Middle Distance       As humans navigating physical spaces, we develop connections to our environments. Sometimes these connections are fleeting and ephemeral in nature, an acknowledgment of beauty as seen in the reflection of a rear view mirror, a visceral response to an energy of a place we walk through or across. Other relationships emerge from repetition of behaviours, or lasting relationships with places; our childhood homes, the towns and cities we live in, the parks we walk through on the way to work. Then there are the relationships with place, with Country that we inherit. These are deep enduring connections which are critical to our understandings of selfhood, collective identity and our place in the world. Each of these connections and relationships to the world that we build throughout the course of our lives, or which have been passed onto us through our ancestral connection to place, are central to how we navigate the world. They result in a complex set of schema which informs the way we connect with and traverse space and time, physically, emotionally and spiritually.     Within this exhibition we see artists, Indigenous and Non-Indigenous, investigating their connections to place. In doing so, each is actively documenting observations of the world around them, the histories of the land beneath them and creating new maps and metaphors to understand the worlds they occupy. Some of these emerge from the knowledge held and cared for by their ancestors. The diverse representation of Indigenous practice within the exhibit, reflects the breadth of Indigenous cultures, and the multitude of voices contributing to the discourse around of Indigeneity in Australia.      A number of artists assert their belonging to place through the rendering of cultural iconography, mark-making, references to ceremony and cultural mapping. Their practices are informed by a continuing legacy of story and knowledge passed down through ancestral lineage; their works are manifestations of their custodianship of culture and Country. These reinforce the active link between Country and individual, Country and community and attest to the complex web of interconnectivity that informs an Indigenous Australian worldview. Through their practices they enter spaces simultaneously occupied by their ancestors and lay rightful claim to their cultural territories; physical, metaphysical and spiritual.     Positioned alongside these modes of cultural expression are political works which probe colonial histories and realities and the continued dispossession of Indigenous peoples. These artists offer a counter voice to the increased visibility of hyper-nationalism in Australia, which refutes alternate and contemporary modes of Indigeneity and more broadly, contemporary Australian identity. These practitioners explore identities and realities from different vantage points, employing alternate mediums. Loud and unapologetic, Indigenous practice within this exhibit reflects a continued disquiet across Indigenous Australia. A highly contested political discourse that remains essential to the formation of a nation that acknowledges its history, encouraging reconciliation through reflection of truth and not through denial or omission.     Other artists within the exhibition explore highly personal reflections of the human experience. These works deviate from specificity of location, yet are still intimate expressions of selfhood, exploring human experience. They recall moments in space and time, of togetherness and solitude, charting memory to create blueprints of the mind, of emotion, and of being. Through these works they talk about space, and place in different ways, yet like all of the artists within the exhibition, they too are place-makers.     Within the colonial lens of what many like to consider ‘modern Australia’, relationships to space and place are highly contested. This is not a simple dialogue, but one of selfhood, statehood, nationhood, cultural and political autonomy, colonisation and dispossession/repossession. Much of the contestation around relationships to place emerges from a shared witnessing or experience of displacement, whether it be physical, cultural, social, political or all of the aforementioned. For some, this displacement is collective, it is experienced with others, yet for others this displacement is incredibly challenging, personal and often difficult to understand or communicate.     The works curated into this exhibition are uniquely Australian, the reflect the diversity of peoples who share space with each other on this southern continent in the here and now. Indigenous and non-Indigenous art sits comfortably alongside each other, in active dialogue about the connections we all make to the world.  These are significant dialogues about the spaces we share, the spaces we have lost, the spaces we claim and the spaces we defend, more importantly they speak to spaces we are yet to find.     Glenn Iseger-Pilkington, 2016   
       
     
Middle-Distance_2016_Install-31.gif
       
     
Middle-Distance_2016_Install-10.gif
       
     
Benjamin Lichtenstein
       
     
Mabel Juli
       
     
Steaphan Paton
       
     
Middle-Distance_2016_Install-23.gif
       
     
Mumu Mike Williams
       
     
Matt Arbuckle
       
     
Robert Fielding
       
     
Matt Arbuckle
       
     
Ned Grant, Simon Hogan, Lawrence Pennington, Ian Rictor, Roy Underwood, Lennard Walker
       
