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…

Mannequins strike a pose

The desire to ‘climb the ladder’ of the social and economic order is humorously questioned by Justene Williams in The Vertigoats 2021. Lurid department-store shelving and vivid mannequins create the mood of a hyped-up retail environment. Williams distorts the mannequins’ limbs to draw attention to the ridiculousness of the ideal body propagated by the fashion…

Personal recollections: Distant memories & recent events

Flashes of distant memories and glimpses of recent events are conjured by Jenny Watson in Private views and rear visions 2021–22. These pictures are taken from Watson’s personal recollections, ranging from treasured familial interactions to daydreams and unexceptional everyday occurrences. Horses and lone women are hallmarks of the artist’s practice and, within the various scenes…

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…

Multilayered worlds are a combination of the virtual and the painterly

Rendered in shades of grey, James Barth’s painterly avatars bear an eerie likeness to the artist, caught somewhere between self-portrait and selfprojection. In Gleaming, I’m shown 2021 (illustrated), the bodily forms of the two lounging, plaid-clothed characters mock skeletal norms. The legless figure sitting in the background is paper-thin, and the arms belonging to the…

Vanghoua Anthony Vue’s art inspired by Hmong heritage

Vanghoua Anthony Vue’s geometric mural and ornate headdress sculptures included in ‘Embodied Knowledge: Queensland Contemporary Art’ greet viewers with a cacophony of colour and texture. The artist’s new tape installation nkag siab poob siab 2022, from his ‘Tape-affiti’ series — the title a play on the word graffiti — is an abstract composition spanning more…