Downstairs

Reko Rennie

Reko Rennie explores his Aboriginal identity through his use of painting, stenciling, sculpture, installation and film. Although Rennie grew up in Melbourne, his heritage lies with the Kamilaroi people of northern New South Wales. The significance of this heritage was imparted to him by his grandmother Julia, with whom Rennie shared a special relationship. Julia was forcibly removed from her family during the 1920s and enslaved at a pastoral station.

In OA_RR Rennie drives his Rolls-Royce through Kamilaroi Country to a site near where his grandmother was born. Rennie drives the car onto a clearing of land to make temporary marks into the red earth. This ephemeral act of mark making references large engravings created by the Kamilaroi people for ceremonies.

• Describe what is happening in OA_RR.
• How does this video work make you feel? With a friend, share one reason why it makes you feel this way.
• Rennie’s choice of a 1973 gold Rolls-Royce Corniche acts as an auto-portrait, (‘auto’ means self). What other aspects of the car tell Rennie’s story?
• In OA_RR the Rolls-Royce was used as a symbol of wealth and power. Today, what symbols do you associate with wealth and power? Comparably, can you think of a universal symbol for compassion and tolerance?

Yhonnie Scarce

Yhonnie Scarce (b. 1974) belongs to the Kokatha and Nukunu peoples – whose traditional lands cover a large expanse north of Port Augusta, stretching from Lake Torrens in the east to the Gawler Ranges in the west, and the southern Flinders Ranges. Scarce began working with glass during her studies at the University of South Australia in 2003 and was the first Aboriginal student to graduate in the discipline.

Thunder Raining Poison consists of over two thousand hand-blown streaky green glass yams, taking on the form of an atomic cloud this work addresses a history of British Nuclear testing during the 1950s and 60s in Maralinga.

• What did you find most surprising about this work?
• What question would you ask the artist if they were standing in front of you?
• Make drawings of some of the glass yams. Later find out about this and other bush foods. Create your own illustrated poster to show your learning.

More

Visit Kulata Tjuta upstairs. This installation of 550 spears takes on the appearance of an explosion frozen in time. Kulata Tjuta also responds to atomic bomb testing that occurred in Maralinga. Compare Thunder Raining Poison to Kulata Tjuta. How do they communicate differently the effects of atomic bomb testing? What similarities and differences do you notice?

Milingimbi Weavers

The baskets made by Margaret Rarru Garrawurra and Helen Ganalmirriwuy Garrawurra express their identity as members of the Liyagawumirr-Garrawurra clan. Their collection of woven mindirr (dilly bags) includes use of red, white and yellow pigments related to knowledge revealed by Ancestral creator beings. The ochre pigments are layered and painted onto the tightly woven bags in designs and patterns that originate from body markings applied during important ceremony. 

• Design your own basket or vessel that you could use to carry your 5 most important possessions. Now draw these items inside your basket or vessel. Is your basket strong and big enough to carry all your items? Baskets often have handles. Will your basket be easy and comfortable to carry for long distances?
• Draw a pattern or design on your vessel that tells us something about who you are.

Thea Anamara Perkins

Thea Anamara Perkins is an Arrernte and Kalkadoon artist who was raised and lives in Sydney on Gadigal Country. Working with paint and archival photographs, Perkins explores portraiture – its history and its hierarchies. Perkins paints onto Claybord, a kaolin-covered surface, which creates a flat finish and intensifies the blocks of colour she uses in her compositions. Her portraits Grace, Nyinta, Doris, Sally and Betty, Tangentyere artists painted in their art centre in 2019, are examples of Perkins’s signature style. At a quick glance they might appear as though they are digital images.

• What is the purpose of a portrait? Look at different examples of portraits on display in the Gallery. How are Perkins' portraits different?
• In 1839 the first photograph of a person was taken. Despite the invention of photography, artists continue to paint portraits. Why do you think Perkins has painted her sitters rather than take photographs of them?
• How might you describe this portrait to someone who hasn’t seen it? Is it realistic or has it changed in some way? What materials and techniques has Perkins used?
• Are there any clues in the work that might tell you more about who this person is, where they live or what they do?