Gold Coast Indigenous Artist Camp South Stradbroke Island 2019

Home , Soul (building)

Hidden Midden uncovering truth Gold Coast Indigenous Artist Camp South Stradbroke Island 2019 Hidden Midden uncovering truth Gold Coast Indigenous Artist Camp South Stradbroke Island 2019 Hidden Midden uncovering truth Gold Coast Indigenous Artist Camp South Stradbroke Island 2019 We acknowledge and pay respects to the traditional saltwater people of Moondarewa (Yugambeh Language) and Durungjili (Jandai Language) and all of their descendants both past and present. On sandy dunes and salty shores, they held ceremonies with stories, songs and dances. They shared abundant feasts with clans, near and far.

The Middens remind us of the past; the oldest continuous living culture in the world is thriving.

2 HIDDEN MIDDEN UNCOVERING TRUTH LEAD ARTIST Gordon Hookey | Visual Artist

TEACHING ARTISTS Laurie Nilsen | Visual Artist Rick Roser | Artist | Artefact Maker Bianca Beetson | Visual Artist

MENTOR ARTISTS Alicia Jones | Performance Artist | Visual Artist Libby Harward | Visual Artist

The South Stradbroke Island Indigenous Artist Camp is a City of Gold Coast initiative and is delivered by the Arts and Culture team. As a key action of the Culture Strategy 2023, the Artist Camp values and supports the elevation and promotion of local Indigenous artists.

Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 3 Photo by Jo-Anne Driessens Photo by Dominique Normand Photo by Dominique Normand

GORDON HOOKEY “ART, TO ME, DOESN’T SIT ALONE. IT’S ACCUMULATIVE. NOT ONLY EACH ARTIST’S ARTWORK ACCUMULATES, BUT THE BODIES OF WORK, THE GROUPS OF PEOPLE, THE MOVEMENTS ... THE ART WORLD AS A WHOLE.”

My brief was to take participants out of their comfort zone. This was encaustic. There was no obligation to do what I asked, it may not have fit challenging because I wanted the artists to feel relaxed. I was a bit the notion of who the artist wanted to be, but experiment, play and see uncomfortable with being a “teacher” and being categorised as a what happens. “lead artist”. Really, I’m an artist, I want to be like everyone else and engage on that level. I don’t want to be authoritarian with a rank or a Everyone was given a visual diary, it was part of the structure and a captain’s hat. In our way, when you do well you bring people with you. basic tool. Primarily, it’s just an example of how I work. Visual diaries can You make space for people. Right from the start, I said that I was there capture concepts at any time, and if you don’t write them down when to learn too, from the participants. And I challenged them to learn more you have them, you’ll lose them. I’ve filled whole books with pictures from me, than I did from them. and words (for clarification), and many of mine never materialised as a painting or a work of art, but it’s a bit of history. I never thought they I’d been on artist camps before but not in this capacity. To take the were of value, but when I look back at it, they were a witness of the time. participants out of their comfort zone, the only way I could do it was to In a nostalgic kind of way, many of them connect to a particular art. expose them to mediums they hadn’t used before, like oil paintings, Over the years, it shows your technique, how refined you are. and oil, wax and encaustic. I went to camp without any preconceptions. To see what unfolds in that environment with the participants and their Making art is an act of playing. The participants did that from the personalities because every artist is different. I wanted people to be who moment they got there. I gave the artists small morsels and if they’re they are and didn’t want to put pressure on them. The environment was taken by it, that encouragement should be enough to invest into it conducive for that, where people could just “be”. themselves. I provided the means for them to realise their own concepts and ideas. I got to know people and made some deep connections. I facilitated and prepared four workshops: visual diaries and professional We’re connected to the other artists from the previous camps, as well. practice; banner making with word-play; oil painting; and oil, wax and Now we are all part of that greater story.

4 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 5 Photo by Jo-Anne Driessens Photo by Dominique Normand Photo by Jo-Anne Driessens

LAURIE NILSEN “SOMETIMES YOU’RE NOT ACTUALLY PRODUCING ART, YOU’RE SITTING AROUND TALKING ART AND TALKING ISSUES, AND THAT’S ALL PART OF THE PROCESS.”

The act of sharing information is such a natural thing for Native people because those people could be their best teacher in the next few years. (from all around the world). It’s just a part of our cultures, that you share. Everyone’s art practice is different. You have to have some sort of idea Collaborative art, where individual artists work cooperatively, is of what you want to do. I’ll do preliminary sketches and develop my something I did early in my career. Holding things really close to your ideas. No one is as prolific with their journals as Gordy (Gordon Hookey). chest isn’t our way, what are you trying to hide? Ideas have been flogged Sometimes I’d have to hunt for ideas but most of the projects I’d have for thousands of years, except for multimedia stuff. It’s a bit hard to do some sort of story, like the willy wagtail, gather all that information, and a collaboration with someone if they’re holding back. Once they realise that’ll prompt ideas in giving the client what they want. Clients usually you’re giving, their attitude changes. When you’re both sharing and want little elements like that and I’m used to working that way because giving, the ideas flow easily and quickly. of my commercial art background.