     
Matt Arbuckle
       
     
Manupa Butler
       
     
Lily Hargraves
       
     
Lily Hargraves
       
     
Rammey Ramsey
       
     
Sade Carrington
       
     
Robert Fielding
       
     
Matt Arbuckle
       
     
Galuma Maymuru
       
     
Galuma Maymuru
       
     
Galuma Maymuru
       
     
Galuma Maymuru
       
     
Galuma 2333-16.jpg
       
     
Galuma 2333-16 detail.JPG
       
     
Galuma Maymuru
       
     
Galuma 2333-16 detail.JPG
       
     
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Middle-Distance_2016_Install-35.gif
       
     
Middle-Distance_2016_Install-36.gif
       
     
   Middle Distance       As humans navigating physical spaces, we develop connections to our environments. Sometimes these connections are fleeting and ephemeral in nature, an acknowledgment of beauty as seen in the reflection of a rear view mirror, a visceral response to an energy of a place we walk through or across. Other relationships emerge from repetition of behaviours, or lasting relationships with places; our childhood homes, the towns and cities we live in, the parks we walk through on the way to work. Then there are the relationships with place, with Country that we inherit. These are deep enduring connections which are critical to our understandings of selfhood, collective identity and our place in the world. Each of these connections and relationships to the world that we build throughout the course of our lives, or which have been passed onto us through our ancestral connection to place, are central to how we navigate the world. They result in a complex set of schema which informs the way we connect with and traverse space and time, physically, emotionally and spiritually.     Within this exhibition we see artists, Indigenous and Non-Indigenous, investigating their connections to place. In doing so, each is actively documenting observations of the world around them, the histories of the land beneath them and creating new maps and metaphors to understand the worlds they occupy. Some of these emerge from the knowledge held and cared for by their ancestors. The diverse representation of Indigenous practice within the exhibit, reflects the breadth of Indigenous cultures, and the multitude of voices contributing to the discourse around of Indigeneity in Australia.      A number of artists assert their belonging to place through the rendering of cultural iconography, mark-making, references to ceremony and cultural mapping. Their practices are informed by a continuing legacy of story and knowledge passed down through ancestral lineage; their works are manifestations of their custodianship of culture and Country. These reinforce the active link between Country and individual, Country and community and attest to the complex web of interconnectivity that informs an Indigenous Australian worldview. Through their practices they enter spaces simultaneously occupied by their ancestors and lay rightful claim to their cultural territories; physical, metaphysical and spiritual.     Positioned alongside these modes of cultural expression are political works which probe colonial histories and realities and the continued dispossession of Indigenous peoples. These artists offer a counter voice to the increased visibility of hyper-nationalism in Australia, which refutes alternate and contemporary modes of Indigeneity and more broadly, contemporary Australian identity. These practitioners explore identities and realities from different vantage points, employing alternate mediums. Loud and unapologetic, Indigenous practice within this exhibit reflects a continued disquiet across Indigenous Australia. A highly contested political discourse that remains essential to the formation of a nation that acknowledges its history, encouraging reconciliation through reflection of truth and not through denial or omission.     Other artists within the exhibition explore highly personal reflections of the human experience. These works deviate from specificity of location, yet are still intimate expressions of selfhood, exploring human experience. They recall moments in space and time, of togetherness and solitude, charting memory to create blueprints of the mind, of emotion, and of being. Through these works they talk about space, and place in different ways, yet like all of the artists within the exhibition, they too are place-makers.     Within the colonial lens of what many like to consider ‘modern Australia’, relationships to space and place are highly contested. This is not a simple dialogue, but one of selfhood, statehood, nationhood, cultural and political autonomy, colonisation and dispossession/repossession. Much of the contestation around relationships to place emerges from a shared witnessing or experience of displacement, whether it be physical, cultural, social, political or all of the aforementioned. For some, this displacement is collective, it is experienced with others, yet for others this displacement is incredibly challenging, personal and often difficult to understand or communicate.     The works curated into this exhibition are uniquely Australian, the reflect the diversity of peoples who share space with each other on this southern continent in the here and now. Indigenous and non-Indigenous art sits comfortably alongside each other, in active dialogue about the connections we all make to the world.  These are significant dialogues about the spaces we share, the spaces we have lost, the spaces we claim and the spaces we defend, more importantly they speak to spaces we are yet to find.     Glenn Iseger-Pilkington, 2016   
       
