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| To search for an artist press Ctrl and F keys together. Type the name or part of the name into the "Find" box and press enter. If the artist is listed, your web browser will find them for you. |
| October 2009 |
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| Heather Fairnie - Mapping Territories | September |
| Leitmotif - Kathleen Boyle | August 2009 |
| APMER MWERRANGKER | July 2009 |
| Intentionless Grace - Dianne Kilderry | June 2009 |
| KUDDITJI KNGWARREYE | February 2009 |
| Aborinal art across Australia | January 2009 |
| AISLING GHEAL | October 2008 |
| Maggie Diaz - Tiffaney Bishop | April 08 |
| enLIGHTen - Lloyd Godman | March 2008 |
| Turtles all the Way Down | January 2008 |
| New insights from the Collection | September 2007 |
| Wild Dogs from Downunder | February 2007 |
| Works from the Burrinja Collection | January 2007 |
| CHEN YONGQIANG | October 2006 |
| Affordable Contemporary Art @ Burrinja | September 2006 |
| Mission Voices | May 2006 |
| Learning From The Knee | April 2006 |
| Central Desert works | October 2005 |
| It Doesn't Make Any Sense Upside Down | October 2005 |
| Big Art | July 2005 |
| Gili Bigi | May 2005 |
| Elder & Emerging | February 2005 |
| A Poko Poko Nau | June 2004 |
| Footprints of the spirits | April 2004 |
| Threads of Time | December 2003 |
| Contemporary Masters | August 2003 |
| Ticket Men | April 2003 |
| Koorie Heritage Trust Collection | July 2002 |
| Wungud Essence of Wundjina | February
2002 |
| Beauty With Fire Six Textile Artists | November 2001 |
| Anton McMurray Into The Wild | September 2001 |
| April 2001 |
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| Jonathan Kumintjara Brown Maralinga - Heart of my Country | April 2001 |
| The Nganjmirra Family Wet Season - My Grandfather told me | Jan 2001 |
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GALLERY 2
FROM THE STOCKROOM – ART SALE Neil McLeod Fine Arts From 1 October 2009 A PASSION THAT ECHOES THE PAST Works from Neil McLeods Collection until 26 January 2010 These works are the essence of my imagination. Please
journey into them. Travel the road. Memories of places now scattered.
Of people and places now gone. My work is not only about what you see
before your eyes, but of what is not seen. Experiences that lie beyond
the surface. My works are my journey to discover my voice : the journey
now owns me. This exhibition will feature artworks never before offered for sale, including:
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MAPPING – TERRITORIES AND LANDSCAPE HEATHER FAIRNIE new works on paper, and works from the BURRINJA Indigenous Collection. This exhibition explores the intersections of mapping across Western and Indigenous art traditions, including the contrasts and synchronicities with ‘mapping country’ works from the Burrinja Indigenous Collection and new work created by contemporary artist Heather Fairnie. This exhibition aims to foster engagement with the process of mapping across cultural divides, enhancing the way audiences & artists perceive the place of Aboriginal art in a contemporary context. Maps are an integral part of our lives, and have a remarkable effect on our view of the world. They offer us a picture of our environment, an apparent reflection of our world and a guide to the way we might navigate the landscape and define our territories. From sketchy hand drawn directions to the latest GPS navigation systems, in contemporary Western culture we rely on maps in the everyday, equating their linear directions as some kind of truth. A map is essentially limited, however, in order to offer a readable likeness. The process and form of mapping any space is inherently subjective and loaded with conscious and unconscious omissions. Maps have the ability to inform, interpret and interrupt, to re-contextualise our conceptualizations of not only where we live, but of who we are. Informatively then, the differences in how cultures ‘map’ their territories directly informs the divergent ways in which they approach their lived culture on a daily basis. This exhibition explores the way we give visual form to landscape and territory by looking at the shape and substance of mapping across cultural divides.
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1A
notable exception was the renowned Arrernte artist Albert (Elea) Namatjira
(1902 -1959) who’s water-colour landscapes of the Macdonnell Ranges and the nearby region brought him to international fame in the 1940’s and 1950’s. |
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KATHLEEN BOYLE: LEITMOTIF
23rd July – 27th September 2009 Opening 2pm Sunday 26th July – all welcome  ‘My work is often concerned with those aspects of life which remain a mystery to us. Suffering, joy, relationships, the particular experience of being a woman, a child, of touching the world and others, of nature and grace’ – Kathleen Boyle This exhibition profiles key drawings
and monoprints from Kathleen Boyle. While Kathleen’s broader body
of work ranges across media from printing and drawing, to painting, collage
and most recently wooden construction, this exhibition offers a short
review of her more figurative drawings and prints. Even within this framework,
however, Kathleen’s adventurous approach to experimenting with various
media and materials is evident in the various papers and surfaces she
works on and the techniques she employs to express her vision.
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Over her lifetime, Kathleen Boyle has been
involved in and witnessed much of the development of the artistic world
as a practicing artist, art student, and teacher in Melbourne. From 1960 to 1987 Kathleen Boyle was a Lecturer in Fine Art at Chisholm Institute of Technology (later Monash University). During this time she undertook a Master of Fine Arts Degree in San Francisco, 1973-1975 Moving and working in these creative environments, the central role of art in her life was encouraged and nurtured and she was always aware of a broad range of artistic expression which fed into her own practice. Kathleen Boyle has won several awards for her work, held many solo exhibitions, and participated in numerous group shows. She is represented in the collections of several regional galleries and universities in Australia and also in public and private collections in Australia, England, Italy and the United States. She currently lives in the Dandenong Ranges. |
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| Winning several awards for her artwork, Kathleen has held many solo exhibitions, and participated in numerous group shows nationally and internationally. She is represented in the collections of several regional galleries and universities in Australia and also in public and private collections in Australia, England, Italy and the United States | ||
APMER MWERRANGKER
BEAUTIFUL COUNTRY… EVER PRESENT PAST Etchings from the Utopia region, Central Australia Opening Thursday April 23, 7pm (* Apmer Mwerrangker” is pronounced: ‘ab
mirrah’ ‘ma rung gara’)
Burrinja presents the premier exhibition of the complete
collection of 23 etchings produced in 1999-2000 APMER
MWERRANGKER Join Narayan Kozeluh for an
insightful series of public sessions
Exhibition Opening: Thursday April 23.
7pm Session 1 Footprints and Sacred Images: the
region, the artists & their art Session 2 Aboriginal Art Centres – Central
Desert Session 3 Print making in the Desert Bookings and Information @ BURRINJA
ABOUT THE EXHIBITION AMPILIWATJA NARAYAN KOZELUH EXHIBITION ESSAYS AND RESOURCES ‘Footprints
and Sacred Images’. ‘Divine
Geometry – reflections of an art advisor’. ‘Holding
the Country – Art from Utopia and Sandover’. Film: print-making project in progress. Showing in gallery Limited editions of works available for sale All images with permission: Urapuntja Artists of Utopia. |
INTENTIONLESS GRACE Opening event 2pm Saturday 9th
May – all welcome. |
INTENTIONLESS GRACE Opening event 2pm Saturday 9th May – all welcome. |
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| A collection of old metal objects found at a country tip became the
starting point for the abstract paintings and drawings in this exhibition.
Inspired by the form and essence of these found objects, Kilderry’s
ghostly, meditative artworks create space for the viewer to move past
the literal world to the subjective space beyond.
