of Australia, TITLE The Dreaming of the Spirit World 2005 Powerhouse Museum, Sotheby’s IMAGE Page 28 Roy Patterson was born in Healesville. He began painting in 2001 and is a self- taught artist who uses materials from PAGE 40

ARTIST Bronwyn Razem Selected exhibitions Gunditjmara 2005 Urbaninity 2 (group), Dante’s Gallery, RESIDENCE Ballarat Fitzroy TITLE Mother & Father 2005 2005 Woor-dungin Nambur (group), Latrobe IMAGE Page 30 Regional Gallery, Morwell Bronwyn Razem was born in Selected collections Warrnambool in 1953. She is currently Pottery Collection, Bnym, Morwell completing her Masters Degree in Visual Arts at the University of Ballarat where she also completed her ARTIST Peter Waples-Crowe Bachelor of Arts. Bronwyn now teaches Wiradjuri/Ngarigo traditional fibre craft practice at the RESIDENCE North Melbourne Arts Academy in Ballarat. She paints in TITLE Where spirits fly free acrylics, oils and textural media such IMAGE Page 32 as sand. Bronwyn is also a traditional Peter Waples-Crowe was born in basket weaver. Marrickville, NSW in 1965. He Selected exhibitions completed a Bachelor of Creative Arts 2003 Women, Queen Victoria Women’s at Wollongong University in 1989 and Centre (group), Melbourne went onto undertake further studies 2003 Exhibition (group), in photography. In 2005, Peter was a Shell Corporation, Geelong finalist in the 22nd Telstra National 2002 Camp Near Water (group), Aboriginal and Torres Strait Islander Deakin University, Geelong Art Award in Darwin. Selected collections Selected exhibitions Deakin University, Shell Corporation, 2005 Sacred Details (solo), The University of Melbourne Koorie Heritage Trust, Melbourne 2005 Melbourne Affordable Art Show (group), Royal Exhbition Building, ARTIST Jennifer Solomon Carlton Thangatti 2003 Icons (group), Wayward Gallery, RESIDENCE Morwell Byron Bay TITLE Sunset along the Gippsland Lakes 2005 2003 My Ancestors taught me to disco (solo), IMAGE Page 31 Wayward Gallery, Byron Bay Jennifer Solomon was born in Walcha, Selected collections NSW in 1942. Jennifer is currently University of Wollongong, various studying at Gippsland TAFE in Morwell private collections undertaking Certificate III in Aboriginal and Torres Strait Islander Cultural Arts. Prior to this she was involved with pottery, clay production and design through a local Indigenous pottery NB The artists have referenced one or all of business. She is a former actor and their nation, clan and language groups singer. in their biographies.