To learn a new technique is another string in an artist’s bow, and working The Midden is like the Artist Camp, when you brush everything back, collaboratively was part of my Concreation workshop. I taught that it reveals things. I got a lot out of camp, lots of things I’ve probably technique about concrete sculptures. It’s like carving sandstone but we taken for granted, like talking and having fresh conversations. Having an get a chance to do it while it’s soft, an imitation sandstone. The artists international artist there (Dominique Normand), was just another layer. It’s need to work together quickly because the concrete won’t wait, it’ll go interesting talking about her work, family, and culture. That’s what happens off. I passed that formula on, I learnt it from someone. It’s just another on the Artist Camp after the workshops and you’re sitting around the table, medium and that’s what the Artist Camp is about, experimentation and even over dinner, you’re talking about some of the things that happened getting ideas off other artists. It’s our love for art that we want to do that. during the day. I really enjoyed the week there, especially because I’d been Don’t treat me like I’m the big lecturer at the front of the class. idle for a while, it got me motivated. It kick-started me again. I encourage artists to introduce themselves to everyone around them

6 HIDDEN MIDDEN UNCOVERING TRUTH Collaboration with Laurie Nilsen Concreation ochre-stylised bollard, 2019 Concrete, coloured oxide Photo by Ronda Sharpe

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 7 Photo by Dominique Normand Photo by Jo-Anne Driessens Photo by Lystra Bisschop

RICK ROSER “IT’S IMPORTANT TO ACTUALLY PRODUCE OUR CULTURAL HERITAGE TODAY IN A PHYSICAL WAY, A PROVABLE WAY, A DEMONSTRABLE WAY.”

My guiding principle is you’ve got to practice these traditions to say net weaving. People learn by being set loose. If they’re interested in that we had survived. In the ‘70s and ‘80s, a lot of our culture was being something, when you show it to them, demonstrate how it’s done, revitalised. Before then a lot of the elders, particularly in the urban areas, they’ll have a go at it themselves. were political leaders (activists and protesters) and not so much cultural leaders because we were seriously fighting for survival. We weren’t Usually I only specialise in traditional methods and materials, and recognised as humans until the ‘67 referendum. After that, a lot of initially, I was going to make a driftwood raft and bark net, but this time things happened about our language, tribal boundaries, land claims, I chose to do a cross-cultural thing. In my mind, the evolution of our and the continuance of cultural traditions. watercraft (post-invasion to include new materials) deserved recognition too. Growing up on a creek in the ‘60s meant that every handy kid, or It was great to be invited to take part in the Artist Camp, as a anyone with a big brother had a tin canoe. It was made using a single tin Teaching Artist. Artists and presenters were all invigorated throughout sheet, folded lengthways and joined with whatever old nails or wire was with many finding insight and inspiration, the resolution of professional available, with an endless supply of tar from the road. issues or new skills, and it was exciting to be a part of it. There were a wide range of activities, mentors with experience and knowledge, I’d observed old photos and postcards from last century, canoes and and opportunities for artists to engage and collaborate. The venue boats made from old rain water tanks, kero drums, etc. They were and catering were perfect. stitched together, waterproofed, had cotton sails—and a fishing we will go! So I opted to revisit the ‘60s canoe made from roofing iron. I presented workshops on cultural methods: stone tool making; fire Not being 11 years old anymore, a single sheet of old roofing iron making; ochre making and painting with feathers; string making and wouldn’t do it, I needed four.

8 HIDDEN MIDDEN UNCOVERING TRUTH Iron Canoe, 2019 Iron, wood, wire, rope Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 9 Photo by Ronda Sharpe Collaborative beach installation Photo by Jo-Anne Driessens with Bianca Beetson, 2019 (site-specific installation) Photo by Sylvia Nakachi

BIANCA BEETSON “WE ALL BRING A WEALTH OF KNOWLEDGE WHICH WE SHARE FREELY AND OPENLY; TWO-WAY LEARNING.”

I led an ephemeral art workshop/project on the beachfront just find the materials which are available in abundance to create the work. utilising what we could find in nature (near the site). The idea of the Usually, one or two central objects found on site will determine the workshop was to show how you can make art anywhere with anything. form in which the work will take. Art which responds specifically to a place, the environment, made from the environment but will not impact the environment in any way. The The best thing about going on camp is the opportunity to completely work will over time return back to the earth. The notion of ephemeral immerse yourself in all the activities and conversations which occur artwork relating to the impermanence of the artwork, which touches on during the camp, without the distractions of our day-to-day lives. ground painting traditions of Aboriginal art. Furthermore, the camp location also provides a great stimulus for art making and cultural sharing. The first thing I do when creating a site-specific artwork is to spend some quiet time, listen to and feel the energy of the site. Then I decide on the best place to locate the work and explore the place to

10 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 11 Photo by Will Probert ALICIA JONES “YOU HAVE TO MOVE TO LIVE, AND IT’S NOT ABOUT YOU—IT’S ABOUT SOMETHING GREATER THAN THAT. YOU’RE A VEHICLE FOR SPIRIT TO DANCE.”

I was selected to be a mentor on the 2019 camp—the choice to apply I focussed on the experience of everyone else, all the time, and it made was a challenge in itself. Should I apply as an artist, mentor, or at all? me appreciate how I work as an artist and my level of intensity. Do I want to acquire more creative skills and expand the brain that brims with ideas, ideas, ideas? Ideas that carry a responsibility to act I’ve established myself as a performer, I’m not comfortable sitting on, when I’ve got all this other stuff I want to clear out of my head first. still. One of the things Jo said to me on camp this year was, “There’s Or was it better to support the artists in their journey? Or should I step a spotlight for you, regardless of your art form or your purpose in life. back and let others have a go? Was I mentor-enough material? I had There’s a spotlight for you and you just need to keep in that light, been on camp twice before. I knew what to expect, how the process because things are going to be calling you from out there, but just played out. I shared my concerns with the Arts and Culture team (City keep following that light”. The best parts of camp were watching Jo of Gold Coast). I desperately wanted to meet Gordon Hookey. That sit down and paint with Gordon for a whole workshop, and being with guy’s politics and my politics are on equal par. I was awarded a role as Rick in the iron canoe. Camp is so special. It brings our community mentor, alongside Libby Harward. I thought, “We work well together”, together and reminds us, we are not alone. We’ve created our own with our complementary behaviour, skills and knowledge. Libby has the little gang with shared values: we’re critical thinkers; open to our peers quiet, casual observer approach, whereas I’m noisy, bossy and a stickler and friends critiquing our work; we approach things from a spiritual for time. I found it really difficult to be a mentor, all I wanted to do was place, a material-grounded physical place, an emotional place and make art. There is so much behind-the-scenes work that is required with probably other planes we don’t know we’re working in; and we’ve all that the role and it allowed me to understand the work Jo (Senior Arts and emotional support for each other. Culture Project Officer, City of Gold Coast) does. I respect Jo so much. Camp challenged me. It made me realise, I am worthy. These people This camp was way different than the past two for many reasons, and (teachers) who I look up to, I’m one of the peer group and colleagues some related to the shift in my role. I was privy to greater relationships with them. My status in the industry is changing. As we grow up, we’re with the lead artists, relationships that I would never have formed had given roles of authority (not as elders) and on camp, Mark said that I’m I been an artist. I was too intimidated in the past, I hold these people an elder in that situation, I’m meant to take power. As a mentor, you also in very high regard. In my prior camp experience, I only had to focus have to be prepared to step back from the art, you have to be prepared on what I was creating, even in the collaborative projects. This time to live for other people. Long live the artists.