‘These objects have now lived out their useful lives, but still reside as powerful evocations of purposeful presence… The purely functional role that was their only reason for being has now been overshadowed by the attraction of their general obsolescence and imperfections and has resulted in their current state of intentionless grace.’ – Diane Kilderry. Local Belgrave artist Diane Kilderry has been exhibiting nationally
and internationally for the past 20 years, including solo exhibitions
at Roar Studios, Dianne Tanzer Gallery, Chapman & Bailey and Ochre
Gallery. Her work is held in many collections including the Australian
National Gallery, G J Coles, and the Lefebvre Collection. She recently
completed her Masters in Fine Art through Monash University exploring
transformation and the layering of consciousness through her creative
practice. |
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| ‘Diane Kilderry’s work displays a consistent exploration into unconscious influences on our perception of the world… Each of the drawings are dramatic and tonally beautiful and illustrate her themes of the suspension of time, of consciousness put aside; where our experience of the world becomes irrelevant and distracting, an effective metaphor for the intensity of her work’ – Dr Noela Stratford |
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KUDDITJI KNGWARREYE Kudditji Kngwarreye was born circa 1928. For the majority of his life he worked as a stockman, like many other Aboriginal men who resided on pastoral leases throughout Central Australia. Kudditji (pronounced “Kubbitji”) was one of the first established male artists in Utopia and is the younger brother of the late Emily Kame Kngwarreye. He now lives at Aneltye (Boundary Bore) on Utopia. Kudditji most frequently depicts his inherited ancestral totem the Emu. They stylistic compositions of his paintings often incorporate either a checker-board background or brightly coloured dots. The concentric circles represent water holes where the Emu goes to drink. These are situated around the Boundary Bore region. Kudditji’s style has developed over the years. His sophisticated dot work that he employed in his early career has transformed into a preference for a much looser brushstroke in large blocks of colour in later years. The effect produces bold and confident paintings, with stark or subtle contrasts depending on his choice of shades, executed in a painterly manner. This series of later works are called ‘My Country’ and represents the entirety of the artist’s country with the abundance of wildflowers that are ever present. These works are especially reminiscent of the last style of painting by his sister, the famous Emily Kame Kngwarreye, who is likewise famous for her remarkable sense of colour and unique brushstroke.
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ABORIGINAL ART ACROSS
AUSTRALIA An exhibition of key works from the Burrinja – Shire of Yarra Ranges Indigenous Collection Curator: Tiriki Onus |
Aboriginal art has its roots in a very ancient culture,
but artists today are also expressing issues of social justice, cultural
practices and spirituality born from the last two hundred years of
colonisation. Curated by Tiriki Onus, this exhibition aims to highlight
the vast diversity in Aboriginal cultural and artistic practice across
Australia. This feature exhibition includes many significant Collection and loan works that have not been exhibited at Burrinja for over five years, giving the viewer an overview of Aboriginal art from five major regions of Australia. Traditional and contemporary works from both established and emerging artists have been chosen for the exhibition. The artists represented include some of the most internationally respected artists in Australia. |
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Aboriginal Art across Australia features: Key
works on bark and canvas from Western Arnhem land that depict the rich
cultural and artistic traditions of this important ii region
Central desert works by Gloria Petyarre, Emily Kame Kngwarreye and Johnny
Warangkula Tjupurrula, demonstrating theii meanings woven within the seemingly abstract forms and often vivid colours of this seminal region for Aboriginal art
Paintings from the Kimberley on board and on canvas; from major works
by Rover Thomas and Queenie McKenzie, to a danceii board by Paddy Bedford painted in his inimitable style and an important new work by Senior Ngarinyin law man Jack Dale
Major works by Lin Onus – demonstrating a remarkable pastiche
of the traditional and the contemporary, melding seamlessly into ii
unique statements of culture, aesthetic and politics by this internationally
renowned south-eastern artist
A series of works by Michael Aspinal from the Yalata region in SA that
are not only original in composition, but which also bringii wonderful humour to the indigenous cultural landscape. Film:
Jack Dale - Mengenen |
Regions – Aboriginal Art |
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| The Kimberley, Western Australia Covering more than 400,000 square kilometres, the Kimberley is a land of dramatic mountain ranges, extensive plains, remarkable waterfalls and rivers. It is one of the most spectacular and beautiful regions of Australia. Within the region there are four main communities producing art: Warmun, Balgo, Kalumburu and Fitzroy Crossing. Each region produces a different style of work. A number of artists who were from the Warmun community are featured in the exhibition, including Rover Thomas, Queenie McKenzie and Paddy Bedford. The Warmun community was one of the first communities to produce art for sale when in the late 1970’s boards painted with ochres and produced for ceremonies started to be collected. Today most works are painted on canvas using traditional ochres. Works from the Kimberley region in this exhibition include one of Australia’s most respected artists, Rover Thomas, Julama (1926-1998). One of Australia’s two representatives at the Venice Biennale in 1990, Rover Thomas had a profound effect on Aboriginal art. His paintings moved Aboriginal art to the forefront of international contemporary art. Minimal imagery and a sense of space, while portraying the most complex of experiences with highly textured ochre surfaces characterize his works. Queenie McKenzie, Nakarra (1920-2000), a relative of Rover Thomas, was also part of the Warmun art community. Her work stands out through her unusual use of pink and purple tones of ochres in contrast to the more usual browns, yellows and reds of many Kimberley artists of the time. Limestone Hills, Texas Downs is a beautiful example of her work. It depicts the hills of her birth place, Texas Downs cattle station in East Kimberley. |
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Limestone Hills, Texas Downs, Queenie
McKenzie. Ochres on canvas, 1995. Courtesy Neil McLeod Fine Arts. |
| Western Arnhem Land, Northern Territory Situated in the “Top End” of Northern Australia, Arnhem Land covers an area of 150,000 square kilometres. It is home to some of the oldest rock art sites in Australia. There are seven major communities producing art in Arnhem Land today and many smaller centres. Featured in the exhibition are three works from the Gunbalanya (Oenpelli), Western Arnhem Land region. The art of this region is known for superb crosshatching or Rarrk work and the depiction of the internal organs of animals, birds and fish, often described as X-ray art. The three works are all by members of the Nganjmirra family. These works are part of a continuing art tradition handed down through the family for many generations. The eldest son of Nawakadj (Bobby) Nganjmirra, artist and storykeeper and one of the last rock painters in Arnhem Land; Alex Nganjmirra’s work follows in the proud tradition of his father. Alex was raised in the bush near the Goomadeer River in Western Arnhem Land and lives at Gunbalanya (Oenpelli). He is part of a continuing art tradition that has been handed down through his family for many generations. Namarrrkon, Lightning and Thunder Man by Nawakadj (Bobby) Nganjmirra (1935) shows the story of an ancient spirit Namarrkon, rising from a waterhole, painted in a contemporary style. Namarrkon brings the dramatic electrical storms, which occur, in Arnhem Land. He can make thunder and lightning and strike people down. He is often depicted with lightning around his body and axes on his arm joints and knee joints. He makes thunder by hitting the ground with these axes. The power of Namarrkon comes from his genitals. In the wet season, he lives in the clouds. Today works at Gunbalanya (Oenpelli) are produced on traditional bark, paper and canvas. Unique to this area is the depiction of the internal organs of animals, birds and fish described as X-ray art. Differences between the art from Western and Central Arnhem Land and East Arnhem Land are mainly that artists from the Eastern areas usually fill the whole canvas with crosshatching, unlike Western artists who generally only fill in defined figures with crosshatching on plain backgrounds. |
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Kunarlaku – Spirit Woman, Eva
Nganjmirra. Ochres on linen, 1996. Burrinja Collection. |
| South Eastern Australia Aboriginal artists from South Eastern Australia are visionaries, activists, commentators and messengers. Experiences are expressed through their artwork, often dealing with issues of social justice, spirituality, and cultural practices and interpretation. Widely acknowledged as a pioneer in the aboriginal art movement in urban Australia, Lin Onus (1948-1996), was from a very early age instilled with a strong social conscience and desire to fight for the underdog. Lin had a long association with Aboriginal elders from Arnhem Land, which led to the development of his distinctive style, incorporating traditional Rarrk work from Arnhem land with his realist Western style landscapes. |
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Fish and Leaves (detail), Lin Onus.
Synthetic polymer paint on canvas. Courtesy Onus Family Estate. |
| South Australia Born at Yalata, South Australia Jonathan Kumintjara Brown (1960-1997) was a member of the Pitjantjatjarra tribe. He was separated from his parents at an early age and raised by a white family. In the early eighties, he returned to South Australia and rediscovered his true heritage, that of Oak Valley, Ooldea and Maralinga. He learned that his traditional country included Maralinga, the infamous nuclear test site north of Yalata, where nuclear testing by the British and Australian Governments took place, between 1953 and 1957. Jonathan turned to painting to express his emotions about the overwhelming devastation of his country by these tests. He painted images of the land, with its red earth bare after the explosions. Gigantic portraits of lustred sandhills, in yellows, browns and whites, their haunting presence stating both their profundities and elegance in art became his hallmark. |
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Patterns in Country, Jonathan Kumintjarra-Brown.
