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Feeling incredibly grateful to have been able to see the incredible work of Osvaldo Budet at Maitland Regional Art Gallery. The exhibition opening had such an amazing turnout. Congratulations and thank you for sharing this history with the world. taken in Wonnarua Country by @otaithligh

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3 months ago

Archie Moore / 𝘬𝘪𝘵𝘩 𝘢𝘯𝘥 𝘬𝘪𝘯
27 Sep 2025 – 18 Oct 2026

“𝘍𝘪𝘳𝘴𝘵 𝘕𝘢𝘵𝘪𝘰𝘯𝘴 𝘗𝘦𝘰𝘱𝘭𝘦𝘴 𝘰𝘧 𝘈𝘶𝘴𝘵𝘳𝘢𝘭𝘪𝘢 𝘢𝘳𝘦 𝘢𝘮𝘰𝘯𝘨 𝘵𝘩𝘦 𝘰𝘭𝘥𝘦𝘴𝘵 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘰𝘶𝘴 𝘭𝘪𝘷𝘪𝘯𝘨 𝘤𝘶𝘭𝘵𝘶𝘳𝘦𝘴 𝘰𝘯 𝘦𝘢𝘳𝘵𝘩; 𝘈𝘳𝘤𝘩𝘪𝘦 𝘔𝘰𝘰𝘳𝘦’𝘴 𝘬𝘪𝘵𝘩 𝘢𝘯𝘥 𝘬𝘪𝘯 𝘢𝘧𝘧𝘪𝘳𝘮𝘴 𝘵𝘩𝘪𝘴 𝘣𝘺 𝘵𝘳𝘢𝘤𝘪𝘯𝘨 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵’𝘴 𝘒𝘢𝘮𝘪𝘭𝘢𝘳𝘰𝘪 𝘢𝘯𝘥 𝘉𝘪𝘨𝘢𝘮𝘣𝘶𝘭 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴 𝘰𝘷𝘦𝘳 65,000+ 𝘺𝘦𝘢𝘳𝘴. 𝘛𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵’𝘴 𝘦𝘹𝘵𝘦𝘯𝘴𝘪𝘷𝘦 𝘥𝘳𝘢𝘸𝘪𝘯𝘨 𝘤𝘢𝘱𝘵𝘶𝘳𝘦𝘴 𝘵𝘩𝘦 𝘤𝘰𝘮𝘮𝘰𝘯 𝘢𝘯𝘤𝘦𝘴𝘵𝘰𝘳𝘴 𝘰𝘧 𝘢𝘭𝘭 𝘩𝘶𝘮𝘢𝘯𝘴 𝘢𝘭𝘰𝘯𝘨𝘴𝘪𝘥𝘦 𝘢𝘯𝘪𝘮𝘢𝘭𝘴, 𝘱𝘭𝘢𝘯𝘵𝘴, 𝘸𝘢𝘵𝘦𝘳𝘸𝘢𝘺𝘴 𝘢𝘯𝘥 𝘭𝘢𝘯𝘥𝘧𝘰𝘳𝘮𝘴 𝘪𝘯 𝘰𝘳𝘥𝘦𝘳 𝘵𝘰 𝘦𝘮𝘱𝘩𝘢𝘴𝘪𝘴𝘦 𝘰𝘶𝘳 𝘬𝘪𝘯𝘴𝘩𝘪𝘱 𝘳𝘦𝘴𝘱𝘰𝘯𝘴𝘪𝘣𝘪𝘭𝘪𝘵𝘪𝘦𝘴 𝘵𝘰 𝘦𝘢𝘤𝘩 𝘰𝘵𝘩𝘦𝘳 𝘢𝘯𝘥 𝘰𝘶𝘳 𝘴𝘶𝘳𝘳𝘰𝘶𝘯𝘥𝘪𝘯𝘨𝘴.”

One of my aunties called me when she read about Archie Moore’s work at La Biennale de Venezia 2024 to tell me how much she loved it and its profound effect on her. I am so incredibly grateful to have had the opportunity to see this work with family while in Magandjin (Brisbane). taken in GOMA Gallery Of Modern Art by @otaithligh

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5 months ago

‘Snap Blak’ brings together dynamic examples of contemporary Aboriginal and Torres Strait Island photography that champion Indigenous self-representation, with assertions of visual sovereignty that resist prevalent stereotypes and re-present their people.