12 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Jo-Anne Driessens Photo by Dominique Normand

LIBBY HARWARD “MY ART IS POLITICALLY CHARGED AND IS MADE FROM A DESIRE TO ENCOURAGE DEEPER CONNECTIONS AND UNDERSTANDINGS OF OUR FIRST NATION KNOWLEDGE SYSTEMS SO AS TO RESTORE BALANCE TO OUR EARTH.”

My art making process centres around listening to country and follows significantly. I love being around other Indigenous artists as through our in the footsteps of my ancestors following cultural protocols taught to gatherings we model a sophisticated understanding of how sharing our me by my elders. Being a mentor on the Artist Camp gave me a chance energy, skills, stories, knowledge and passion not only expands others to share with other Indigenous artists: knowledge, stories, skills and work but expands our own practice, the well-being of our community and experiences. I rarely create my art alone and have learnt to surround our capacity to continue to effect change in the greater world. Being a myself with supportive people who believe in my work, and I invite them mentor on the Artist Camp 2019, was rewarding for me as I was able to to challenge me to create better and more potent work. My arts practice work alongside incredible established artists who inspire me in my own has matured solidly since I was a participant on the Artist Camp in 2015, practice as well as hold space for emerging artists to feel strong and and I’ve attended every year since. The mentorship of the established capable to challenge their individual artistic practices and feel that they artists has been very strong and has allowed me to grow my arts practice are believed in and able to experiment with new ideas and skills.

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 13 Sylvia Nakachi Restoration, 2019 Sea grass, fabric Photo by Jo-Anne Driessens

14 HIDDEN MIDDEN UNCOVERING TRUTH Felicia Agale Two Worlds, 2019 Hessian, wool. 180cm diameter Photo by Ian RT Colless

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 15 Felicia and her daughter Rebecca Photo by Dominique Normand

FELICIA AGALE “IT IS WHEN WE ARE MOST VULNERABLE AND EXPOSED, THAT THE TRUE HEART OF OUR STRENGTH COMES OUT.”

The Artist Camp experience has completely transformed both my art back on true self-expression. For me, being in the company of culturally practice and my self-belief. The transformation can be seen from an strong artists, especially, Torres Strait Islander women opened my heart experimental ephemeral work I created on-site using mangrove flowers to exchange, engage and learn. I have learnt that part of openness is and air-dried mud beads. From this work, I have started a clay jewellery vulnerability, and it is in this vulnerability that we show our real strength. business, something I would never have had the confidence to do. This business venture has organically evolved directly from my experiences With this in mind, I see the mangrove with its resilience and strength at the Artist Camp. to not merely survive but to flourish against all odds, in the black salty mud of Stradbroke Island as a metaphor for my art practice—with fragile I think from time to time we all struggle with self-doubt and listen to confidence, harsh self-doubt and inner critic dialogue, against all odds, the voice of the sometimes unjustified inner critic, and as a result, hold I flourish.

16 HIDDEN MIDDEN UNCOVERING TRUTH Flourish, 2019 Mangrove flowers, air-dried mud beads, acrylic Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 17 Photo by Dominique Normand

COLIN APPO “ART IS THE MOST BEAUTIFUL OUTLET IN TERMS OF GROUNDING MYSELF. IF I NEED TO SETTLE MY SPIRIT, IF I NEED TO QUIETEN MY MIND, IF I’M STRESSED, IT’S MY GO-TO, IT’S MY ANCHOR.”

In ancient times and today, the Minyungbal people were known as the As I watched the other artists on camp, more truth was revealed: there’s “light people”. Here in the east, we were known as “the keepers of nothing wrong with me. I’d have yarns and people would share exactly truth” and our borderlines are from the Tallebudgera River at Burleigh what I was feeling. These creative people go through the same thing Heads, skirting the hinterland down to Byron Bay. Being a keeper of I do; all the fears and doubts. We have struggles. We are real. It made truth is a major honour, it’s a responsibility that’s not heavy because me face my vulnerability. I don’t run from that anymore. Art saves me it’s not a burden. It causes me to be responsible with the knowledge from deflecting and projecting my anger, my issues, my problems. I receive, to respect it by sharing it. I am human—an emotional person that loves to create. If it wasn’t for art, I’d be experiencing life and when bad things would happen, Camp strengthened my resolve to keep doing what I’m doing. It gave I’d struggle to cope. So, I’d rob myself of the human experience by me focus, I came home with that vigour and got a foundation up and drinking and smoking, or deflect it by getting angry at someone. running. It’s called Yirrabal Gully (spiritual enlightenment) and Merrigingi Today I don’t deflect it, I’m not scared. (to turn one whole being around). Sometimes if you want to do something about your life, you need to become spiritually enlightened The fear and doubts were so loud in my head that when I didn’t believe and you cannot turn yourself around without it, because you need to in myself, I was trapped and they controlled my life. I got to a point know what you are turning yourself away from and what you are turning where I could learn out of fear. When my fears and doubts talk to me, yourself towards. When people need to turn their lives around, we I acknowledge them with truth: “I hear you, I ain’t going to swear at you, don’t give them medicine or Western therapy. We give them culture ... but I’m going to go do what you’re telling me not to do.” And then I’m through art or dance. going to see if my fear is real. I just do it and the fears and doubts have been getting smaller. They’re still there, but they’re not shouting in my head and they don’t immobilise me ... I’m freer. I keep and share this truth: Indigenous artists are to be sovereign, autonomous, and free-spirited.