Ochres and sand on canvas. Courtesy Neil McLeod Fine Arts |
| Central Australia The vast Central and Western desert areas of Australia are home to the most widely represented form of Aboriginal art, the ‘dot’ style of work, executed with acrylic paints. Emily Kame Kngwarreye (c1910-1996), acknowledged as one of the most brilliant Aboriginal artists of all time, is represented by her work Aralatyite Dreaming (Bush Potato dreaming). Emily came from Utopia, an area 275 kms north of Alice Springs, Central Australia. In a career that spanned just 7 years, Emily painted over 3,500 works on canvas, and single handedly repainted the art history books of Australia. Emily painted her own unique vision of her country – Utopia. Her paintings are visual songs and a celebration of life. |
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Aralatyite Dreaming, Emily Kame Kngwarreye.
Ochres on linen. Courtesy Neil McLeod Fine Arts. |
Further reading for this
exhibition: References and Recommended
Reading Dreamtime Aboriginal Art, The dark and the
light Kumwinjku Spirit, Creation Stories from Western
Arnhem Land Papunya Tula, Art of the Western Desert Urban dingo, the art and life of Lin Onus
1948- 1996 |
RONNIE SEXTON AISLING GHEAL (bright dream) 
16 October - December 2008 OPENING 7PM THURSDAY 16TH OCTOBER |
Award winning Irish born sculptor Veronica “Ronnie” Sexton trained at London College of Furniture, and obtained her Graduateship and Higher Diploma in Woodcarving and Gold Leaf Gilding at City and Guilds of London Art School. On completing art school, Ronnie worked for several years in restoration, including extensive work on Windsor Castle. She has also worked on commissions in the USA, Malaysia and Ireland. Ronnie’s strict classical training in Gothic, Baroque and Rocco woodcarving has evolved into a more relaxed and freer flowing style event in her work in this exhibition. Ronnie always believed that there would come a time that “I would take what I had learned from traditional wood carving and allow it to evolve into sculpture”. Her up and coming show, “Aisling Gheal” (meaning ‘Bright Dream’), represents this change. Ronnie predominately works from salvaged timber from the Dandenong Ranges and her works vary in height to 3.5 metres. ‘Faceless Angel’, is the first of Ronnie’s wood carved sculptures where the work has evolved through the natural characteristics of the timber. Unlike classical carving where it is important to have an unblemished piece of timber, here the individual characteristics of the timber such as knots and cracks become the fundamental features of the work itself. This works also signifies the incorporation of crystals into Ronnie’s work for the first time. Since the creation of ‘Faceless Angel’,
many of Ronnie’s recent works use slabs of wood that have imperfections.
“I believe that we should work with Mother Nature, rather than
making her work for us, that is why I leave the bark on and I work with
knots, cracks and imperfections and incorporate them in my overall design”.
Ronnie says that while her work lends itself to various cultures it
is not religious, she has evolved a distinctive style that is heavily
influenced by her Celtic origins. Celtic crosses, spirals and knotwork
meld with angels, wings, crystals, rocks and glass. Feminine energy
and the fusion of cultures also play a significant role in Ronnie’s
work. “We must stop looking at our differences and see that we
all come from the same source, that is why I’m interested in all
religions and cultures and I feel comfortable to incorporate their imagery
and symbolism in my work”. SOUNDSCAPES OF A BRIGHT DREAM Music of spirituality and art. Featuring guitar music with live electro-acoustic processing and chanting set amidst the Aisling Gheal exhibition. Jarek Czechowicz – guitar, voice Cost - $12pp
In the mystical and magical gallery space of the angelic and nature beings created by master woodcarver Ronnie Sexton come along and take part in a special and inspired program… Shakti (goddess) Mantra Chanting - Psychic Moon Madras – Deep and Restorative Meditation. Connect more deeply with the Angelic Realms and your True Inner Nature, all under the blessings of the full moon. Lead by Laya Clode-Ross (Sannyasi Layavidya) who has over 15 years experience as a dedicated and qualified Yoga Teacher, Healer, Counsellor, and Initiate. Cost - $40pp |
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| Maggie Diaz - Into the light |
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Tiffaney Bishop - Mother's
War Cry |
Maggie Diaz - Into
the Light
A Retrospective April 11 – July 12, 2008 With Tiffaney Bishop A concurrent exhibition event in our Burrinja and
Jarmbi gallery spaces highlighting the contrasts and synchronicities
between the work of photographic artists Maggie Diaz and Tiffaney
Bishop. |
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| Maggie Diaz American born photographer Maggie Diaz arrived in Melbourne in 1961, on a one way ticket, and soon established herself has one of the city’s leading commercial photographers. An award-winning photographer in Chicago and resident photographer of the famous Tavern Club, Diaz used her flair for night photography and use of available light to capture the essence of Melbourne’s arts and wider community over four decades. Diaz’s photographic oeuvre dates back to 1950s Chicago, and includes haunting images of the housing project known as Lower North Center. She depicted Melbourne ‘battlers’ in a yearbook for The Brotherhood of St Laurence, and was commissioned to produce night shots of the city for promotional purposes. Her work has always been marked by the contrast between the glamorous commercial world and those outside of society, with whom she felt a connection. |
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| Diaz has the knack for capturing the soul of the artist – for
getting the person to reveal themselves to her. This saw her portraiture
of actors becoming a major interest. She photographed scores of plays
at La Mama, The Courthouse and Playbox theatres in the 1990s and recently
celebrated her 80th birthday with a slideshow at the Carlton Courthouse.
It was a sell-out event, which generated long-overdue interest in Diaz’s
life and career, and prompted a mention in State Parliament: Maggie is technically expert in her astonishing use of light and shade and she has an extraordinary genius for capturing character and situation. She loves outsiders, those who often go unappreciated. Her life has been hard and this has been a rich treasure house of insight and inspiration for a great art. Johan Scheffer, Member for Monash A documentary on Diaz’s life and work is currently in development with the assistance of the Australian Film Commission ‘Into the Light’ is curated by Gwendolen De Lacy Print consultant: Tiffaney Bishop |
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| Tiffaney’s lived reality is that she is distanced geographically
from war, but not psychologically. Globalisation, and specifically global
communication, has meant that our concept of space and time, and our
role as witness, has impacted the way we experience the world. (M. McLuhan)
Whilst her experience is not as direct as some, it is frightening nonetheless.
As a mother in the 21st century she worries about the surge of aggression
and indiscriminate killing of civilian people. “Women and children
are disproportionately targeted in contemporary armed conflicts and
constitute the majority of all victims. Women and children also constitute
the majority of the world’s refugees and internally displaced
people.” (UNSC, 2002) Incorporated within this work is the consideration for the absence of women in relation to peacekeeping and conflict resolution processes, and the limited opportunities women have to participate in these processes. Tiffaney has been particularly inspired by United Nations Security Council Resolution 1325, which was passed unanimously on 31 October 2000. “Resolution (S/RES/1325) is the first resolution ever passed by the Security Council that specifically addresses the impact of war on women, and women's contributions to conflict resolution and sustainable peace”.(SDReport) |
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| Tiffaney, like so many women and women’s organisations around
the world, believes that the traditional human rights framework tends
to exclude the experiences of women, as does the international community.