Destiny Deacon, 𝘏𝘢𝘱𝘱𝘺 𝘩𝘢𝘱𝘱𝘺 𝘪𝘯𝘴𝘵𝘪𝘵𝘶𝘵𝘪𝘰𝘯 (from ‘Forced into images’ portfolio), 2001
Destiny Deacon, 𝘔𝘦𝘭𝘰𝘯𝘤𝘩𝘰𝘭𝘺 (from ‘Sad and bad’ series) 2000
Destiny Deacon, 𝘌𝘴𝘤𝘢𝘱𝘦 (from ‘Forced into images’ portfolio) 2001

Nici Cumpston, Listening to the River (from the ‘Attesting’ series) 2005-16

Simone Arnol, 𝘛𝘰𝘵𝘵𝘪𝘦 𝘑𝘰𝘪𝘯𝘣𝘦𝘦 𝘢𝘯𝘥 𝘩𝘦𝘳 𝘩𝘶𝘴𝘣𝘢𝘯𝘥 𝘑𝘢𝘤𝘬 𝘢𝘯𝘥 𝘵𝘩𝘦𝘪𝘳 𝘤𝘩𝘪𝘭𝘥𝘳𝘦𝘯 𝘸𝘦𝘳𝘦 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘧𝘢𝘮𝘪𝘭𝘺 𝘵𝘰 𝘣𝘦 𝘦𝘹𝘦𝘮𝘱𝘵 𝘧𝘳𝘰𝘮 𝘠𝘢𝘳𝘳𝘢𝘣𝘢𝘩. “𝘞𝘦 𝘸𝘦𝘳𝘦 𝘵𝘰𝘭𝘥 𝘸𝘦 𝘩𝘢𝘥 𝘵𝘰𝘰 𝘮𝘢𝘯𝘺 𝘧𝘢𝘪𝘳-𝘴𝘬𝘪𝘯 𝘤𝘩𝘪𝘭𝘥𝘳𝘦𝘯 𝘢𝘯𝘥 𝘸𝘦 𝘩𝘢𝘥 𝘵𝘰 𝘭𝘦𝘢𝘷𝘦 𝘠𝘢𝘳𝘳𝘢𝘣𝘢𝘩.” 𝘛𝘩𝘦𝘪𝘳 𝘢𝘱𝘱𝘭𝘪𝘤𝘢𝘵𝘪𝘰𝘯 𝘸𝘢𝘴 𝘢𝘱𝘱𝘳𝘰𝘷𝘦𝘥 𝘪𝘯 1944 #1 from ‘Reflections in Yarrabah’ series) 2023

Fiona Foley, 𝘚𝘶𝘳𝘷𝘪𝘷𝘢𝘭 𝘐, 𝘐𝘐, 𝘐𝘐𝘐, 𝘐𝘝 1988

Nici Cumpston, Listening to the River (from the ‘Attesting’ series) 2005-16

Danie Mellor, 𝘗𝘦𝘳𝘱𝘦𝘵𝘶𝘢𝘭 (𝘫𝘪𝘨𝘶𝘣𝘪𝘯𝘢) 2022

Genevieve Grieves, 𝘗𝘪𝘤𝘵𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘰𝘭𝘥 𝘱𝘦𝘰𝘱𝘭𝘦, 2006-2007

Dianne Jones, 𝘑𝘰𝘯𝘦𝘴’𝘴 𝘱𝘪𝘤𝘯𝘪𝘤 2001
Dianne Jones, 𝘉𝘳𝘦𝘯𝘥𝘢’𝘴 𝘸𝘦𝘥𝘥𝘪𝘯𝘨 2001

Byron Picket, 𝘋𝘦𝘴𝘤𝘦𝘯𝘥𝘢𝘯𝘵𝘴 (from ‘Right here right now - Australia 1988’ portfolio) 1987 taken in GOMA Gallery Of Modern Art by @otaithligh

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5 months ago

‘Snap Blak’ brings together dynamic examples of contemporary Aboriginal and Torres Strait Island photography that champion Indigenous self-representation, with assertions of visual sovereignty that resist prevalent stereotypes and re-present their people.

Michael Aird, 𝘉𝘰𝘢𝘵 𝘸𝘪𝘵𝘩 𝘈𝘣𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘧𝘭𝘢𝘨 𝘴𝘢𝘪𝘭𝘪𝘯𝘨 𝘰𝘯 𝘉𝘳𝘪𝘴𝘣𝘢𝘯𝘦 𝘙𝘪𝘷𝘦𝘳 (from ‘Portraits’ series) 1988-89
Michael Aird, 𝘔𝘢𝘯 𝘴𝘪𝘵𝘵𝘪𝘯𝘨 𝘰𝘯 𝘨𝘳𝘰𝘶𝘯𝘥 𝘸𝘪𝘵𝘩 𝘥𝘪𝘥𝘨𝘦𝘳𝘪𝘥𝘰𝘰 𝘢𝘯𝘥 𝘳𝘢𝘥𝘪𝘰/𝘤𝘢𝘴𝘴𝘦𝘵𝘵𝘦𝘴 (from ‘Portraits’ series) 1988-89