18 HIDDEN MIDDEN UNCOVERING TRUTH Colin Appo and Mark Cora Creating Bora, 2019 Ochre, sand (site-specific installation) Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 19 Photo by Jo-Anne Driessens

LYSTRA BISSCHOP “I LIKE TO CHALLENGE MY FEARS DAILY, BUT IT’S IMPORTANT TO FIND A BALANCE BETWEEN PUSHING OUT OF MY COMFORT ZONE AND STAYING TRUE TO MYSELF.”

Before the Artist Camp, I didn’t see myself as an artist. I was a writer, and I left the poem in its raw, unedited state because of the way it came although I’d won a national writing award in 2018 for an unpublished to me, it needed respect. Demanded it. I was so nervous, not about manuscript, no one had read my work. I told myself I wasn’t a speaker. shaky hands or making mistakes, but scared I was going to cry. I almost I went to high school in a remote community (Bamaga) and only spoke did the night before when I voiced my concerns during a whole group Torres Strait Creole. When I left home at 16 to complete my senior high discussion and decision-making process. I knew I couldn’t “fake it ‘till school year in a city environment and boarded with a non-Indigenous ya make it” because it made me feel like a fraud. Colin Appo said that family, sometimes I struggled with finding the right English words. That to believe in myself, I needed to look within. And this is what I found: little lie, that I couldn’t speak English, seemed to stick to the bottom of I believe I’m meant to write. I believe I’m meant to share my writing. my black leather school shoe like a wad of pink bubble gum. I ignored it, I believe my thoughts, ideas and words are valid ... that I’m important. rather than dealt with its mess. If I believe this, then it doesn’t matter if people don’t like my writing, or if they don’t like me. It means I can choose to do what I feel is the right On camp, Thursday was known as Industry Day. The other artists had thing for me, right here, right now. been planning and prepping all week for our island art exhibition. As a novelist, I had nothing. I thought I’d melt into the background After our guests shuffled off the boat and onto the beach, I stood for the day. Except, early that morning in my dark wooden cabin, barefoot in the sand, on saltwater country, and for the first time in my I jolted awake with two words echoing through my mind: “strength” life, read my poem to a large crowd of strangers. Being true to myself and “dignity”. I grabbed a torch, pen and notebook, and scribbled means sharing openly, without a façade, without wearing a mask that relentlessly while lying on the bottom bunk. Those two words were seeks approval. the start of a free verse poem that seemed to come up out of the earth and wrap around me like a warm cloak. It was too powerful to Camp was more than art or culture or deeper connections. It was a place keep locked away. It was time to face my fear and share my poem with where I found a new confidence, a belief in myself and in my voice. 40 strangers, 40 important people in the art world, and only a 40 minute boat ride away.

20 HIDDEN MIDDEN UNCOVERING TRUTH UNSHAKEABLE By Lystra Bisschop

His story is one man’s perspective. Our wealth and values are different. His story drums so hard our tympanic membranes burst, We flourish in relationships, in connection to our countries, And we cannot hear the truth. And spiritual well-being. The truth depends on–not the one who wields the sword– But the holder of the pen. When I look around here and think of my old people, The pen changes everything. I know: We are clothed with dignity and strength. Observations become facts. We always were. A single viewpoint is accepted as written truth. Except now, we can shake off the dusty skin. The thick dust from those old history texts. Truth, but doesn’t that set you free? Freedom depends on who’s holding the truth, We stand next to our young ones, That tiny seed of truth planted by your ally, And hold up our mirrors of truth. Will grow into the tallest, strongest tree, And wait. That no wind of change will break. Wait for them to grow and shed off old skin, Old habits and grow again. If an enemy plants that seed, a weed grows unnaturally, Searching for sunlight and shade, never finding a balance, Time speeds up, faster and faster. Always hungry for the truth, It’s a crocodile, locking its jaws around its victims, Because something is missing, And death-rolling with speed, And the garden calls you a weed, Drowning who we are and were. Until ... An unwanted. His story. When unwanted weeds are tossed away, His story, yes, his story becomes history. Native land reforms. And now we wield a brush or voice or pen, We see beauty, we drink in truth, our truth, And as time passes, We were never a primitive people. Our truths become concrete. Yes, our clothing, methods and tools, May’ve seemed simple, Our works are our stories. But it took science, Our stories are being created and dust will pile high, Skill and so much more to live the way we did. Like Middens on faraway dunes. Our truth. Survive, they called it. We remember we have always been and always will be, We didn’t and don’t, we flourish. Clothed with dignity and strength.

Artwork and photo by Sylvia Nakachi

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 21 Photo by Jo-Anne Driessens

ALARA CAMERON “ART GIVES ME THAT DIRECT CONNECTION TO OUR ANCESTORS. IT OPENS ME UP TO ABSORB THEIR KNOWLEDGE, THEIR WAYS, AND WHEN I SHARE IT WITH OTHER PEOPLE, IT LIGHTS ME UP WITHIN, IT SHARES THAT ENERGY WITH OTHERS.”