“1325 highlights the human rights abuses of women and children
during wartime but also aims to address this gender imbalance when it
comes to conflict resolution, peacekeeping and security, and calls for
a new gender perspective. It acknowledges women as powerful actors in
the process of peace and security”(UNSC 1325) Tiffaney hopes that
her work contributes to the attention this issue demands and the growing
desire to transform this short-sighted human rights and political framework. Whilst Tiffaney feels that her artistic efforts fall very much within the category of an informal peace effort, she believes that it is, nonetheless, an important part of a greater process toward global peace and security, and is excited by the prospect of contributing to such a worthy process in the future. Tiffaney was intimately involved in the intricate process of the detailed and textured printing of Maggie Diaz’s transparencies for the ‘Into the Light’ exhibition, utilizing her knowledge of both traditional and digital photographic techniques to sensitively capture the original ambience and aesthetic of Maggie’s work. |
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| Exhibition and Workshop Program Sunday April 20 Floor Talk with 83 year old Maggie Diaz, Tiffaney Bishop and exhibition curator Gwendolen DeLacy 10.30am to 12.30pm Includes morning tea in Burrinja Cafe. $10.00 Bookings essential. 9754 8723 EXPRESS YOURSELF THROUGH PHOTOGRAPHY - with Tiffaney BishopThis one day workshop will introduce participants to basic digital photographic techniques as well as important creative techniques for taking expressive photos. Focusing on the concept of building a photo-narrative, participants will learn about this story telling technique using images to convey an idea or storyline. Come along to this workshop to develop and extend your technical and creative approach to image making, and come away with your images printed and mounted in professionally cut matts. This workshop is suited to beginners and more advanced photographers alike, as it emphasizes the development and extension of creative approaches to image making. Photographer Tiffaney Bishop investigates the way women view and experience war and peace in the 21st Century in her current exhibition at Burrinja - Mothers' War Cry. Working with past and current photographic images, Tiffaney creates digital montages that consider women’s lived realities and opinions about war and peace, in an attempt to raise awareness for issues surrounding women, children, peace and security. Saturday 26th April from 10-4pm @ Burrinja Secondary Schools Workshop and Education program details - Download HERE |
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enLIGHTen Lloyd Godman “It is doubtful if Australasia has a more protean, visionary
and ecologically committed artist than Lloyd Godman”. Burrinja is honoured to be presenting Lloyd Godman’s first major Australian exhibition, featuring projection installation, ‘carbon obscura’, photography, new and mixed media. An exhibition that extends the boundaries of the gallery, creating experiential immersion. Workshops & Exhibition program details HERE |
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| 'Enlighten' - Lloyd Goodman |
| Tthe largest photosensitive emulsion we know of is the planet earth.
As vegetation grows, dies back, changes colour with the seasons, the "photographic
image" that is our planet alters. Increasingly human intervention
plays a larger role in transforming the image of the globe we inhabit.
Lloyd Godman - 2006 |
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| ‘Carbon Obscura’ Lloyd Goodman |
| "Lloyd Godman's twin careers of serious and successful
organic gardener and practicing artist of great creative energy converge
in new and constantly surprising ways to make art about the ecological
concerns that underly his gardening. Over almost three decades his art
has widened out from relatively traditional landscape photography to include
elements of performance, audience participation art and multimedia installation
to explore the tensions between electronic consumer society and the ecosystem."
(Artlink magazine - Ecology: Everyone's Business - Vol 25 no 4 - Dec - Jan 2006) |
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| “Lloyd Godman
working on ‘Carbon Obscura’” |
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Photogram Workshop L’Arbre de Vie / Chateau de Blacons, Drome Valley, France in 2007 |
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Isobel Foster, Neil McLeod,
Tiriki Onus, Joy Serwylo
Turtles all the Way Down A cross-media installation exhibition
of potentials and becomings Exhibition Until January 27, 2008. The exhibition brings together intricate works in paper and photography by Joy Serwylo, lush textiles, woven copper and spectacle lenses by Isobel Foster, through to the life size installation by Neil McLeod, ‘From here to…’. |
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Tiriki Onus – ‘Flotilla’
(detail). Automotive expanding foam, acrylic paint. 2002 |
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A detail of Tiriki Onus’ flotilla of Rays floats serenely through the gallery space, connecting works and artists. Like his ‘bat box experimental’ installation, the Rays reference the work of his late father, Lin Onus, yet travel in new directions. "Turtles All the Way Down" is a reflection upon our contemporary explosion of awareness, the expansion of boundaries in art, science, communications, social concepts and definitions of reality that have disturbed any certainty of ‘normality’ |
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Neil McLeod. Installation 'The Boat People' |
"Turtles All the Way Down" explores this intense, kaleidoscopic and sometimes disturbing state of metamorphosis through both artistic insight and humour. |
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 Jo Serwylo - Rainforest |
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 Joy Serwylo - Book of Shadows’ Exhibition until December 23 |
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| Gallery Tues to Sun 10.30am -
5pm Licensed Café 7 days 03 9754 8723 events@burrinja.org.au www.burrinja.org.au |
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ooo | New
insights from the Collection Exhibition extended by demand until September 16, 2007 An exhibition featuring key works from the Burrinja Collection exhibited in new ways that highlight their cultural context and heritage, including film and artefacts. This feature exhibition includes many works that have not been exhibited at Burrinja in the past 5 years. Featuring key works by: The exhibition includes dance poles, dili bags and message sticks from Arnhem Land. Films: Written in the Landscape, the story of Arnhem Land aboriginal art and Jonathon Kumintjara Brown.
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oo | Wild Dogs from
Down Under Opens Friday February 2, 2007 An exhibition from a diverse group of six visual artists from the BawBaw shire of Gippsland. Their work is innovative, conceptual and contemporary, based on the essence of Gippsland, an expression of themselves as Gippsland artists through the genres of oil and acrylic painting, metal sculpture and sculptural photography. Featuring the artists:
Kerrie Warren
Eileen Harrison
Gary Miles
Jenny Murray-Jones
Leonie Ryan
Laurie Collins Artist Demonstration & Floor Talk Program information here Exhibition February 2 to March 18, 2007 |
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| 'Wild Dogs from Down Under' explores culture, time
and placement, environmental impacts and social issues through their
artwork. |
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| Laurie Collins 'Wild Dog' | Gary Miles 'Storm Hay Paddocks' |
Jenny Murray-Jones 'The Old Midden' |
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| Kerrie Warren - Snowy River | Leonie Ryan - Totem Pole |
Eileen Harrison -Snake Woman |
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| From more information on Wild Dogs From Down Under
artists & images see:
www.wilddogsdownunder.com |
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 Sponsored by the Shire of Baw Baw |
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| Works from the
Burrinja Collection
with New works by Jack Dale January 2 to January 28, 2007 Burrinja’s January exhibition features works by a number
of artists We’re also featuring very recent
works |
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00 | There are no records of Jack Dale’s
birth, although he is estimated to be no less than eighty-five years old.
He was born at a time when it was common for the infants of traditional
women fathered by white men to be killed at birth, either by orders of
the pastoralist, or by those of senior indigenous men and women concerned
about future threats to traditional authority and social order. For some
reason, unknown to Jack himself, his life was spared. Left Jack Dale with 'Wandjina Iondra' |
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| Jack Dale’s work can be found in private collections
in Melbourne, Sydney and London. Major solo exhibitions include: Japingka Gallery, Perth; Vivien Anderson Gallery, Melbourne; Flinders Lane Gallery, Melbourne; Kintolai Gallery, Adelaide; Art Mob, Hobart. Forthcoming major solo exhibitions: Vivien Anderson Gallery, Melbourne; Coo-ee Gallery, Sydney. |
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| Above Jack Dale at work. |
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| Burrinja Gallery presents Exhibition October 7 to December 23, 2006 |
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| Chen Yongqiang will be our honoured
guest at Burrinja for both the exhibition opening and the following
week’s events program. |
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Chen Yongqiang’s
works mainly focus on features and landscapes of nature and as a celebration
of life. |
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| Affordable Contemporary Art @ Burrinja Works by indigenous and non-indigenous artists at fabulous prices |
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| A one-off never before Burrinja event featuring gems from the stock
room at not-to-be repeated prices. Stretched and un-stretched works on
canvass plus carvings, artifacts, works on paper and much, much more.
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0 | Home Fires 1 Joy Serwlo Textile. 188 x 110. 2001 "Affordable Art features a range
of Joy Serwlo's exquisite textile works in a number of styles and formats.