Tony Albert, 𝘞𝘢𝘳𝘢𝘬𝘶𝘳𝘯𝘢 𝘚𝘶𝘱𝘦𝘳𝘩𝘦𝘳𝘰𝘦𝘴, 2017
David Collins (Photographer)
Kieran Lawson (Artist)
Timira Nelson (Artist)
Renisha Ward-Yates (Artist)
Nikisha Nelson (Artist)
Kieran Smythe-Jackson (Artist)
Brittany Malbunka Reid (Artist)
Karni Mitchell (Artist)

Naomi Hobson, 𝘖𝘔𝘎! “𝘖𝘔𝘎 𝘺𝘰𝘶-𝘧𝘦𝘭𝘭𝘢! 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 𝘩𝘦𝘢𝘷𝘪𝘦𝘳 𝘵𝘩𝘢𝘯 𝘪𝘵 𝘭𝘰𝘰𝘬𝘴!” 𝘈𝘭𝘢𝘪𝘯𝘢. (from ‘Adolescent Wonderland’ series) 2019

Ricky Maynard, 𝘞𝘪𝘬 𝘦𝘭𝘥𝘦𝘳, 𝘈𝘳𝘵𝘩𝘶𝘳 (from ‘Returning to places that name us’ series), 2000
Ricky Maynard, 𝘞𝘪𝘬 𝘦𝘭𝘥𝘦𝘳, 𝘉𝘳𝘶𝘤𝘦 (from ‘Returning to places that name us’ series), 2000

Michael Cook, 𝘔𝘢𝘫𝘰𝘳𝘪𝘵𝘺 𝘙𝘶𝘭𝘦 (Bridge) 2014
Michael Cook, 𝘔𝘢𝘫𝘰𝘳𝘪𝘵𝘺 𝘙𝘶𝘭𝘦 (Tunnel) 2014

Simone Arnol, 𝘎𝘪𝘳𝘭’𝘴 𝘏𝘰𝘮𝘦 𝘙𝘦𝘨𝘶𝘭𝘢𝘵𝘪𝘰𝘯𝘴: 𝘉𝘓𝘈𝘕𝘒𝘌𝘛𝘚 𝘛𝘰 𝘣𝘦 𝘢𝘪𝘳𝘦𝘥 𝘥𝘢𝘪𝘭𝘺. 𝘋𝘪𝘳𝘵𝘺 𝘣𝘭𝘢𝘯𝘬𝘦𝘵𝘴 𝘵𝘰 𝘣𝘦 𝘸𝘢𝘴𝘩𝘦𝘥. 𝘌𝘢𝘤𝘩 𝘪𝘯𝘮𝘢𝘵𝘦 𝘵𝘰 𝘩𝘢𝘷𝘦 𝘩𝘦𝘳 𝘰𝘸𝘯 𝘣𝘭𝘢𝘯𝘬𝘦𝘵 𝘸𝘪𝘵𝘩 𝘩𝘦𝘳 𝘯𝘢𝘮𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘰𝘳𝘯𝘦𝘳. 𝘉𝘭𝘢𝘯𝘬𝘦𝘵𝘴 𝘵𝘰 𝘣𝘦 𝘱𝘳𝘦𝘴𝘴𝘦𝘥 𝘣𝘺 12 𝘰’𝘤𝘭𝘰𝘤𝘬 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘱𝘳𝘦𝘴𝘴 𝘭𝘰𝘤𝘬𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘔𝘢𝘵𝘳𝘰𝘯 #1 (from ‘1899 Yarrabah Rules and Regulations’ series) 2023

Robert Fielding, 𝘖𝘣𝘫𝘦𝘤𝘵𝘴 𝘰𝘧 𝘰𝘳𝘪𝘨𝘪𝘯 1-4 (from ‘Objects of origin’ series) 2018 taken in GOMA Gallery Of Modern Art by @otaithligh

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5 months ago

Great and Small: Kindred Creatures in Indigenous Australian Art

Mabel Juli, 𝘒𝘢𝘳𝘳𝘨𝘪𝘯 𝘢𝘯𝘥 𝘎𝘰𝘰𝘭𝘢𝘳𝘣𝘰𝘰𝘭 𝘕𝘨𝘢𝘳𝘳𝘢𝘯𝘨𝘬𝘢𝘳𝘯𝘪 (Moon and snake dreaming), 2002

Thanakupi, 𝘛𝘳𝘪𝘣𝘢𝘭 𝘣𝘳𝘰𝘵𝘩𝘦𝘳𝘴, 1982
Each panel of Thanakupi’s 𝘛𝘳𝘪𝘣𝘢𝘭 𝘣𝘳𝘰𝘵𝘩𝘦𝘳𝘴 portrays a different creation story of the Thungganh tribal brothers, who forged the land, animals and customary laws.