As the 2019 Artist Camp was approaching, there were different stories Instead I carved in all different directions, and it looked cool. It took playing out in my mind. One raised a challenging question: was I going away that fear and control, and thinking that it had to be perfect. to fit into the “art” part of camp? This was my first Artist Camp and I’m still exploring my art, so I was a bit worried about going over there Camp lifted a block and got me motivated to do art again. Since camp, with other established artists. This question was answered, either when I paint and if a dot or tiny section is not one hundred percent by the ancestors or an inner knowing. They’d been sending me little perfect, I can leave it and it’s okay. Whereas in the past, it’d be the only signs, pushing me in that direction, and I’ve been trusting and just thing I’d see in the painting, and it’d do my head in. It was purely about going with it. my perception, nothing to do with the work.

One of the things that really stood out on camp was in the past I had Art allows us to operate in a different space and vibration. It’s not so a level of perfectionism with anything I did, particularly in my art. much “thinking”, but a “feeling and creating” space. The thinking It stopped me from moving forward because I thought if it wasn’t mind is where all the rubbish comes from, the reasoning and pulling it going to be perfect, I wouldn’t do it. As a general rule, a lot of us are apart, but now there’s a freedom, a nice space. This change has rippled programmed with that fear, and it’s just shifting that perception of through everything—the way I view life. It allowed confidence to come, mind. The day we walked up to the Midden, I looked at the way because there’s not a “fear” attached to everything being perfect. the sand created little ripples in the dunes. Each one was slightly different, none of them were the same, but it looked beautiful and When it’s your own story you can’t get it wrong. It’s a blank canvas and perfect in its own right. you’ve got to tell your experience. Take the camp yarning circle, that raw open sharing, works on a different vibration. People tune in and connect Nature isn’t exact, that in itself, is perfect. It was then that I came back to it. You don’t have to worry if they’re going to like it, because I think and carved a design into one of the concreation tiles. I did an emu print if it’s raw and it comes from the heart, people just connect. It’s the same in the sand dunes. I would’ve usually followed the same flow of lines. with art, you can’t get it wrong.

22 HIDDEN MIDDEN UNCOVERING TRUTH Collaboration with Laurie Nilsen Concreation ochre-stylised bollard, 2019 Concrete, coloured oxide Photo by Ronda Sharpe

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 23 Photo by Libby Harward

SONJA CARMICHAEL “WEAVING TAKES TIME, ALL THOSE THREADS ARE COMING TOGETHER. IT’S A METAPHOR FOR BRINGING TOGETHER ELEMENTS OF OUR CULTURE, RESTORING CULTURAL PRACTICES AND CELEBRATING OUR RESILIENCE.”

Going to the Artist Camp meant I visited Durungjili (South Stradbroke conditions, and has come to represent the deep roots of resilience Island) for the first time. It was new, yet familiar. I could see Minjerribah and restoration today. While walking along the beach on DurungjiIi, (North Stradbroke Island). Being on saltwater country always feels a I collected familiar washed up ropes and rubbish. It brings great sorrow part of me. I could feel the footprints of our ancestors when we went watching our beautiful shorelines change to a dumping ground of to The Bedrooms, and saw the large shell Midden. It must have been a ecotrash, and seeing first-hand the impact and senseless death of sacred place to feel so still—secrets of the past, hidden in the mounds marine creatures. Not only does this have a devastating effect on marine of shells. There would’ve been a lot of big gatherings there. life but it also affects our communities, our caring for country, and its contribution to healing and our well-being. Gordon told us one word can ignite a whole story: mine was “splituality”. Splituality refers to colonisation and its intention, during mission On camp, Gordon acknowledged that sometimes sorry business can days, to split us from our cultural practices. But, it didn’t split us at all, affect work. I haven’t spent a lot of time creating recently. Grief is such it strengthened us. Now we’ve gone “full circle” and we’ve got our a painful thing. A friend suggested I weave in such sad times. I made weaving back again. “Full circle” is feeling that connection to country earrings and it just felt good making something small. Not for any other and the strength of cultural continuity, regenerating our Quandamooka reason but to feel that sense of connecting. I go to the beach at home weaving practices and revitalising our language. every day, because connecting to country helps even when it doesn’t feel right to be making art. Splituality can also mean a split between natural versus man-made, merging with traditional and contemporary practices. Rick’s workshops The best thing about camp was being in such a peaceful place inspired me to experiment with string making using Talwalpin (cotton on saltwater country, coming together and experiencing how that tree). The regeneration of Quandamooka weaving involves new connection drives cultural practices. We became a collective in the true practices using new materials. I gather and make things with ghost sense of the word. We worked together, shared in a way that brought nets, fishing net and rope, lost or discarded at sea that weaves its way collective energy, in a culturally-safe way. Splituality—art is good for us, to our beaches. I unravel this to create new woven forms, connecting but it’s good to stop when you need to as well. When art is healing, it’s past, present, and future with this material which has survived harsh just sitting and making, and not thinking about too much.

24 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Carol McGregor

Photo by Ronda Sharpe

Photo by Libby Harward Photo by Ronda Sharpe

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 25 Photo by Dominique Normand

MARK CORA “ART IS MAKING CEREMONY.”