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| PLUS those crazy Tolai Stick Figures and beautiful Ceremonial Dance
Wands from PNG – |
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 Above: Marrkalam.- Heather Umbagai |
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| there’ll be lots more collectible works – you never know what you’ll find! |
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Above: Tolai Stick Figures |
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| All works available for immediate pickup upon purchase. Lay-by available. Exhibition June 30 until September 30, 2006 Gallery Tues – Sun 10.30AM-5PM |
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| Burrinja
and the Koorie Heritage Trust present: Mission Voices Featuring the stories of Coranderrk & other Aboriginal Missions through art, text & oral traditions. Artists include: Opens May 5. Exhibition until June 25 |
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| Coranderrk Reserve Mandy Nicholson Wurundjeri (KHT Collection) |
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| Melbourne in 1846 from
Collingwood European artist- unknown Woodblock engraving, hand coloured (KHT Collection) |
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O |  Left Simon Kaan - Untitled - Oil on Plywood |
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Curated by internationally acclaimed artist Simon Kaan. Works by Simon Kaan, Ross Hemera, Lonnie Hutchinson,
Ranui Ngarimu, Neil Pardington, Fiona Pardington, Nathan Pohio, Rachel
Rakena, Hana Rakena, Otene Rakena, Jenny Rendell, Fayne Robinson,
Areta Wilkinson, James York. |
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| As part of the Ngai Tahu cultural exchange Burrinja Gallery is also
showing Our Story - Our Country Victorian Koorie Featuring works by Mandy Nicholson (Wurundjeri), Uncle Roy Patterson (Taunerong Elder),Kim Lampton (Yorta Yorta), Zeta Thompson (Yorta Yorta) and Treahna Hamm (Yorta Yorta) |
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| Featuring an extensive exhibition program with visiting
Ngai Tahu Artists from Thursday February 23 to Saturday February
25. Photography, digital projection, ceramics, Pounamu & wood carving, painting, text, installation, jewellery, sculpture… |
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| About Akona ki nga
rekereke (Learning from the Knee) As part of an indigenous cultural exchange between the Wurundjeri of Melbourne and the Ngai Tahu Maori, Burrinja and Te Runangao Ngai Tahu are presenting Learning from the Knee, (‘Akona ki nga rekereke’) an exhibition of contemporary works by 14 Ngai Tahu artists. |
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Curated by internationally acclaimed
artist Simon Kaan, the exhibition features contemporary works that
create links with the past, crossing a wide range of mediums including
photography, digital projection, ceramics, Pounamu & wood carving,
painting, text, installation, jewellery and sculpture. |
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| Above Otene Rakena & Rachael Rakena Te Herenga Pounamu. DVD. | ||
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Learning from the Knee took hold as a point of creative inspiration amongst Ngai Tahu artists. Moana Tipa explains: “In indigenous tradition, the imparting of knowledge and practical skills to younger generations was a matter of survival, life or death. In Maori society, the term taonga i tuku iho (gifts handed down) refers to innate knowledge, in-born through whakapapa … This is underpinned by wairua (spirit).” “Akona ki nga rekereke (learning from the knee) suggests
learning not measured or marketed; learning that is neither bought
nor owned and learning that is not so much taught as caught, by
the creative imagination and by the spirit”. |
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| Above Fiona Pardington Tai Whatiwhati. Gold Toned Photograph. | ||
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| The exhibition opening will be attended by eight of the fourteen artists, including curator Simon Kaan. Special guests include Tahu Potiki - CEO Te Runanga o Ngai Tahu and Joy Murphy Wandin - Wurundjeri Elder. |
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Project Background A Gathering Place’ is being created at Healesville to celebrate
and facilitate the coming together of these two indigenous cultures.
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| Above Ross Hemera Hokiwai. Sculpture, totara, aluminum, paint, polish, fibre. | ||
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Curator & artist Simon Kaan, in his studio with work. 2004 |
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| Click
here to download the program |
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| Thursday Feb 23 | ||
| 8.00am: | 
Tahu Potiki (CEO): Introduction to exhibition, artists
& sessions.
James York: The practice of Mutton Bird harvesting. Lonnie
Hutchinson: Her current practice. |
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| 10.30am | Ngai Tahu Artists Seminar Series | |
| 12.30pm | Public Session 1. | |
| Presentations by artists will include floor talk style address with visual presentations followed by an open Question and Answer session with each artist | ||
| Simon Kaan: His current practice.
(Curator) Ross Hemera: His current practice. Hana Rakena: Her whanau and their collaborations. Neil Pardington: His current practice. Ranui Ngarimu: Her current practice. OOOO |
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| 2.00pm | Ngai Tahu Artists Seminar Series | |
| 5.00pm | Public Session 2 | |
| Presentations by artists will
include floor talk style address with visual presentations followed
by an open Question and Answer session with each artist OOOO |
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Ross Hemera: His current practice.
Lonnie Hutchinson: Her current practice.
Hana Rakena: Her whanau and their collaborations.
Simon Kaan: His current practice. (Curator)
Ranui Ngarimu: Her current practice. |
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**Burrinja will be inviting other indigenous and non-indigenous artists to participate in **these discussions with the visiting Ngai Tahu **artists. . |
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| 6.30pm | Exhibition
Opening By invitation only. |
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| 8.00pm | Exhibition
Dinner Burrinja Café - Bookings Preferred |
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| Friday Feb 24 | ||
| 10.30am | Learning
from the Knee Open to public. Gallery admission charges apply |
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| 12.00pm | Floor
Talk - Learning from the Knee Moana Tipa - Exhibition Project consultant & Catalogue author Free Floor Talk giving insight to the exhibition, the artists and their works. Gallery Admission charges apply. |
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| 2pm - 4pm | Public
& School indigenous workshops at Burrinja Free - hands on workshops and demonstrations with visiting and local indigenous artists. |
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| Maori Weaving: Maori Kowhaiwhai painting & Drawing: Aboriginal Basket Weaving: Aboriginal Ochre painting: |
Ranui Ngarimu, James York Aunty Dot Peters Uncle Roy |
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| Saturday Feb 25 | ||
| 4.45 - 6.00pm | Kahurangi - NZ Maori
Dance Theatre Te Reo Kori : Traditional Maori Dance Workshop Suitable for all ages from 5 years and up. Tickets: $5 or $8 including admission to Learning from the Knee exhibition More information on performances by Kahurangi Maori Dance Theatre and Miharangi on our Events page - here |
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| Saturday March 4 | ||
| Mihirangi Original Contemporary and Soulful-World-Roots. With her dynamic live energy, impassioned voice, skillfully crafted lyrics and prodigious talent Mihirangi has endeared herself to audiences across the world. Dubbed "The Maori princess of funk, 'Mihirangi's cultural and spiritual heritage sits at the core of her music. Tickets $12 or Jarmbi Members $8. |
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| Shire
of Yarra Ranges |
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| Te Runanga o NGAI TAHU |
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| Te Waka Toi |
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| City of Christchurch
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| Creative New Zealand Professional Arts Services (NZ) And in partnership with the Wurundjeri Elders BACK |
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| Central Desert Works from the Ebes Collection |
| Includes many of the greatest Central Australian
Aboriginal artists. Beautiful works from the rarely exhibited private Ebes Collection, in the ‘Utopian’ tradition. Featuring such artists as: Emily Kame Kngwarreye Kuddtji Kngwarreye Naata Nungurrayi Barbara Weir Minnie Pwerle Thomas Tjapaltjarri Clifford Possum Tjapaltjarri Turkey Tolson Thomas Tjapaltjarri In ‘The Collection Gallery’: Lin Onus, Eva Nganjmirra, Rover Thomas, Jonathan Kumintjara Brown, Gloria Petyarre |
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| Opens October 29, 2005 Until February 12, 2006 Admission $5 or $4 conc., $12 family Jarmbi Members Free |
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| Above - Naata Nungurrayi ‘Tingari’ |
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Burrinja Tues to Sun 10.30am - 5pm. |
| Above - Kuddtji Kngwarreye ‘My Country’ |
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| Works on exhibition include a number of representations of the
The Tingari Cycle is the name given to a group of dreaming stories particular to the western desert regions of Australia. They are performed in ceremonies and are illustrated in body paint design and ground paintings by the Pintupi and other western desert language groups. The dreaming stories that make up the Tingari Cycle forms the most secret-sacred part of the Aboriginal culture, and details regarding the stories are passed down from generation to generation through initiation ceremonies and are very rarely imparted to those who do not hold rights to the information. Many of the artists come from ‘Utopia’, an area of great importance in the modern history of Aboriginal Art. Utopia is situated approximately 240 kilometers north-east of Alice Springs and is part of the land of the Anmatyerre and Alyawarre speaking people who now have permanent land title over some 1100 square kilometers of their ancestral country. They have re-established their traditional culture and look after their land through ceremony and ritual just as they have done for thousands of years. The women of Utopia have been making art using the batik technique since the late 1970’s, and their silk lengths are now represented in major public and corporate collections throughout Australia and internationally. In the summer of 1988-89 these artists began making their designs on canvas, using paint, rather than the batik method. Once again, their great skill as storytellers and designers was evident. Their first paintings were purchased by the Robert Holmes a Court Collection and displayed in the S.H Ervin gallery in Sydney in mid-1989. This exhibition attracted instant attention, launched Utopia Art and became the launching pad for the career of one very special artist in particular, the late Emily Kame Kngwarreye. Nowadays, art from this region is considered to be amongst the most
interesting and important Aboriginal art. The critical and public
response to Emily Kame Kngwarreye’s art in particular propelled
her into the stratospheres of art fame, and caused a revolution of
sorts in Australian painting the likes of which had not been seen
for some time. Since then, other artists have risen to the fore, such
as Barbara Weir, Minnie Pwerle, Lily Sandover Kngwarreye, Josie Petrick
Kemarre, Angelina Pwerle, Gloria Ngarle, Nancy Petyarre, Teresa Pwerle,
Gladdy Kemarre, Dave Pwerle Ross, Margaret Scobie, Evelyn Pitjare,
Jeannie Pitjara, Lucky Morton Kemarre and Greeny Pervis. |
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| See what we have planned at Burrinja Take a tour of some of the highlights of
our recent exhibitions |
 Neil McLeod |
| “Transmogrified
transparency photography” |
| A remarkable exhibition of photographic works stressing
the transparency medium. Exhibition: Extended Until October 16th |
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| "Chasm" Neil McLeod |
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| When a part of Neil McLeod’s valuable photo library was damaged by fire and water, he seized on the possibility of creating exciting new images. |
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O | Neil explored the way in which new images emerged out of the burnt & caked together negatives, and the effects of how the emulsion had run
Perceiving the beauty in survival, he selected the most emotive images of the primary material and set to with a variety of unconventional materials and methods to further manipulate the negatives, creating amazing images – a tortured dream-world appears..