Roxanne Petrick, 𝘙𝘢𝘪𝘯𝘣𝘰𝘸 𝘳𝘰𝘰𝘴𝘵𝘦𝘳, 2018

Robert Campbell Jr (artist), Pam Debenham (printer), 𝘚𝘱𝘦𝘢𝘳𝘪𝘯𝘨 𝘳𝘰𝘰 (from the ‘Bicentennial Folio’), 1988

Irene Mbitjana Entata, 𝘔𝘪𝘴𝘴𝘪𝘰𝘯 𝘥𝘢𝘺𝘴, 2002

Irene Mbitjana Entata, 𝘙𝘦𝘦𝘭𝘱𝘢 (Drovers), 2002
Irene Mbitjana Entata, 𝘊𝘰𝘸𝘴, 2002

Reinhold Inkamala, 𝘊𝘰𝘸𝘣𝘰𝘺 𝘢𝘯𝘥 𝘩𝘰𝘳𝘴𝘦𝘴, 2022

Niningka Lewis, 𝘐𝘳𝘪𝘵𝘪𝘵𝘫𝘢 (Early days), 2013

Attributed to Cherbourg Aboriginal Community, 𝘚𝘤𝘳𝘪𝘮𝘴𝘩𝘢𝘸 𝘣𝘪𝘭𝘭 𝘩𝘰𝘳𝘯𝘴, c. 1900-1930

Danie Mellor, 𝘚𝘦𝘢 𝘩𝘶𝘯𝘥 (hound), 2002
The colourful surfaces of Danie Mellor’s slip-cast dogs are symbolic maps that reference the artists ancestral lands as well as significant experiences that have influenced his career.

Vincent Namatjira, 𝘋𝘪𝘯𝘨𝘰 𝘊𝘢𝘷𝘢𝘭𝘦𝘳𝘪𝘦, 2025
As Namatjira explains:
“𝘐𝘯 𝘋𝘪𝘯𝘨𝘰 𝘊𝘢𝘷𝘢𝘭𝘦𝘳𝘪𝘦, 𝘵𝘩𝘦 𝘧𝘪𝘨𝘶𝘳𝘦 𝘪𝘴𝘯’𝘵 𝘢𝘯 𝘪𝘯𝘷𝘢𝘥𝘦𝘳, 𝘤𝘰𝘯𝘲𝘶𝘦𝘳𝘦𝘳, 𝘰𝘳 𝘤𝘰𝘭𝘰𝘯𝘪𝘴𝘦𝘳, 𝘵𝘩𝘰𝘶𝘨𝘩 - 𝘪𝘵’𝘴 𝘢 𝘴𝘺𝘮𝘣𝘰𝘭 𝘰𝘧 𝘍𝘪𝘳𝘴𝘵 𝘕𝘢𝘵𝘪𝘰𝘯’𝘴 𝘳𝘦𝘴𝘪𝘭𝘪𝘦𝘯𝘤𝘦, 𝘱𝘳𝘪𝘥𝘦 𝘢𝘯𝘥 𝘰𝘸𝘯𝘦𝘳𝘴𝘩𝘪𝘱, 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘥𝘪𝘯𝘨𝘰 𝘦𝘮𝘣𝘰𝘥𝘺𝘪𝘯𝘨 𝘵𝘩𝘦 𝘴𝘱𝘪𝘳𝘪𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘨𝘳𝘦𝘢𝘵 𝘈𝘣𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘴𝘵𝘰𝘤𝘬𝘮𝘦𝘯, 𝘢𝘵 𝘰𝘯𝘦 𝘸𝘪𝘵𝘩 𝘊𝘰𝘶𝘯𝘵𝘳𝘺”

Craig Koomeeta, 𝘋𝘪𝘯𝘨𝘰, 2002

Mick Namarari Tjapaltjarri, 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 1987
Mick Namarari Tjapaltjarri, 𝘋𝘪𝘯𝘨𝘰 𝘋𝘳𝘦𝘢𝘮𝘪𝘯𝘨, 1978

Keith Wikmunea, 𝘛𝘩𝘦𝘦𝘸𝘪𝘵𝘩 𝘠𝘰𝘵. 𝘈! | 𝘓𝘰𝘵𝘴 𝘰𝘧 𝘞𝘩𝘪𝘵𝘦 𝘊𝘰𝘤𝘬𝘢𝘵𝘰𝘰, 2024
Seven characterful white theewith (cockatoos) sit atop a yuk thanchal (milkwood tree) in Keith Wikmunea’s Theewith Yot. A! | Lots of White Cockatoo. Theewith are significant to Wikmunea as they are his puulwuy (father’s totem). taken in Queensland Art Gallery/Gallery of Modern Art by @otaithligh

