Photographic tableau highlights historical injustices

Nature Morte (Agriculture) and Nature Morte (Blackbird), from Australian photographic artist Michael Cook’s ‘Natures Mortes’ series, draw on visual strategies affiliated with the still‑life genre — particularly the memento mori, a visual reminder of the inevitability of death — to highlight the devastating impact of colonisation from an Indigenous point of view. Michael Cook ‘Nature…

Swinging branches & rocks build up a visible residue

For Tracing inscriptions 2020/22, a purpose-built plotter printer is programmed by Robert Andrew to trace an undisclosed Yawuru text in Latin script, activating strings stretching over viewers’ heads that connect to the branches and rocks opposite. Without ink, the traced letters and words are left invisible and undisclosed to the viewer. The artist seeks to…

Sally Gabori’s ‘Makarrki’ is layered with memories of home

Mirdidingkingathi Juwarnda Sally Gabori was born by a small tidal creek around 1924 on the south side of Bentinck Island, of the South Wellesley Island Group in the Gulf of Carpentaria, Far North Queensland. Her Kayardild language name, Mirdidingkingathi, means ‘born at Mirdidingki’, her country on Bentinck Island, and Juwarnda means ‘dolphin’, her totem. Gabori…

Art and cars: Kayili artists

Kayili artists Mary Gibson, Mrs Kumana Ward, Pulpurru Davies, Nola Campbell and Jackie Kurltjunyintja Giles have each indulged a love of colour, animating their car bonnet’s surface with shimmering, cryptic, topographical maps of their country, and the ancestral journeys that formed it. Patjarr, home to the Kayili artists, is a small community of around 20–30…

Sally Gabori: This is My Land, This is My Sea, This is Who I Am

In 2022 Mirdidingkingathi Juwarnda Sally Gabori (c.1924-2015) was named one of Queensland’s Greats, the awards this year recognising a contemporary Queensland artist who made a significant international impact in the art world. Sally Gabori is also having her first major solo international exhibition at the Fondation Cartier pour l’art contemporain, opened by Australian Prime Minister…

Artwork recalls Queensland’s history

From dugonging (1847–1969) to mineral mining (1949–2019), industry has had disastrous cultural and environmental ramifications on Minjerribah (North Stradbroke Island). In The tide waits for no one 2020–21 (illustrated), Megan Cope addresses these complex social histories, examining their impacts on the land and on generations of its Traditional Owners, the Quandamooka people. At the turn…