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| "Boab" Neil McLeod | "Gold" Neil
McLeod |
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| “I hope my images resonate long after you leave them” – Neil McLeod |
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| ‘A wildly eclectic range
of images that inspire the soul and imagination’
Dr Ross Farnell, Burrinja. Exhibition: July 15 – October
16th Burrinja |
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| Burrinja Gallery invites you to an exhibition
of big ART Big Names - Big Works - Big Ideas |
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o | Featuring large scale works by master indigenous and non-indigenous Australian artists. Onus Hodgkinson Mulholland Nganjmirra Zhansui Nordjorle,
McLeod Kumunitjara Cipriani Thomas Petyarre Pitsia Dale Majzner.
Left Frank Hodgkinson. Forms Forming 1992 |
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| Frank Hodgkinson.- Kakadu the Hunted
1992 |
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| Elder & Emerging Exhibition October 9, 2004 to February 13, 2005 Elder and Emerging features two outstanding artists of the Kimberley, Jack Dale and Heather Umbagai. |
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| Both are indigenous artists painting their Kimberley land and
traditional stories, yet despite common cultural perspectives their
viewpoint is informed by vastly different personal journeys, aesthetic
vision and generational difference. |
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| Jack Dale – Elder |
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| Biography Jack Dale – elder During his childhood, if not for the resistance of his mother Moddera, a traditional indigenous woman of the Komaduwah clan who hid him from his violent white father, Jack might not have survived his early years. Jack Dale Senior was prone to wild and unpredictable behaviour, once even shooting his son in the leg to prevent him from running away. Following his father’s death, when still only a small boy, Jack returned to his mother to live among the Ngarinyin people. There he was taught Traditional Law (Narrungunni) by his Aboriginal grandfather. As an adult Jack became a stockman and earned a reputation as a respected bushman, never thrown from a horse and never beaten by any beast. Now a senior law man he is revered amongst his people for his extensive cultural knowledge. In recent times Jack has sought to document his experiences and stories through art. He has chosen the traditional method of ochre painting synonymous with Kimberley artists. These works are a unique, first hand representation of a largely unknown and unrepeatable chapter of Australian history. |
 Above: Jack dale at work |
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As a senior law man, Jack is one of only
a few entrusted custodians of the “Wandjina” spirits great
art sites of the East Kimberleys. Forthcoming major solo exhibitions are scheduled at Vivien Anderson Gallery, Melbourne and Coo-ee Gallery, Sydney. His work can be found in private collections in Melbourne, Sydney
and London. |
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| Heather Umbagai - Emerging |
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0 | Biography
Heather Umbagai – emerging Heather Umbagai hails from the Mowanjum community near Derby, West Kimberley. Painting under her dreaming name Anjolu, Heather is one of the most exciting artists to emerge from the Kimberley in recent years. Heather began painting several years ago choosing contemporary materials over the traditional earth pigments (ochres) of her forebears. Painting cultural and personal stories in her unique contemporary style, Heather’s work is very distinct from that of other artists of her region who prefer more traditional representations of cultural images in ochre pigments. |
| Despite this commitment to contemporary style Heather’s art is still a product of her strong ties to Aboriginal culture. Her inspiration is her land, stories inherited from her family, the Worrorra people and her own observances, some of which offer a surprisingly positive outlook on co-existence between white and indigenous Australians. Heather currently lives in her traditional community where she studies
linguistics and works as a health care professional. |
 Above: Heather Umbagai at a seminar |
| Heather is currently studying a Bachelor of Arts in linguistics and has degrees in Nursing and Aboriginal Community Management & Development from Curtin University. After painting for several years Heather has a major release of her works planned for 2005. Her first major solo exhibition was in Houston, Texas in 2004. She is currently represented by Aboriginal Gallery of Dreamings and Burrinja Gallery, Melbourne, Chapman Gallery, Canberra, Coo-ee Gallery, Sydney and Art Mob, Hobart. |
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 Catalogue Online - Click Here |
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| Masks, Carvings
& Sculptures from Ceremony and Dance Burrinja Gallery is devoting an exceptional exhibition to the vast cultural areas of Papua New Guinea. Featuring beautiful works never before seen in Australia |
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| Tubuwan Masks: Kandrian New Britain |
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| From the humid rainforests
to the mountains along the great river systems to the coast. An expose
of important objects drawn from the collections of: Harold Gallasch and Neil McLeod |
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| Bianing Fire Dance Costume: used in daytime ceremonies. Gazelle Peninsula New Britain |
Hemlaut Souka (umbrella mask) East New Britain |
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| Includes ceremonial
dance costumes, masks, dance wands, Ingiet figures and rare artifacts
from the ceremonies, celebrations and tribal festivals of the highlands
of New Ireland and New Britain, PNG. |
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| Complete Costume, Malagan Tantanua, New Ireland |
Wowara Malagan: by the late Chief Joel Pitsia - Tabar Island New Ireland |
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| This
exhibition will be the first opportunity to view works on this scale
in an Australian gallery or museum. |
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| Footprints of the Spirits |
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In New Zealand, the exhibition produced responses
like these below: An exhibition of Aboriginal art, the like
of which has not being seen here before. Complex and fluid iconography… Exquisitely beautiful abstractions…
Powerful paintings… |
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| Education Tours For more information on Tours & Workshops : A comprehensive 20 page Education Kit accompanies the exhibition Exhibition January 13 to April 11 January 13 – April 11, 2004 |
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Click left for more information about the exhibition. | |
| THREADS OF TIME A celebration of indigenous and non-indigenous women’s culture and land as expressed through their art |
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| Threads
of Time explores the knowledge, skills and stories passed from mother to daughter, generation to generation and between different cultures and communities through art and cultural practice. This major exhibition of works showcases artists in a variety of mediums including textile, Aboriginal threaded objects and sculpture, screen printing, basket making, weaving, lithograph and painting. Works have been assembled from women artists across Australia and including East Timor. The exhibition crosses cultural, generational and medium-based boundaries |
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| Above
right - Joy Serwylo, textile detail from "Home Fires"
series |
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| BURRINJA
GALLERY Opening Friday October 10, 6.30pm Exhibition October 11 – December 21, 2003 Gallery Hours : Tuesday to Sunday 10.30am – 5pm Free Admission |
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| Above - Lena Yarinkura - 'Camp Dog' -
Fibre Sculpture. Maningrida View Further Artworks |
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REPRESENTED |
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| Joy
Serwylo ‘Home Fires’, an exploration of Landscape in textile |
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| East Gippsland
Aboriginal Arts Co-op (Vic) Auntie Phyllis Hewat, Auntie Rachel Mullett, Frances Harrison, Rachel Harrison, Vicki Couzens, Jennifer Mullett, Lisa Kennedy, Elaine Terrick, Penny Hood, Lee Darroch |
