FORTHCOMING EXHIBITIONS
A PRINTED PERSPECTIVE
Works on paper and textile by Healesville Aboriginal Artists Print Cooperative including United Mobs in Art.
Curated by Bidjara artist Nikki Browne
Artists: Aunty Kim and Lewis Wandin, Merilyn and Jillian Duff, Jamielee Edwards, Lisa Hodgson, Jacque and Alanna Sandy, Raelene Cheetham, Megan Prout, Jacqui Wandin, Kelvin Thompson and Jo Vose.
Autumn 2021
Curated by Bidjara artist Nikki Browne
Artists: Aunty Kim and Lewis Wandin, Merilyn and Jillian Duff, Jamielee Edwards, Lisa Hodgson, Jacque and Alanna Sandy, Raelene Cheetham, Megan Prout, Jacqui Wandin, Kelvin Thompson and Jo Vose.
Autumn 2021
Top image: Athena Nangala Granites, Napaljarri-warnu Jukurrpa (Seven Sisters Dreaming)
Glenn loughrey - love letters to country
1st June - 31st August 2021
Loughrey's work is both a lament and celebration of Country. His overriding concern is for the ongoing impacts of colonisation and the resilience and resistance of Aboriginal people, not as victims or survivors, but as Sovereign Peoples of this land.
Glenn will be in attendance at Hearth for a day of conversation with visitors: Saturday 20th Feb, 11am-3pm
Loughrey’s art practice is an exploration of his journey into his family, his mob and his country, and his preoccupation is with the interaction between dominant ‘white culture and the oldest living culture on the planet’. His work explores the impact of that interaction from an Indigenous man’s point of view and Glenn’s purpose is always to engage, challenge and initiate action leading to unification and reconciliation.
He uses combined perspectives; an aerial view of country, with European landscape traditions. He is intrigued by pattern thinking, ‘there are intertwined patterns below above and across the country; the past present and future are connected in one place, the place where you are, and in terms of the art, on the canvas.’
He applies his acrylic paint thickly, one dot at a time, usually with raised, texture to invite touch and interaction. He works so that the individual pieces are not stand-alone, but are viewed as a part of a longer, continuing conversation, ‘reflecting a continuum of deep listening and a personal anthology’.
Loughrey’s recent personal story has been one of returning to his culture. Growing up in Ulan, NSW, he was called ‘Black Fella’s Young Fella’ as a boy, with his family generally avoiding acknowledgement of their Aboriginality because of the violence inherent in the story of Jimmy Blacksmith, and the distinct possibility that Blacksmith, whose real name was Jimmy Governor, was Loughrey's great-grandfather, The inaccurate portrayal of Jimmy Blacksmith as being the instigator of violence brought about a journey by Loughrey, from shame about the stories of the past, to embracing his identity as an Aboriginal man. Having Aboriginal culture denied to him as child, lead Loughrey to find spiritual expression elsewhere and he became an Anglican minister in the white conservative suburb of Glen Iris in Melbourne.
Loughrey’s works have been both finalist and shortlisted in the Doug Moran Portrait Prize (2017, 2018) and he has held a number of solo exhibitions. In 2020 Loughrey become finalist in the Paddington Art Prize , the Mandorla Art Prize, and the Blake Art Prize, and he is currently working on a large glass installation at St Paul's Cathedral.
Loughrey's work is both a lament and celebration of Country. His overriding concern is for the ongoing impacts of colonisation and the resilience and resistance of Aboriginal people, not as victims or survivors, but as Sovereign Peoples of this land.
Glenn will be in attendance at Hearth for a day of conversation with visitors: Saturday 20th Feb, 11am-3pm
Loughrey’s art practice is an exploration of his journey into his family, his mob and his country, and his preoccupation is with the interaction between dominant ‘white culture and the oldest living culture on the planet’. His work explores the impact of that interaction from an Indigenous man’s point of view and Glenn’s purpose is always to engage, challenge and initiate action leading to unification and reconciliation.
He uses combined perspectives; an aerial view of country, with European landscape traditions. He is intrigued by pattern thinking, ‘there are intertwined patterns below above and across the country; the past present and future are connected in one place, the place where you are, and in terms of the art, on the canvas.’
He applies his acrylic paint thickly, one dot at a time, usually with raised, texture to invite touch and interaction. He works so that the individual pieces are not stand-alone, but are viewed as a part of a longer, continuing conversation, ‘reflecting a continuum of deep listening and a personal anthology’.
Loughrey’s recent personal story has been one of returning to his culture. Growing up in Ulan, NSW, he was called ‘Black Fella’s Young Fella’ as a boy, with his family generally avoiding acknowledgement of their Aboriginality because of the violence inherent in the story of Jimmy Blacksmith, and the distinct possibility that Blacksmith, whose real name was Jimmy Governor, was Loughrey's great-grandfather, The inaccurate portrayal of Jimmy Blacksmith as being the instigator of violence brought about a journey by Loughrey, from shame about the stories of the past, to embracing his identity as an Aboriginal man. Having Aboriginal culture denied to him as child, lead Loughrey to find spiritual expression elsewhere and he became an Anglican minister in the white conservative suburb of Glen Iris in Melbourne.
Loughrey’s works have been both finalist and shortlisted in the Doug Moran Portrait Prize (2017, 2018) and he has held a number of solo exhibitions. In 2020 Loughrey become finalist in the Paddington Art Prize , the Mandorla Art Prize, and the Blake Art Prize, and he is currently working on a large glass installation at St Paul's Cathedral.
Yilpinji - Love Magic
September 1st - November 31 2021
These beautiful prints are a selection made from the renowned and globally exhibited 'Yilpinji Collection' and explore the visual tradition relating to Yilpinji, the love arts, and ceremonies practiced by the Walpiri and Kukatja people of the Central and Western Deserts of Australia.
The original paintings were a response to a commission for works by senior artists on the theme of Love Art and accompanied by an interpretive descriptive. The unique stories of the love arts and the legends and landscapes pertaining to them are beautifully recounted by Dr Christine Nicholls covering areas of kinship, courtship, unlawful relationships, decoration, song art, poetry, song, and narrative.
Images – Courtesy of the artist and the Australian Art Network.
Below Images:
Yanjirlpiri by Paddy Japaljarri Sims, Paper Print 56x76 cm Katinpatimpa by Abie Jangala, Paper Print 56x76 cm
These beautiful prints are a selection made from the renowned and globally exhibited 'Yilpinji Collection' and explore the visual tradition relating to Yilpinji, the love arts, and ceremonies practiced by the Walpiri and Kukatja people of the Central and Western Deserts of Australia.
The original paintings were a response to a commission for works by senior artists on the theme of Love Art and accompanied by an interpretive descriptive. The unique stories of the love arts and the legends and landscapes pertaining to them are beautifully recounted by Dr Christine Nicholls covering areas of kinship, courtship, unlawful relationships, decoration, song art, poetry, song, and narrative.
Images – Courtesy of the artist and the Australian Art Network.
Below Images:
Yanjirlpiri by Paddy Japaljarri Sims, Paper Print 56x76 cm Katinpatimpa by Abie Jangala, Paper Print 56x76 cm
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