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5 months ago

Dearly Departed: Death in Life
Until 23 August 2026

“𝘐𝘯𝘯𝘰𝘷𝘢𝘵𝘪𝘷𝘦, 𝘢𝘤𝘤𝘦𝘴𝘴𝘪𝘣𝘭𝘦, 𝘢𝘯𝘥 𝘥𝘦𝘦𝘱𝘭𝘺 𝘩𝘶𝘮𝘢𝘯, 𝘋𝘦𝘢𝘳𝘭𝘺 𝘋𝘦𝘱𝘢𝘳𝘵𝘦𝘥: 𝘥𝘦𝘢𝘵𝘩 𝘪𝘯 𝘭𝘪𝘧𝘦 𝘪𝘯𝘷𝘪𝘵𝘦𝘴 𝘷𝘪𝘴𝘪𝘵𝘰𝘳𝘴 𝘪𝘯𝘵𝘰 𝘢 𝘣𝘰𝘭𝘥 𝘦𝘹𝘱𝘭𝘰𝘳𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘮𝘰𝘳𝘵𝘢𝘭𝘪𝘵𝘺 𝘢𝘤𝘳𝘰𝘴𝘴 𝘘𝘶𝘦𝘦𝘯𝘴𝘭𝘢𝘯𝘥’𝘴 𝘱𝘢𝘴𝘵, 𝘱𝘳𝘦𝘴𝘦𝘯𝘵 𝘢𝘯𝘥 𝘧𝘶𝘵𝘶𝘳𝘦. 𝘛𝘩𝘳𝘰𝘶𝘨𝘩 𝘳𝘪𝘤𝘩 𝘩𝘪𝘴𝘵𝘰𝘳𝘪𝘤𝘢𝘭 𝘪𝘯𝘴𝘪𝘨𝘩𝘵, 𝘦𝘷𝘰𝘤𝘢𝘵𝘪𝘷𝘦 𝘢𝘳𝘵𝘪𝘴𝘵𝘪𝘤 𝘪𝘯𝘵𝘦𝘳𝘱𝘳𝘦𝘵𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘪𝘯𝘵𝘦𝘳𝘢𝘤𝘵𝘪𝘷𝘦 𝘥𝘦𝘴𝘪𝘨𝘯, 𝘵𝘩𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘴𝘱𝘢𝘳𝘬𝘴 𝘮𝘦𝘢𝘯𝘪𝘯𝘨𝘧𝘶𝘭 𝘤𝘰𝘯𝘷𝘦𝘳𝘴𝘢𝘵𝘪𝘰𝘯 𝘢𝘣𝘰𝘶𝘵 𝘭𝘪𝘧𝘦, 𝘥𝘦𝘢𝘵𝘩 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘮𝘦𝘮𝘰𝘳𝘪𝘦𝘴 𝘸𝘦 𝘩𝘰𝘭𝘥.

𝘋𝘳𝘢𝘸𝘪𝘯𝘨 𝘰𝘯 𝘵𝘩𝘦 𝘚𝘵𝘢𝘵𝘦 𝘓𝘪𝘣𝘳𝘢𝘳𝘺’𝘴 𝘳𝘪𝘤𝘩 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘢𝘯𝘥 𝘴𝘵𝘰𝘳𝘪𝘦𝘴, 𝘵𝘩𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘦𝘹𝘱𝘭𝘰𝘳𝘦𝘴 𝘩𝘰𝘸 𝘴𝘰𝘤𝘪𝘢𝘭, 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭, 𝘴𝘱𝘪𝘳𝘪𝘵𝘶𝘢𝘭, 𝘩𝘪𝘴𝘵𝘰𝘳𝘪𝘤𝘢𝘭 𝘢𝘯𝘥 𝘱𝘰𝘭𝘪𝘵𝘪𝘤𝘢𝘭 𝘧𝘰𝘳𝘤𝘦𝘴 𝘩𝘢𝘷𝘦 𝘴𝘩𝘢𝘱𝘦𝘥 𝘘𝘶𝘦𝘦𝘯𝘴𝘭𝘢𝘯𝘥𝘦𝘳𝘴’ 𝘢𝘵𝘵𝘪𝘵𝘶𝘥𝘦𝘴 𝘵𝘰 𝘥𝘦𝘢𝘵𝘩 𝘢𝘯𝘥 𝘥𝘺𝘪𝘯𝘨 – 𝘵𝘩𝘦𝘯 𝘢𝘯𝘥 𝘯𝘰𝘸.
𝘑𝘰𝘪𝘯 𝘶𝘴 𝘢𝘴 𝘸𝘦 𝘳𝘦𝘥𝘪𝘴𝘤𝘰𝘷𝘦𝘳 𝘩𝘰𝘸 𝘤𝘰𝘯𝘧𝘳𝘰𝘯𝘵𝘪𝘯𝘨 𝘥𝘦𝘢𝘵𝘩 𝘩𝘦𝘭𝘱𝘴 𝘶𝘴 𝘣𝘦𝘵𝘵𝘦𝘳 𝘶𝘯𝘥𝘦𝘳𝘴𝘵𝘢𝘯𝘥 𝘭𝘪𝘧𝘦 𝘪𝘵𝘴𝘦𝘭𝘧.