I have painted Bora Grounds for many years on canvas to bring with the ancient knowledge and our connection to the stars and natural significance to our sites and their importance to us, the Minyungbal environment. It is moved by the wind spinning around like dancers people and community we belong, who speak the Minyung dialect. creating ceremony. During the camp, I had an opportunity to create an interactive ochre design for the Industry Day presentation. The design allowed visitors to That’s what my whirly whirly represents; spinning dancers on the interact with the art and become part of the ceremony. It was good to see Bora Ground. the visitors stopping inside the bora ground design (without instruction) and feeling that they had to stop inside the earthen ring with coloured We have an obligation to look after land and people. It can’t be done ochre, and receive their personal smoking ceremony. alone. The beauty of this place will ensure and has ensured that this country is looked after. The importance and beauty of the environment is Since the camp my artwork has transformed from painting on a flat surface its protection. to making my designs into 3D forms using a variety of bush materials and commercial products. It’s not enough for my designs to be on a flat Our community is about having lots of different families growing in surface anymore, I have to bring their form to life. When creating art, cultural knowledge, gathering to share ceremony. The activation of local I seek to manifest life through our cultural practices because it’s hands-on, Aboriginal culture can contribute to supporting and creating a place to it’s all around us and embedded in the land—it’s not theory. share with others. When ceremony is created, it needs many contributors with all knowledge being shared among the community. This allows equal The Bora Grounds are our ancient ceremonial grounds. They are lore responsibility when making ceremony in community. grounds and provide private ceremonies for sorry business, marriages, and youth initiation. They’re also well known for our public business Through ceremony we are able to gain a better understanding on various where they’re transformed into our dancing grounds, our place of levels of knowledge. We have an obligation to share and look after each learning, storytelling, and creating a place of ceremony for healing. other. It’s connected to our spiritual knowledge; by sharing our words and By creating my whirly whirly, I was exploring our spiritual connection art, we can create healing.

26 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Lystra Bisschop

Mark Cora and Colin Appo Making ceremony, this whirly whirly travelled from Whirly whirly, 2019 Creating Bora, 2019 the saltwater country of South Stradbroke Island, Wire, linen cloth, Ochre, sand (above and below) inland to Mununjali country. string, emu feathers (site-specific installation) Photo by Jo-Anne Driessens Photo by Jo-Anne Driessens GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 27 Photo by Jo-Anne Driessens

SYLVIA NAKACHI “WORRY, STRESS, ANXIETY ARE TOXINS THAT WERE NEVER MEANT TO BE CONSUMED BY THE BODY.”

Finding myself: The camp became a personal journey of recovery, Sylvia who had lost her way through life, came back, birthed anew with healing and finding myself again, and what it means to have a true purpose, with meaning, and now has a destiny. The green represents purpose in life. During my time at camp, I had a healing encounter that my mother “Lela”, and her clan group, a Meuram woman, from Morgor made me reconnect back to myself, where I began to reflect and articulate village on Erub Island. I have always found strength in my mother, she on my life as a mother of four children, as an artist, and as a black woman. was always the strong tower, the fire and warmth in my family. During my Sitting all alone on the back part of the beach, behind the sand dunes moments of healing, I realised my mother has always been by my side, for several hours, watching the waves crashing on the shores and hearing even in my darkest times. their natural melody, I had an encounter of my life as it went flashing by, as emotions of hurt, betrayal, frustration, anger, being used and being alone Transformation, new journey: For many years I have created all sorts surfaced, which I never realised were buried deep within the depths of of different shaped baskets, objects and circular pieces from my banana my being. How I had lost myself, how I got too caught up in all busyness fibre weavings, and have never really thought of putting any meaning of life and focusing on the things that were meaningless or were not into my work. However, after my recent encounter at South Stradbroke important to me, neglecting the most important person in my life—me. Island, I had an awakening in my spirit, a rebirth of creating my weaving It was in these moments I began recording myself on my handheld to have significance and meaning, reflecting me, telling my stories, from recorder, moved with emotion, I spoke about my feelings for the first my childhood, my memories, my identity, my life, my own thoughts, time, how I truly felt. my opinions, connection to Island and country. “Welcome to my World” is my first ever artwork, after the Artist Camp, this weaving uses heaps Restoration: During the camp, I began weaving a circular piece, using of colourful spectrum, that speaks of my life now, living stress-free, mind only the pandanus leaves from outside my cabin. This particular weaving, free, and focussing more on myself. Today I chose to live my life toxic has become the symbol of my story, to remind myself of where I’d free, I refuse to no longer contaminate my mind, body and spirit with the received my healing and restoration. The pandanus represents the place, many harmful pollutants of this world. Because life in my world now has or country I had this special encounter. I had found myself again, that purpose, it has meaning, it has hope and it has a destiny.

28 HIDDEN MIDDEN UNCOVERING TRUTH Healing, 2019 Pandanus leaves, wool, fabric, twine 57cm x 57cm Photo by Sylvia Nakachi

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 29 Photo by Jo-Anne Driessens

DOMINIQUE NORMAND “THE POWER OF MAMUU–TOGETHER, CO-CREATING IN SACRED SPACE IS TRANSFORMING AND UPLIFTING.”

The camp experience was truly transforming for me. Never have I I especially appreciated the way Gordon Hookey’s documenting process been exposed to so many different art forms, learning new skills and inspired me to be more consistent with diary and sketch practice. techniques. As I was going through every day, I felt born again with new I find that these writings are nurturing my creative flow, bear witness knowledge and more assurance. I was somehow shedding old skins, to my artistic process and allow me to create a pool of inspiration for layers and concepts, such as, only seeing myself as a painter. I realised future projects. there is a strong visceral desire to explore three-dimensional art forms, public art, weaving, printing and more. The experience of getting away from home to be creatively immersed, in such poles apart surroundings, was the perfect way to fully immerse I have fully enjoyed learning to weave with Sonja Carmichael and made myself in the camp’s unique space and to clear any resistance to patterns my first raffia and palm basket. I also had the privilege to work on a and habits. To engage with the First Nation artists of Australia who mixed media piece integrating most of the workshops we attended, honour their culture with so much pride and passion, allowed me to as well as a concrete sculpture workshop led by Laurie Nilsen, which realise that I had a lot to learn about my own, and aroused in me the expanded my view of the different techniques and mediums that are deep desire to take action. available to me. But mostly, that I can be good at those skills too.

