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
SEVEN SISTERS DREAMING |
1/3/21-31/5/21
Seven Sisters Dreaming - Kungkarangkalpa and Napaljarri-warnu Jukurrpa
- Tricks and Transformation -
Athena Nangala Granites, Priscilla Napurrurla Herbert and Shanna Napanangka Williams
The Seven Sisters stories concern a group of seven ancestral women being pursued by a cunning shape-shifter who disguises himself in countless ways to trick the sisters. The Seven Sisters also have some tricks of their own, they can fly. These journeys are associated with sacred ceremony, creation of features in the landscape, and ultimately, transformation.
Priscilla Napurrurla Herbert paints the Kungkarangkalpa Tjukurrpa which is from the area around Mititjulu. Athena Nangala Granites paints the Warlpiri stories of the Napaljarri-warnu Jukurrpa. Both women belong to Warlukurlangu Artists in Yuendumu in the Northern Territory.
Through significant works by Athena Nangala Granites and Priscilla Napurrurla Herbert this exhibition explores the power of contemporary Aboriginal art, through the journeys of the Seven Sisters, to challenge our perceptions of time and space, and equally to question our integration with place. This Jukurrpa tells the story of the seven ancestral Napaljarri sisters who are found in the night sky as a cluster of seven stars known as the Pleiades in European astrology. Their story across the landscape tells of their pursuit by the Jakamarra man who eventually chases them into the sky; they leave the landscape below changed forever by their interactions.
Athena, born in 1994, is the daughter of Geraldine Napangardi Granites and the grand-daughter of Alma Nungarrayi Granites, well-known artists who paint with Warlukurlangu Artists. She is also the great grand-daughter of Paddy Japaljarri Sims (Deceased) one of the founding artists of Warlukurlangu Artists. Athena has been painting with Warlukurlangu Artists Corporation, since 2010.
Priscilla was born in Alice Springs in 1977 and has been painting with Warlukurlangu Artists since 2010. Her country is Tanami Downs, until recently Mongrel Downs Station, located about 700 km north-west of Alice Springs.
Shanna, born in 1988, has been painting with Warlukurlangu Artists Aboriginal Corporation, since 2002, when she was 14 years of age. Four generations of Shanna's family actively participate in the activities of the art centre.
Seven Sisters Dreaming - Kungkarangkalpa and Napaljarri-warnu Jukurrpa
- Tricks and Transformation -
Athena Nangala Granites, Priscilla Napurrurla Herbert and Shanna Napanangka Williams
The Seven Sisters stories concern a group of seven ancestral women being pursued by a cunning shape-shifter who disguises himself in countless ways to trick the sisters. The Seven Sisters also have some tricks of their own, they can fly. These journeys are associated with sacred ceremony, creation of features in the landscape, and ultimately, transformation.
Priscilla Napurrurla Herbert paints the Kungkarangkalpa Tjukurrpa which is from the area around Mititjulu. Athena Nangala Granites paints the Warlpiri stories of the Napaljarri-warnu Jukurrpa. Both women belong to Warlukurlangu Artists in Yuendumu in the Northern Territory.
Through significant works by Athena Nangala Granites and Priscilla Napurrurla Herbert this exhibition explores the power of contemporary Aboriginal art, through the journeys of the Seven Sisters, to challenge our perceptions of time and space, and equally to question our integration with place. This Jukurrpa tells the story of the seven ancestral Napaljarri sisters who are found in the night sky as a cluster of seven stars known as the Pleiades in European astrology. Their story across the landscape tells of their pursuit by the Jakamarra man who eventually chases them into the sky; they leave the landscape below changed forever by their interactions.
Athena, born in 1994, is the daughter of Geraldine Napangardi Granites and the grand-daughter of Alma Nungarrayi Granites, well-known artists who paint with Warlukurlangu Artists. She is also the great grand-daughter of Paddy Japaljarri Sims (Deceased) one of the founding artists of Warlukurlangu Artists. Athena has been painting with Warlukurlangu Artists Corporation, since 2010.
Priscilla was born in Alice Springs in 1977 and has been painting with Warlukurlangu Artists since 2010. Her country is Tanami Downs, until recently Mongrel Downs Station, located about 700 km north-west of Alice Springs.
Shanna, born in 1988, has been painting with Warlukurlangu Artists Aboriginal Corporation, since 2002, when she was 14 years of age. Four generations of Shanna's family actively participate in the activities of the art centre.
Athena Nangala Granites, Napaljarri-warnu Jukurrpa (Seven Sisters Dreaming)
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.
Moon Over Mudgee - Always Was Always Will Be Wiradjuri Land, Glenn Loughrey, acrylic on canvas, 122x152cm
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