𝘊𝘰𝘯𝘵𝘦𝘯𝘵 𝘯𝘰𝘵𝘦
𝘛𝘩𝘪𝘴 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘧𝘦𝘢𝘵𝘶𝘳𝘦𝘴 𝘪𝘮𝘢𝘨𝘦𝘴, 𝘷𝘪𝘥𝘦𝘰𝘴, 𝘢𝘯𝘥 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘢𝘴𝘴𝘰𝘤𝘪𝘢𝘵𝘦𝘥 𝘸𝘪𝘵𝘩 𝘥𝘦𝘢𝘵𝘩 𝘢𝘯𝘥 𝘥𝘺𝘪𝘯𝘨. 𝘛𝘩𝘦𝘴𝘦 𝘤𝘢𝘯 𝘦𝘷𝘰𝘬𝘦 𝘦𝘮𝘰𝘵𝘪𝘰𝘯𝘴, 𝘮𝘦𝘮𝘰𝘳𝘪𝘦𝘴, 𝘰𝘳 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴. 𝘝𝘪𝘴𝘪𝘵𝘰𝘳𝘴 𝘢𝘳𝘦 𝘦𝘯𝘤𝘰𝘶𝘳𝘢𝘨𝘦𝘥 𝘵𝘰 𝘮𝘰𝘷𝘦 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘴𝘱𝘢𝘤𝘦 𝘢𝘵 𝘵𝘩𝘦𝘪𝘳 𝘰𝘸𝘯 𝘱𝘢𝘤𝘦 𝘢𝘯𝘥 𝘵𝘰 𝘵𝘢𝘬𝘦 𝘣𝘳𝘦𝘢𝘬𝘴 𝘸𝘩𝘦𝘯𝘦𝘷𝘦𝘳 𝘯𝘦𝘦𝘥𝘦𝘥. 𝘛𝘩𝘪𝘴 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘤𝘰𝘯𝘵𝘢𝘪𝘯𝘴 𝘱𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘴, 𝘷𝘪𝘥𝘦𝘰𝘴 𝘢𝘯𝘥 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨𝘴 𝘰𝘧 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘩𝘢𝘷𝘦 𝘴𝘪𝘯𝘤𝘦 𝘱𝘢𝘴𝘴𝘦𝘥, 𝘪𝘯𝘤𝘭𝘶𝘥𝘪𝘯𝘨 𝘈𝘣𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘢𝘯𝘥 𝘛𝘰𝘳𝘳𝘦𝘴 𝘚𝘵𝘳𝘢𝘪𝘵 𝘐𝘴𝘭𝘢𝘯𝘥𝘦𝘳 𝘱𝘦𝘰𝘱𝘭𝘦𝘴.” taken in State Library of Queensland by @otaithligh

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5 months ago

The book nook, Magpie Goose exhibition taken in Museum of Brisbane by @otaithligh

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5 months ago

Magpie Goose: Museum of Brisbane
Saturday 22 November 2025 – Monday 5 October 2026

Celebrating Country and Culture through the bold designs of Magpie Goose.

“𝘔𝘶𝘴𝘦𝘶𝘮 𝘰𝘧 𝘉𝘳𝘪𝘴𝘣𝘢𝘯𝘦 𝘪𝘴 𝘦𝘹𝘤𝘪𝘵𝘦𝘥 𝘵𝘰 𝘤𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘦 𝘸𝘪𝘵𝘩 𝘔𝘢𝘨𝘱𝘪𝘦 𝘎𝘰𝘰𝘴𝘦, 𝘢 𝘱𝘳𝘰𝘶𝘥𝘭𝘺 𝘈𝘣𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘰𝘸𝘯𝘦𝘥 𝘢𝘯𝘥 𝘭𝘦𝘥 𝘧𝘢𝘴𝘩𝘪𝘰𝘯 𝘢𝘯𝘥 𝘴𝘰𝘤𝘪𝘢𝘭 𝘦𝘯𝘵𝘦𝘳𝘱𝘳𝘪𝘴𝘦, 𝘵𝘰 𝘤𝘦𝘭𝘦𝘣𝘳𝘢𝘵𝘦 𝘦𝘹𝘵𝘳𝘢𝘰𝘳𝘥𝘪𝘯𝘢𝘳𝘺 𝘍𝘪𝘳𝘴𝘵 𝘗𝘦𝘰𝘱𝘭𝘦𝘴 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘴𝘵𝘰𝘳𝘪𝘦𝘴 𝘢𝘯𝘥 𝘥𝘦𝘴𝘪𝘨𝘯𝘴.