30 HIDDEN MIDDEN UNCOVERING TRUTH Photo by Dominique Normand

Photo by Jo-Anne Driessens

Primal, 2019 Snake, 2019 Palm, raffia, red ochre, feather Silky pod vines, handmade string, gumtree bark, red and Photo by Dominique Normand yellow ochre, beeswax in gauze, dried leaves, shells, feathers Photo by Dominique Normand

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 31 Photo by Jo-Anne Driessens

WILL PROBERT “TO LAY STONES OF FOUNDATION, SO YOUNG ONES CAN MAKE IT. WHEN THEY STRIVE FOR THE GOALS, WE GROW FROM THE PAVEMENT.”

Coming into the Artist Camp, I didn’t really know what to expect, except Industry Day was a great way to see who some of the people are in that I would be camping. Turns out I was right about that much but of our local arts industry, and gave me the opportunity to have candid course the trip away ended up being so much more than that. One conversations with different people from the industry while I was of the greatest aspects of the camp was the chance to learn new art creating. The best thing about the camp is that I got to go away and practices that I never had the chance of trying before, from amazing spend time with a bunch of people who were all there for the same thing artists and mentors. Gordon Hookey taught me to oil paint, and Rick I was there for, which was to create. The atmosphere was amazing, new Roser taught me a lot about working with traditional art practices both ideas and conversations were happening all the time. Well it was either of which have extended into my current arts practice. that, or everyone had their heads down creating.

32 HIDDEN MIDDEN UNCOVERING TRUTH THANK YOU MOONDAREWA (SOUTH STRADBROKE ISLAND) by Will Probert

Thank you Moondarewa, you brought us together from afar. Humble Koori here, just want to take part. Young Australian artist, due lineage from my father. A hungry Aboriginal, due strength of my mother. Writers, strikers, activists and advocates. Governance, love for it, hate for it, all that shit. Painters, photographers, sculptors and etchers. Pleasure found in Moondarewa’s essence. My trip I took, brought me all I need. All the questions and answers to help me succeed. Wiradjuri boy from Mount Druitt. Who would’ve known I could do it.

Be a part of something bigger. Something that my ancestors do bear witness. Something that took fog, and made it clear. Something that could bring strangers, turn them to peers. Into friends, and in the end, the time we shared, will not exist. Outside our mind, yet we persist, to take those binds, fashion it. Into the greatest work we can, and that’s our process of life. The process of the work, further analysed with might. Thanks to lending hands of leaders and teachers. A young man might stand outside feeling that he is. Larger than the margins which persist to contain him. Part and parcel of his role is the obligation. To lay stones of foundation, so young ones can make it. When they strive for the goals, we grow from the pavement.

Will Probert Crossing the Middden, 2019 Black and white digital photograph

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 33 Photo by Sylvia Nakachi

REBECCA RAY “OUR CULTURE, COMMUNITIES AND STORIES ARE IMPORTANT— WE ARE STRONGER WHEN WE COME TOGETHER.”

I was extremely excited about camp. I felt that I needed to be with The pieces were called “Home” and “Affinity”. community as I find I get emotionally and spiritually drained after long periods of time without safe cultural spaces. I had heard really great I tend to think about my work a lot before I create. I need to take time things about the Artist Camp from previous participants, so I felt I was to think of concepts and my creative practices are typically informed by ready to apply. I didn’t expect the camp to be as spiritually rewarding my academic research at university. I didn’t create too much on camp but something changed within me and I feel more connected than I but left with some concepts I’d like to explore, particularly now with ever have before. new skills and emotions.

I was really interested in the encaustic wax artwork. As a printmaker, The most challenging thing about camp was leaving. I struggled I work a lot with mark making and fine lines. The combination of thick with returning to the pressures of university and work, as I had felt so coloured wax merged into each other with the carving and pattern connected and safe at camp to explore creatively. making of my etching tools, was inspiring to push my practice further. I had never really used oil paints before, so learning how to effectively The best thing about camp was being around community. I felt a mix colours and blend was a great skill to gain. significant sense of belonging. My mother was also a participant at the camp and I feel like I helped her creative confidence and collaboration. For me, Industry Day proved to me that people care about our culture I feel closer to her after camp which is very important to me. and our creative expressions. I displayed two clear etching plates that allowed for viewers to see the design on a background of blue skies and Camp connected me to community and culture in a different way than clouds. While printmaking produces beautiful designs with ink, I actually I expected it to. It reaffirmed who I am as a person, personally and prefer the plates, especially when viewed through natural environments. creatively. I keep learning that many Indigenous people have experienced There is so much invisible beauty and detail around us that gets similar issues and feelings to me, so when I entered such a safe space I subsumed by the high stresses of society that we need to take time to was able to release those emotions and feel supported. I felt reinvigorated really view it. To take time and breathe. spiritually. This experience will continue to push me in my creative, academic and professional practices.

34 HIDDEN MIDDEN UNCOVERING TRUTH Affinity, 2019 Etched Plate 45cm x 30cm Photo by Jo-Anne Driessens

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 35 Photo by Dominique Normand

RONDA SHARPE “WEAVING IS ABOUT LINKING TOGETHER TRADITIONAL FIBRE ART TO MY PERSONAL JOURNEY OF SEARCHING FOR WAYS TO CONNECT WITH MY LOST INDIGENOUS HERITAGE THAT HAS BEEN UNSPOKEN IN MY FAMILY AND WAS HIDDEN FOR MOST OF MY LIFE.”

