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    ARTIST: Bibi Viro TITLE: Midnight in the Garden of Lingering Despair MEDIUM: Pigment ink on archival fine art paper DIMENSIONS: 750x1500mm DATE: 2020 Artist statement Climate scientists have made it very clear that human induced Global Warming is causing many environmental challenges. Despite the increasing “extreme weather events” experienced in countries around the world including Australia, many continue to deny the science. Storms that flood cities and threaten ecosystems are no longer ‘one in a hundred year’ events. Fires that ravage the landscape often burn uncontrollably. In Midnight in the Garden of lingering despair the landscape is under pressure. the colours are distorted, the focus is fading, and the contorted trees take on a human element that conveys despair. What is in focus are the twelve circles in the foreground that demand your attention.

    ARTIST: Kirsty McIntyre TITLE: They kept calm, they carried on.. MEDIUM: Oil on canvas DIMENSIONS: 600x600mm DATE: 2020 Artist statement Completed whilst bushfires burned across the Eastern states, this work portrays destruction, regeneration and resilience. It was designed to convey the shocking losses with familiar and ordinary domestic objects, using oil paint on canvas, with brush and palette knife..

    ARTIST: Kait James TITLE: Game Over Invaders MEDIUM: Wool, cotton, acrylic paint on cotton DIMENSIONS: 720x460mm DATE: 2019 Artist statement As a proud Wadawurrung woman, Kait’s work asks questions relating to identity, perception and our knowledge of Australia’s Indigenous communities. Using Punch Needling techniques, she embroiders kitsch found materials. Her current work focuses on Aboriginal Calendar Tea Towels from the 70-80’s that generalise and stereotype her culture and subverts them with familiar pop-cultural references, Indigenous issues relevant to that year, as well as the present day to reflect her contemporary perspective. Through the use of humour and vivid colours, James addresses the way white western culture has dominated Australia’s history, how Australia and the world perceives our First Nations’ People and her personal reflections on her Indigenous heritage.

    ARTIST: Trisha Lambi TITLE: Homeward bound MEDIUM: Oil on linen DIMENSIONS: 500x400mm DATE: 2018 Artist statement This piece is from my series inspired by memories of hot summer days spent holidaying on Fraser Island off the coast of Queensland. For anyone who hasn't visited this beautiful island, a 4WD vehicle is required to fully enjoy all it has to offer so our activities were dictated to by the tides. Unfortunately that meant we had to be out and about in the hottest part of the day - I still remember the searing heat but I also remember the fun. Our kids are grown now so the memories evoked as I paint are painfully sweet.

    ARTIST: Megan Bonnici TITLE: Space Dunes MEDIUM: Inkjet print on archival paper DIMENSIONS: 830x1110mm DATE: 2019 Artist statement For me, Space Dunes in its colouration suggests both the Earth and the heavens. I love the way the lines of light evoke a sense of movement, with sheer fabric-like folds and layers. I also enjoy the freedom we have to interpret the abstract in many ways. What do you see?

    ARTIST: Karen Casey TITLE: Transplanted MEDIUM: 3-way lenticular image DIMENSIONS: 840x600mm DATE: 2019 Artist statement This work was created using medical diagnostic imaging software and it reflects a deeply personal journey through a period of physical fragility, degeneration and regeneration through medical intervention. These manipulated medical scans, taken post-transplant surgery, highlight a chapter of my story. Irradiated, anaesthetised, cut, cauterised, incised - stitched and stapled back together, the images peel back the layers of body, revealing the skeletal form, organs, sinews and musculature. They are confronting yet at the same time compelling as my internal body is transformed into a thing of macabre beauty that somehow belies the level of damage and trauma once experienced.

    ARTIST: Deanne Gilson TITLE: Wurring Wurring (Traditional shield), After the Gold Rush MEDIUM: Red, white and pink ochres from Black Hill Ballarat, gold leaf. Acrylic on Belgium linen DIMENSIONS: 1500x1200mm DATE: 2020 Artist statement I have copied the traditional diamond pattern used by my ancestors, then painted it in colours of Country. The gold leaf overlay depicts the point where the gold miners came and took from our land. Our way of life was interrupted. Cultural artefacts became highly sort after amongst the colonisers. The original shield was designed to protect the body. Now it stands for protection of our knowledges and a symbol of survival. The whitewash of culture, along with the shape, reflect the colonial picture frame, a traditional grave and strength of my people.

    ARTIST: Elizabeth van Herwaarden TITLE: Mangrove Leaf, Galapagos Islands MEDIUM: Tapestry weaving with hand spun and hand dyed paper thread DIMENSIONS: 210x140mm DATE: 2019 Artist statement This shaped tapestry weaving of a mangrove leaf from hand spun recycled paper has the map of the Galapagos Islands on it which I recently visited. I spun dressmaking pattern paper into thread with a drop spindle and used coreopsis flowers, onion skins and beetroot to dye the paper thread. The mangrove trees play a vital role in the eco-system of these Islands. They provide safe habitat for all kinds of birds, fish and insects. When leaves absorb salt, they turn yellow and brown and drop into the sea. There are many of these beautifully patterned yellow leaves floating everywhere.

    ARTIST: Amala Groom TITLE: Copywrong MEDIUM: Fake boomerang, ochre, acrylic, Australian currency DIMENSIONS: 350x200x50mm DATE: 2018 Artist statement Aboriginal and Torres Strait Islander People’s cultures are the oldest surviving continuous cultures on Earth. The First Peoples of these many nations now known as Australia are the custodians and caretakers of our cultures. Cultures that do not enjoy the same legal protections, freedoms and privileges that multi-national corporations do. Our cultures are continuously appropriated at our expense and for the benefit of prescribed national interests and the Australian economy. The boomerang is an internationally recognised symbol of ‘Australian culture’, which is bastardised by the tourism industry; sold as a trinket, a souvenir, and the physical memory of a holiday. Copywrong, 2018 is a work about the severe lack of entitlements to copyright for First Peoples cultural materials. This boomerang was made overseas, it has been marked with unidentifiable totems in acrylic paint. Ochre is used to incant the need for our cultures to come back home; they need to be protected under the international legal system.

    ARTIST: Kelly Koumalatsos TITLE: Wergaia, Wemba Wemba Mimi’s (Nana’s) possum fur, milking overalls MEDIUM: Sculpture-Possum fur printed tissue paper, cotton thread, buttons DIMENSIONS: 1500x450mm DATE: 2019 Artist statement An expression of my Wergaia /Wemba Wemba culture, these overalls are a portrait of my maternal grandmother Nina Anderson. Nana and her husband had a dairy farm at Murraydale on the banks of the Murray River. Nana would sing to the cows as she milked them. The possum fur print on the overalls is the visual representation of Nana’s identity. Possum skin cloaks in pre-colonial society were decorated with individuals’ patterns and designs. The possum fur print on Nana’s overalls is a celebration and an extension of a cultural practice going back thousands of years. Here I have used possum fur as a printing plate to print onto the tissue paper. I roll the fur with ink and put it the through a press.

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