Spirit in the Land

Emily Kngwarreye Kame Colour. 1995, Acrylic on canvas, 151 x 90 cm.

Emily Kngwarreye, 151 x 90cm, 1995, Acrylic on canvas.

'Spirit in the Land' is a stunning exhibition, being held at the Flinders University City Gallery, State library of South Australia, North Terrace, Adelaide. The artists featured are Australia's most influential artists; Lorraine Connelly-Northey, John Davis, Russell Drysdale, Rosalie Gascoigne, Emily Kame Kngwarreye, Dorothy Napangardi, Sidney Nolan, John Olsen, Lin Onus, Rover Thomas and Fred Williams. This exhibition beautifully illustrates shared themes and cultural exchanges, between indigenous and non indigenous Australian Artists. Although Rosalie Gasgoigne was a New Zealander.
Robert Lindsay, Director, McClelland Gallery+Sculpture Park, said "Spirit in the land is about iconic works that talk about the land and their relationship to the formation of an Australian identity".

Hossein and Angela Valamanesh

Hosseinh  valamanesh, 'Dot painting for Beginers' 1999, coloured sands and glory vine leaves on linen, 46 x 92cm.

Hossein Valamanesh, Dot Painting with Tablets, 1999, Warafin, Angine, Zocar tablets on paper, 42 x 42.

Hossein and Angela Valamanesh, 2007. untitled, Rubinia Leaves, wax varnish on paper, 75 x 100cm.

The artist Hossein valamanesh relects his love and respect for  indigenous art, that so impressed him whilst visiting Pupunya in the 70s, soon after arriving from Iran. Valamanesh mentions in his UNISA 'artists talk' how he was deeply moved by the Pupunya peoples sacred art and connection to the land and this connection to the natural world has influenced valamanesh's work thus far. 

Tandanya, Mangkaia Arts

I have just been to see the Mangkaia Arts exhibition at Tandanya in Grenville Street. The artists exhibiting are based in Fitzroy Crossing, WA This exhibition is stunning and I was amazed at the vividness and sheer beauty of the paintings. There is great diversity within the exhibition, but my favourite painting is by Phyliss Waye titled 'My Mothers Country', 2011, Atelier acrylic on canvas,120 x120cm, $2. 918. This is a painting made up of a profusion of dots, in bright pastel shades. Waye describes it as seeing the wildflowers around the water holes in her mothers country. It is abstract and an optical illusion, because when I stood back and looked at it it seemed to move and dance before my eyes, much like flowers move in a gentle breeze. I was stunned. As I moved closer, the abstraction took on another form of texture, light and colour, I found this painting  extremely moving, emotionally because it was such a remarkable sensory experience.

The relevance of traditional art forms applied to contemporary urban context

Traditional weaving as in the Ngarrindjeri tradition and cross hatching (rark) is as relevant today as it has been for thousands of years. I feel strongly that the traditional knowledge and methods, of producing art and objects that are brought forward and used in contemporary culture has a long,  historical precedence, referencing previous styles and practices in art, brings rich layers of meaning and connection to the past. These traditional methods and practices change and adapt to new technologies and culture. In many ways this reflects Lin Onus's work 'Dingoes',  which as a species has had to adapt and change to survive and prosper.

Yvonne Koolmatrie, Rover Thomas and Lin Onus.

Add caption

Rover Thomas (Joolama), Barramundi Dreaming, 300 x 136 cm, Natural Pigment on Paper. (artsearch.nga.gov.au)








Yvonne Koolmatrie, Standing in front of her weaving, made from Murray river sedge grasses. Koolmatrie has reinvented the traditional Ngarrindjeri weaving traditions from the lower Murry River and given new interpretations to the traditional eel trap baskets s. (Google images, The Advertiser,Yvonne Koolmatrie)










Lin Onus, Yorta Yorta People, 'Dingoes', 1989, Synthetic polymer paint on fibreglass, wire and metal. and
(cs.nga.gov.au)












Lin Onus's work does express a deep sense of loss in many of his works, However I think that loss is not his main message, Onus's mandate is acknowledging Indigenous history from an Aboriginals view point, and bringing his art into sharp focus in the public realm  and in so doing, challenging perceptions of white history that was predominately taught in schools and the white bias of  interpreting Indigenous history. Lin Onus with great humour and acute observation, makes his message clear, often metaphorically,  His own view of the story of indigenous and white history.

Ricky Maynard

Ricky Maynard's Photograph in Art and soul is an immensely powerful image. Even without knowing the terrible context in which this image was created, it would still have an enormous impact on the viewer. This is, in my opinion, a universally powerful message. The solitary figure of Ricky stands alone in a vast seascape. The tonal quality of the image is somber, grey and muted, The composition is simple and spare. Maynard stands in damp drooping clothes, slightly hunched, looking searchingly out to sea. There is no ambiguity in this image, it speaks simply and powerfully of loneliness, longing and displacement. This is an experience that most people have felt in their lives and would instantly connect to.

Destiny Deacon

To gain a deeper and more satisfying understanding and insight into Destiny Deacons work, it is very  important to have some understanding and knowledge of the socio/political issues that Deacon is expressing through her art. I think it is also useful to have access to informed analysis of Destiny Deacons images and ideas, because on a personal level, when first viewing her Photographs/prints, I did not understand the messages and ideas that Destiny was constructing, through her dioramas of dolls and domestic objects. However the emotional   response that these images elicited, without my having any knowledgeable  understanding of Deacons background or context,  was of horrified fascination. I wondered, what is she  saying to me? The images are like a still, fleeting moments in a long movie, you know there is more and that you will know the story if only you could see the rest of the movie. So in having that silent and still glimpse  into something much bigger, felt unsettling and disturbing. I felt like a detective, trying to solve an impossible puzzle. I enjoy her eloquent riddles and feel very strongly that this is what good art is all about.