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| Ernabella Arts
Inc (SA) Nyukana Baker, Nungalka Stanley, Renita Stanley Makinti Minutjukur, Tjunkaya Tapaya, Pantjiti Lionel Ungakini Tjangala, Dora Haggie, Alison Carroll  |
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| Maningrida
Arts Centre (NT) Shirley Minyingarla, Elizabeth Mipilanggurr, Isobel Yamara, Lorna Jin-gubarrangunyja, Mary Jin-guwaraba, Freda Wayidjba Ali, Rhoda Bayambula, Emma Gundurrubuy, Natalie Djimangarala, Shirley Malgarrich, Mary Brown, Betty Wanduk, Lily Pascoe, Bonny Burrarn.garra, Lena Yarinkura, Jill Yirrindilli, Selina Brian, Brenda Almarrga, Lena Kurriniya, Jennifer Wurrkidj, Elsie Marmanga, Una Olsen, Mary Na-balangkarra, Mabel Anaka-anaburra, Dixie Wurrpamirra, Susie Wilson, Rosita Ankin, Rachel Mason, Belle Marami, Melba Gunjarrwanga, Dorothy Galaledba, Susan Marawarr, Kate Miwulku, Samantha Stewart  |
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| Healesville
Indigenous Arts Enterprise (Vic) including Auntie Dot Peters, Kay Van Bockel |
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| Taibesi |
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| Zig Zag Susan Mathews, Yvonne Voss and June Brown – (N.E Vic) Isabel Foster, Kim Lampton – Yorta Yorta Wendy Fitzgerald, Nancee Segnit |
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EXHIBTION PREVIEW |
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| Above - Spun fibres, painted seeds & emu feather. Ernabella Arts Inc |
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| Above Alison M Carroll, seed necklace
(detail). Ernabella, SA |
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| Above - Wendy Fitzgerald, Emu Clutch. Textiles | ||
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| Above left - Woven Koorie
basket, Victorian Above Right - June Brown, Gimlet Avenues. Textile. Zig Zag/Pattern Nation |
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| Above - Susan Mathews. Dance of the Kurrajongs. Textile. Zig Zag/Pattern Nation | ||
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| Above - Tais (ceremonial dress), detail. Taibesi, East Timor |
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| Koorie Heritage
Trust Collection |
| Featuring Koorie Artworks, Artefacts
& Photographs from the 19th century onwards. An important and remarkable exhibition celebrating Victorian Koorie Heritage and Culture. |
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| Have
Camera, Will Travel A photographic exhibition by Jim Berg (Director, Koorie Heritage Trust) Koorie People of Victoria - portraiture. Tues to Sun Burrinja Gallery, 27 July until September 30 |
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Anton McMurray
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| Anton McMurray is an artist working in the Dandenong Ranges. He has been active within the field of sculpture for the past nine years. Anton seeks to find a balance in his work between the figurative and abstraction, utilising line and colour to accentuate form, forever aware of developing a rhythm between order and chaos. His work is physical - using axes, chainsaws, chisels and paint to make large wooden sculpture. The borderless creativity of the child and traditions within the artmaking processes of tribal culture are a constant source of inspiration. These processes take his work 'Into The Wild" His largest work in this stunning exhibition is the 5 metre long Great Crocodile. Carved from Cypress Pine the work intends to pay homage to the environment and the material from which it came. Anton states: "Surface timber speaks a story of adaptation and endurance, deep gouges reveal secrets from the heart, endeavouring to teach us a little of the underlying nature of the tree." "I make sculpture because I have to, it wells up
inside me. I make sculpture because it's real. In a world of decreasing
personal space, it keeps me alive, generating internal freedom that
in time manifests externally." ANTON McMURRAY - EXHIBITIONS RELATED EVENTS |
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The Nganjmirra Family
Wet Season - My Grandfather told me The art of Western Arnhem Land's Nganjmirra family. Images of the Arnhem land wet season. April - July 2001 |
| This exhibition encompasses the culture of the Kunwinjku
people from Oenpelli in Western Arnhem Land. Great barramundi, Namarrkon
thunder and lightening man and Ngalyod the rainbow snake all depicted
in traditional 'x-ray' crosshatching [raark] style on large canvasses
and fragile barks. Accompanied by sounds and song from the wet season including a 10 minute film presentation for tour groups. |
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The artists
showcased are: Nawakadj (Bobby) Nganjmirra Eva Nganjmirra Lawrence Nganjmirra Alex Nganjmirra Trevor Nganjmirra Wesley Nganjmirra Luke Nganjmirra Alexander Nganjmirra Peterson Nganjmirra |
| Painting
is an integral part of Yolongu culture . |
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Burrinja Collection |
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The current exhibition is a unique opportunity to view the diversity of Aboriginal styles and cultures from vastly diverse environments across the Australian continent. They range from Arnhem Land to South Australia and Melbourne to the Kimberley, including the Central Desert. It features contemporary work by Lin Onus, the colourful expression of Emily Kame Ngwarreye, open space and simplicity of Rover Thomas, sand works of Jonathan Kumintjara Brown and the cross-hatched paintings of the Nganjmirra family to name only a sample. There are works that depict the power and beauty of the land as well as cultural and social issues. Artists' work on display includes Lin Onus, Jack Dale, David Mowaljarlai, Tiriki Onus, Jonathan Kumintjara Brown, Emily Kame Kngwarreye, Zeta Thompson, Patsy Lulpunda and others. The Oceanic Collection features many rare pieces, including the Iniet collection, cult figures of the Iniet Society of New Britain, Papua New Guinea These are very rare works made by members of the secret male society. These carvings were widespread in former times before the advent of German colonists and missionaries who, regarding it as exerting too much influence or, from their point of view, even of being evil and dangerous, made every effort to stamp it out. Its purpose was to introduce its members by means of courses of initiation commencing in boyhood, to many magical formulae whereby they could communicate with religious spirits of a non-animistic nature. These spirits were embodied in carved limestone cult figures such as we see in this gallery. Also included in the Oceanic Collection are some
of the finest Malagan Carvings and the Kavat Masks belonging to the
Bianing Group. There are a number of different languages in the Gazelle Peninsula where these superb masks are produced. All groups have a dance which involves fire. A firedance is performed in a clearing with the fire at the centre. The band is seated on logs of timber facing the fire. The music is produced by hitting the end of a piece of bamboo. Singing accompanies the beat. Some dances start soon after sunset and continue until dawn. All firedances must finish before sunrise when the firelight changes quickly to daylight and women and children would be able to see that which is forbidden. It is believed that should a young woman, and especially one that is pregnant, see the Kavat mask in the daylight the newborn child will resemble that particular Kavat. This does not apply to night time viewing. There are three basic masks; the Lingen,
Kavat and Vungvung and many variety of shapes. The Kavat group have
interesting stories such as Sarlek, a male spirit who lives around
Mt Sinewit. There are no people living there, but when people go hunting
in that area they must be careful and watch out for Sarlek. He is
often heard but rarely seen and tries to get people to follow the
noises he makes. When they do that they quickly lose their way. He
is very difficult to fight and sometimes eats his victims.
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Jonathan Kumintjara Brown Maralinga - Heart of the CountryImages of the land, with its red earth devastated by the effects of the explosions, that hung alongside figures in strange so-called 'frog suits' Summer 2001 |
| Jonathan Kumintjara Brown was a Pitjantjatjarra man, born in 1960 at Yalata, South Australia. He was separated from his parents at an early age, and raised by a white family, along with another Aboriginal 'brother' in Adelaide. After more than twenty years, Jonathan reunited with his family, an experience that he found extremely emotional, to the point where his emotion overflowed onto the canvas and into his paintings.