I am a Wiradjuri environmental artist inspired by my love and concern During our many walks around the beautiful island, I was shocked at for the environment. I use recycled-found mediums that have the amount of rubbish that had floated from the sea, especially due to been discarded and are destined for landfill. I transform them into the experience of remoteness on South Stradbroke. I always make it my contemporary fibre art and sculptural installations that examine the mission to leave an area cleaner and healthier than when I find it. So, connections of the past, the present, and the future, and highlight the myself and all the artists started to collect all the rubbish, and I created contemporary boundaries of consumerism and the throwaway society an interactive sculpture demonstrating contemporary culture’s lack of we currently live in. respect for the environment. This sculpture addressed the need for all of us to care and respect the land we live on, for now and for the future. The Artist Camp was an amazing experience due to the unique natural environment that provided isolation from civilisation and the day-to-day As I touched the earth and ocean, it enriched my soul on a personal and constant pressures of everyday life. This time allowed me to stop, take artistic level. The Artist Camp made me feel how important the natural a breath, reconnect to the land and the ocean, and be one with the environment is. I must make a conscious effort to physically connect to environment. I’m thankful for this life-changing opportunity. the natural environment on a regular basis. This experience encouraged me to experiment with different ways to interconnect natural and I focussed on being creative and getting out of my comfort zone by man-made mediums. My future focus will be on a broader interactive, learning from all the talented artists and mentors. The teachers were not in collaborative, artistic approach with a positive environmental message an authoritative position, enabling side-by-side learning. This meant they for the future. enthusiastically passed on their knowledge. We shared stories, sat together, connected, and I was part of the community which is very inspiring.

36 HIDDEN MIDDEN UNCOVERING TRUTH Untitled, 2019 Recycled wire mesh, data cables, cords Photo by Ian RT Colless

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 37 INDUSTRY DAY

“This camp provides Aboriginal and Torres Strait Islander cultural practitioners, arts workers and artists the opportunity to gather, learn, and create. These three things seem like they are normal parts of an artist’s life. However, artists often find themselves in a world of administration and networking, it isn’t limited to learning and creating. This camp responds to a critical need for our brothers and sisters to learn from each other in a cultural environment that encourages connection to country, creation and deep learning.”

Ian RT Colless (Project Officer First Nations Capacity Building, Australia Council for the Arts).

Top left photo by Carol McGregor. Middle right photo by Libby Harward. Remaining photos by Jo-Anne Driessens.

38 HIDDEN MIDDEN UNCOVERING TRUTH THANK YOU

Five full days on South Stradbroke Island 29 April to 4 May 2019, started with a group of strangers discovering common connections on a remote beach campsite: one lead artist, three teaching artists, two mentor artists, eleven feature artists, one chef, two kitchen staff, an Indigenous Cultural Heritage Officer, and an Indigenous Project Officer. Added to the mix were four Rani boat crew, forty Industry Day visitors, a snake expert, waterway and plant conservation officers—all playing a vital role in the success of this five day camp.

Thank you to chef, Felicity, with her energetic entourage, Axel and Blair.

A special thanks to Hague Best (Indigenous Cultural Heritage Officer, City of Gold Coast) who was our cultural guide and showed us the magnificent Middens. Hague found a stone artefact located on-site that would’ve been used by his ancestors to open eugaries. It was an awe-inspiring experience, and it felt as though we were walking through history. He explained how the sand moved across the island, burying trees and a toilet block, while uncovering other things.

Thanks to our presentation partner HOTA, Home of the Arts and to our Curator, Rebecca Ray, for her outstanding work in bringing together the exhibition— Hidden Midden Uncovering Truth. Thanks also to the unassuming support of Carol McGregor who mentored both the curator and editor.

Top row photos by Dominique Normand The 2019 South Stradbroke Island Indigenous Artist Camp was a Hidden Midden, it uncovered truth in all of us. On day one, when we boarded the Rani, the further Middle row photos by we voyaged away from the mainland, the lighter our shoulders became. We left Libby Harward and Lystra Bisschop the stress of Western culture behind. Strangely, when camp finished and we cruised back, we all felt it—camp changed us. We returned home with stronger Remaining photos by cultural ties. Ties that strengthened our confidence, anchored our identity, and Jo-Anne Driessens renewed our energy to vehemently pursue our professional passion as artists— First Nations artists.

Text: Lystra Bisschop, Publication Editor

The South Stradbroke Island Indigenous Artist Camp is a City of Gold Coast initiative and a key action of the Culture Strategy 2023, that values and supports the elevation and promotion of local Indigenous artists. The Artist Camp is delivered annually by Jo-Anne Driessens (Senior Arts and Culture Project Officer, City of Gold Coast) in collaboration with a supportive team of project partners.

GOLD COAST INDIGENOUS ARTIST CAMP SOUTH STRADBROKE ISLAND 2019 39 Exhibition catalogue for Hidden Midden Uncovering Truth Gold Coast Indigenous Artist Camp South Stradbroke Island 2019 Held at the HOTA (Home of the Arts) Exhibition 7 December – 8 December 2019 Publication Editor: Lystra Bisschop Exhibition Curator: Rebecca Ray

Text copyright of the authors Images copyright of the artists

Queries regarding the republication of any material should be addressed to: City of Gold Coast PO Box 5042 GCMC QLD 9729

ISBN 1 74057 051 0

First published 2019 Designed by: Creative Arts, City of Gold Coast Printed by: Nova Press, Gold Coast

Cover Image: Rebecca Ray Saltwater dreaming connective flow, 2019 Encaustic wax, oil paint, ink 30cm x 30cm Photo by Lystra Bisschop

Collaborative skateboard artwork with Gordon Hookey, 2019 Photos by Lystra Bisschop

Inside Front Cover Image by Lystra Bisschop Inside Back Cover Image by Dominique Normand

19-LC-00599