𝘛𝘩𝘪𝘴 𝘦𝘹𝘤𝘭𝘶𝘴𝘪𝘷𝘦 𝘵𝘰 𝘉𝘳𝘪𝘴𝘣𝘢𝘯𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯, 𝘥𝘦𝘷𝘦𝘭𝘰𝘱𝘦𝘥 𝘪𝘯 𝘤𝘭𝘰𝘴𝘦 𝘤𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘪𝘰𝘯 𝘸𝘪𝘵𝘩 𝘔𝘢𝘨𝘱𝘪𝘦 𝘎𝘰𝘰𝘴𝘦 𝘰𝘸𝘯𝘦𝘳𝘴 𝘈𝘮𝘢𝘯𝘥𝘢 𝘏𝘢𝘺𝘮𝘢𝘯 (𝘞𝘢𝘬𝘬𝘢 𝘞𝘢𝘬𝘬𝘢 𝘢𝘯𝘥 𝘒𝘢𝘭𝘬𝘢𝘥𝘰𝘰𝘯) 𝘢𝘯𝘥 𝘛𝘳𝘰𝘺 𝘊𝘢𝘴𝘦𝘺 (𝘒𝘢𝘮𝘪𝘭𝘢𝘳𝘰𝘪), 𝘰𝘧𝘧𝘦𝘳𝘴 𝘢 𝘥𝘦𝘦𝘱 𝘥𝘪𝘷𝘦 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘸𝘰𝘳𝘬 𝘰𝘧 𝘴𝘰𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘳𝘦𝘨𝘪𝘰𝘯’𝘴 𝘮𝘰𝘴𝘵 𝘵𝘢𝘭𝘦𝘯𝘵𝘦𝘥 𝘍𝘪𝘳𝘴𝘵 𝘗𝘦𝘰𝘱𝘭𝘦𝘴 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘢𝘯𝘥 𝘥𝘦𝘴𝘪𝘨𝘯𝘦𝘳𝘴. 𝘜𝘴𝘪𝘯𝘨 𝘤𝘭𝘰𝘵𝘩𝘪𝘯𝘨 𝘢𝘴 𝘢 𝘤𝘢𝘯𝘷𝘢𝘴 𝘧𝘰𝘳 𝘴𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨, 𝘵𝘩𝘪𝘴 𝘦𝘹𝘤𝘪𝘵𝘪𝘯𝘨 𝘤𝘰𝘭𝘭𝘢𝘣𝘰𝘳𝘢𝘵𝘪𝘰𝘯 𝘸𝘪𝘭𝘭 𝘤𝘰𝘯𝘯𝘦𝘤𝘵 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦𝘴 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘳𝘪𝘤𝘩 𝘢𝘯𝘥 𝘥𝘪𝘷𝘦𝘳𝘴𝘦 𝘤𝘶𝘭𝘵𝘶𝘳𝘢𝘭 𝘦𝘹𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘴 𝘰𝘧 𝘍𝘪𝘳𝘴𝘵 𝘗𝘦𝘰𝘱𝘭𝘦𝘴 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘪𝘦𝘴 𝘪𝘯 𝘘𝘶𝘦𝘦𝘯𝘴𝘭𝘢𝘯𝘥 𝘢𝘯𝘥 𝘣𝘦𝘺𝘰𝘯𝘥.

𝘋𝘪𝘴𝘤𝘰𝘷𝘦𝘳 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵𝘴 𝘢𝘯𝘥 𝘴𝘵𝘰𝘳𝘪𝘦𝘴 𝘣𝘦𝘩𝘪𝘯𝘥 𝘵𝘩𝘦 𝘣𝘳𝘢𝘯𝘥 𝘵𝘩𝘢𝘵’𝘴 𝘮𝘢𝘬𝘪𝘯𝘨 𝘢 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘤𝘦, 𝘰𝘯𝘦 𝘨𝘢𝘳𝘮𝘦𝘯𝘵 𝘢𝘵 𝘢 𝘵𝘪𝘮𝘦.” taken in Museum of Brisbane by @otaithligh