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| Images of the devastated land Jonathan developed a technique that allowed him to
permanently combine the normally fragile ochre with acrylic paint which
he then incorporated into his work. EXHIBITIONS AWARDS COLLECTIONS |
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| Beauty
With Fire November 2001 |
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Six
Textile Artists
Exhibition Dates |
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Isabelle Foster |
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| Joy Serwylo 'Forest Series' stretched quilting. |
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0 | Wungud
February
9 - June 30 2002 |
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| Highlights of the exhibition: |
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 Cyclone Tracy: Rover Thomas, East Kimberley 1995 |
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 Wandjinas: Jack Dale, West Kimberly, 2000 Ngarinyin people believe that the creator of all life is Wandjina Gulingi who invigorates the cosmos and gives water to everything on earth. Wandjina manifest creative power coming from the earth, the water, the sky. Lightning demonstrates the power and the flow of energy from Gulingi, who ensures the constant circulation of life with rain and water |
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Wungud is the essence of the Wandjina. The Wandjina deposits rain everywhere creating Wungud places. All living things have Wungud (life essence) given by the Wandjina. Both animals and humans share the bush together, water is the source of Wungud that gives body and soul to the newborn. |
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As
you cannot separate a child from its mother, you cannot separate each
human and animal from its source of Wungud. As a child first grows in
its mother's belly, Wungud is influential as body and spirit take form.
All babies have a Wungud spiritual origin. The child acquires a social
identity always inherited from the father, who represents his ancestral
moiety skin and Dambun (family estate) of land with associated responsibilities. David Mowaljarlai |
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| Ticket Men Stories of Loss and Resistance from the Kimberley Jack Dale painting ‘Massacre at Saddler’s Creek’, Ochres on Canvas, 2000 |
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| showing with:
The Mask in Ritual & Performance from PNG and Bali. |
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| Ticket Men He is now an old man living in Derby WA, and through painting relives personal experiences and those of his family from the early 1900’s. Not least of which are the early and often violent experiences of white meeting black in the then newly opened up pastoral leases established on the ancestral lands of the Aboriginal people. |
 Map of my country - Iminji' Ochres on canvas |
| Jack’s works do not shy away from
the political. He paints it as he saw it: murder and massacre, loss
and resistance. He says “These paintings are important so that
when l am gone people will not forget that this all happened”.
His paintings in traditional ochres represent a unique, first hand pictorial
account of a largely unknown and unrepeatable chapter of Australian
history. |
| The exhibition is accompanied by Jack's
stories about the works; tales like that of the 'Prison Boab Tree' in
Derby where Aboriginal men were held before being taken to gaol, and
'Shooting Blackfellas at Saddler's Springs', the depiction of a notorious
atrocity against the indigenous peoples by the police and manager of
Mount House Station.  Part of the 'Missionary' series by Jack Dale at Burrinja |
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| Jack Dale’s works are complimented
by a stunning series of semi abstract oil paintings depicting the story of: Jundamarra, the Bunuba resistance leader from the Kimberley, by Neil McLeod. |
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| The Bunuba people resisted the takeover of their lands by white people in the late 1800’s. Along with a number of the Bunuba people Jundamarra organised an ambush on the wagons of pastoralists who were trying to push further into their lands. In the process, they killed three white men and captured a wagon load of guns and ammunition. Pastoralists and police retaliated with mass slaughter of aboriginal people in the region. |
| Seeing that innocent people would suffer terribly if they continued to use violent means, Jundamarra then led a campaign of guerilla-style resistance. They harassed and terrified settlers and effectively kept the pastoralists from expanding for a few years. However, once Jundamarra and significant numbers of the people indigenous to the area were killed or taken away, there was no further barrier to expansion of the pastoral holdings |
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| Masks from PNG and the Balinese Barong – Burrinja |
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| The Mask in Ritual & Performance, masks and costumes from PNG and Bali is also showing in the inner gallery at Burrinja. Magnificent Kavat fire dance masks from the Bianing area of New Britain, Papua New Guinea vie for your attention with traditional hand carved Malagan masks from New Ireland, PNG. Centre stage is taken by a large ceremonial Balinese Barong, made in the 1930’s and used in many temple ceremonies in Bali. |
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| Admission: $2 adults, children free. |
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| Contemporary
Masters
An exhibition featuring stunning indigenous and non-indigenous
masterpieces |
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 Kakadu the Hunted (detail) Acrylic on Canvas, 1992 Frank Hodgkinson, Sydney Courtesy; Kate Hodgkinson |
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| The Contemporary Masters exhibition interrogates the place of Australian indigenous art within the context of contemporary art practices in this country. It places Aboriginal artists at the leading edge of contemporary art, be it indigenous or non-indigenous and in both the Australian and international art world, where its high profile occupies a unique place and exerts an almost disproportionate influence. Through the juxtaposition of artistic styles, the exhibition demonstrates both contemporary diversity and the cross-cultural pollination of the visual aesthetic. |
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Until August 24, 2003 Works courtesy of: Tingari Cycle |
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Masters
An exhibition that not only asks questions, but points toward new
directions. Works courtesy of the Ebes Collection, Shire of Yarra
Ranges, Neil McLeod Fine Arts and private collectors. |
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| Gili Bigi |
| Featuring works by Lin
Onus Also Showing Exhibition Extended
by Demand |
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| Fish and Lilies, Dingo Springs Lin Onus, 1996,
acrylic on canvas 183 x 244cm. ' image courtesy of Onus family' |
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| Stingrays also Dream of Flying Lin Onus 1995 Synthetic polymer paint on canvas |
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| Chained Prisoners (Sandiwarra Series) Lin Onus 1984 - 85 Synthetic polymer paint on canvas |
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| Lin Onus 1948 - 1996 A chance discovery in 1974 of an old set of student's oil paints started the career of one of Australia's most respected and revered urban artists - Lin Onus. Born William McLintock Onus, 'Lin' was a derivative of McLintock, as his father was also named William. The last of those with the name McLintock - from Lin's Scottish mother's family - had died in a shipwreck and so giving children the middle name McLintock was a way of keeping the family name going. Lin took pride in his Scottish ancestry as well as his Aboriginal side, which is reflected in the hybrid western and indigenous nature of his works. As the son of one of the first successful Aboriginal businessman, Bill Onus, Lin was instilled from a very early age with a strong social conscience and desire to fight for the underdog. At his father's shop, Lin was constantly surrounded by creative and inventive people including, Ronald Bull, William Ricketts, Guy Boyd, "Uncle" Doug Nicholls and Lin`s cousin Bruce McGuinness. He also frequently visited with his father the Aboriginal settlement of Cummeragunja on the banks of the Murray river, which was his Yorta Yorta country. Lin at first painted in a totally Western style, starting with landscapes of country that was special to him such as the Barmah and Sherbrooke forests. In 1977 he also began painting portraits. It was in 1988 that his friend Jack (Big Wamut), an aboriginal elder from Garmedi in the Northern Territory, adopted Lin into his Murrungun\Djinang family, giving him his "skin" name of Burralang and permission to paint in the traditional Aboriginal style of "rarrk", or cross hatching. This marked a major change in Lin's style of painting. It was from then on that Lin changed and incorporated his traditional, realist Western style and his new found story of traditional Aboriginal rarrk. For the first time Lin felt that he was truly painting his own unique story, in combining both Western and Aboriginal styles of painting, as Lin himself was a combination with a Koori father and a Scottish mother. It was in this vein that Lin was to continue painting and sculpting throughout his career. After his death in 1996, Australia lost one of its most prominent artists. He was honoured in 2000 and 2001 with the first major touring Retrospective for a urban Aboriginal artist. The retrospective, "urban dingo the art of Lin Onus 1948 - 1996" was a final farewell to an artist who by embracing both sides of his culture produced a style of art which had never been attempted before. The works of Lin Onus are being loaned for the Gili Bigi exhibition from the Onus Estate to commemorate the 'new beginnings' of 'Burrinja', the arts and community cultural centre in Upwey. The name Burrinja was given to Lin as a boy. Meaning 'star', Burrinja is a Yorta Yorta word that later held much significance for Lin when he discovered he was of Yorta Yorta descent, and not Wiradjuri as previously thought. The naming of Burrinja is significant given that Lin had campaigned tirelessly with others in the community to turn what were the abandoned Shire of Sherbrooke offices into a cultural centre rather than being sold-off. Lin, who was the recipient of many awards including the Order of Australia and the national medal, was equally as proud of his Shire of Sherbrooke community service award. His works have been shown in every major gallery in Australia and many worldwide, but it is fitting that he and his works remain part of the local community that was so important to both him and his father before him. Jo Onus and Tiriki Onus (edited extracts), 2005 . MAJOR COLLECTIONS |
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