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5 months ago

Museum of Brisbane

Slide 1: Megan Cope, 𝘍𝘭𝘰𝘰𝘥𝘭𝘢𝘯𝘥𝘴 𝘭𝘭, 2013
Slide 2: Ruth Cho, 𝘈𝘶𝘴𝘵𝘳𝘢𝘭𝘪𝘢𝘯 𝘉𝘦𝘢𝘤𝘩 𝘏𝘰𝘭𝘪𝘥𝘢𝘺 (𝘢𝘧𝘵𝘦𝘳 𝘊𝘩𝘢𝘳𝘭𝘦𝘴 𝘔𝘦𝘦𝘳𝘦), 2021
Slide 3: William Yang, 𝘚𝘦𝘭𝘧 𝘗𝘰𝘳𝘵𝘳𝘢𝘪𝘵 #2, 2007
Slide 4: William Yaxley, 𝘚𝘰𝘶𝘵𝘩𝘦𝘳𝘯 𝘊𝘰𝘮𝘧𝘰𝘳𝘵, 2014
Slide 5: Dylan Mooney, 𝘚𝘵𝘶𝘤𝘬 𝘰𝘯 𝘠𝘰𝘶, 2020
Slide 6: Richard Bell, 𝘚𝘵𝘪𝘭𝘭…, 2017
Slide 7: Jody Rallah, 𝘊𝘦𝘭𝘦𝘣𝘳𝘢𝘵𝘪𝘯𝘨 𝘊𝘰𝘶𝘯𝘵𝘳𝘺, ongoing taken in Museum of Brisbane by @otaithligh

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5 months ago

Helen Grace
Justice for Violet and Bruce 1980/2022

Framed ultra chrome inkjet print on Canson photo paper, print on photo rag, built structure
This version was created for the Biennale of Sydney. Originally supported by Wagga Wagga Art Gallery.
Courtesy of the artist.

“In 1976, NSW residents Violet and Bruce Roberts were convicted of the murder of Eric Roberts, Violet’s husband and Bruce’s father. Within four years Sydney activist group Women Behind Bars had sufficiently agitated public dismay surrounding the injustice of their prison sentences, and the pair were released in 1980. Predicated on the reality that the pair having endured decades of violence at the hands of Eric, the efforts of Women Behind Bars led to legislative change allowing the admissibility of ‘provocation’ in criminal sentencing (no longer allowed in defence).

Their campaign included vigils, posters and, perhaps most notably, a march through the streets of Sydney carrying a scroll bearing thousands of signatures petitioning parliament for justice. All of which was represented in a selection of the more than 250 photographs of the campaign by Sydney artist Helen Grace. Titled Justice for Violet and Bruce, the images offer a literal and symbolic snapshot of the power of a creative community organising to affect real change.

Current policing in NSW no longer allows such protests. At a time in Australia when, on average, one woman is killed every nine days by a current or former partner, Grace’s assertion that “time itself has developed the(se) pictures and now they seem current again” rings chillingly true.” taken in Campbelltown Arts Centre by @otaithligh

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6 months ago

Joana Hadjithomas and Khalil Joreige
Asylum of our Dreams 2026
Video installation, embroideries, looped 25 minutes

Commissioned by the Biennale of Sydney and Rubaiya Qatar, Qatar Museums with generous support from Trampoline Association in support of the French art scene, generous assistance from French Australian Cultural Exchange Foundation, and assistance from the Embassy of France.

In Lebanon, many dream of elsewhere, following invisible migratory cartographies that link specific towns to distant horizons. But from northern Lebanon, these imagine routes often point toward a place heavy with fantasy and collective longing: Australia. This dream is particularly strong in Bab al-Tabbaneh, one of the poorest areas along the Mediterranean where Nazih, a friend of artists Joana Hadjithomas and Khalil Joreige, grew up. Like many around him, Nazih once planned to leave clandestinely, joining a small group intent on reaching Australia via Australia and a perilous sea crossing. At the last moment, he decided not to go. His four companions, Fathi, Mustapha, Mohamad, and Tawfiq, continued without him, sailing into uncertainty.

Their journey ended in prolonged confinement on Christmas Island, where Australia’s ‘elsewhere’ remained inaccessible and abstract. Time stretched into endless waiting, a suspended temporality, that Hadjithomas and Joreige evoke by collaborating with five women, most of whom had never travelled, asking them to embroider the sea, transforming waiting into a tactile, collective gesture.

For the artists, this story encapsulates the enduring power of the paradise beyond the horizon. A promise ultimately quashed by the conditions of the Australian immigration system that has made Christmas Island a space of incarceration. Drawing on the very impressive annual forest-to-shore migration of the Christmas Island Red Crab, Asylum of Our Dreams reflects on movement that is arduous, interrupted, and often unsuccessful. Exile expresses global structures of exclusion, systems of control and geopolitical violence. The land is both imagined and denied. Yet the dream endures. taken in Campbelltown Arts Centre by @otaithligh

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6 months ago

At Campbelltown Library last week for NSW Local Studies Meeting last week with @statelibrarynsw taken in Campbelltown City Library by @otaithligh

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7 months ago