     

Middle Distance

 As humans navigating physical spaces, we develop connections to our environments. Sometimes these connections are fleeting and ephemeral in nature, an acknowledgment of beauty as seen in the reflection of a rear view mirror, a visceral response to an energy of a place we walk through or across. Other relationships emerge from repetition of behaviours, or lasting relationships with places; our childhood homes, the towns and cities we live in, the parks we walk through on the way to work. Then there are the relationships with place, with Country that we inherit. These are deep enduring connections which are critical to our understandings of selfhood, collective identity and our place in the world. Each of these connections and relationships to the world that we build throughout the course of our lives, or which have been passed onto us through our ancestral connection to place, are central to how we navigate the world. They result in a complex set of schema which informs the way we connect with and traverse space and time, physically, emotionally and spiritually.

 

Within this exhibition we see artists, Indigenous and Non-Indigenous, investigating their connections to place. In doing so, each is actively documenting observations of the world around them, the histories of the land beneath them and creating new maps and metaphors to understand the worlds they occupy. Some of these emerge from the knowledge held and cared for by their ancestors. The diverse representation of Indigenous practice within the exhibit, reflects the breadth of Indigenous cultures, and the multitude of voices contributing to the discourse around of Indigeneity in Australia. 

 

A number of artists assert their belonging to place through the rendering of cultural iconography, mark-making, references to ceremony and cultural mapping. Their practices are informed by a continuing legacy of story and knowledge passed down through ancestral lineage; their works are manifestations of their custodianship of culture and Country. These reinforce the active link between Country and individual, Country and community and attest to the complex web of interconnectivity that informs an Indigenous Australian worldview. Through their practices they enter spaces simultaneously occupied by their ancestors and lay rightful claim to their cultural territories; physical, metaphysical and spiritual.

 

Positioned alongside these modes of cultural expression are political works which probe colonial histories and realities and the continued dispossession of Indigenous peoples. These artists offer a counter voice to the increased visibility of hyper-nationalism in Australia, which refutes alternate and contemporary modes of Indigeneity and more broadly, contemporary Australian identity. These practitioners explore identities and realities from different vantage points, employing alternate mediums. Loud and unapologetic, Indigenous practice within this exhibit reflects a continued disquiet across Indigenous Australia. A highly contested political discourse that remains essential to the formation of a nation that acknowledges its history, encouraging reconciliation through reflection of truth and not through denial or omission.

 

Other artists within the exhibition explore highly personal reflections of the human experience. These works deviate from specificity of location, yet are still intimate expressions of selfhood, exploring human experience. They recall moments in space and time, of togetherness and solitude, charting memory to create blueprints of the mind, of emotion, and of being. Through these works they talk about space, and place in different ways, yet like all of the artists within the exhibition, they too are place-makers.

 

Within the colonial lens of what many like to consider ‘modern Australia’, relationships to space and place are highly contested. This is not a simple dialogue, but one of selfhood, statehood, nationhood, cultural and political autonomy, colonisation and dispossession/repossession. Much of the contestation around relationships to place emerges from a shared witnessing or experience of displacement, whether it be physical, cultural, social, political or all of the aforementioned. For some, this displacement is collective, it is experienced with others, yet for others this displacement is incredibly challenging, personal and often difficult to understand or communicate.

 

The works curated into this exhibition are uniquely Australian, the reflect the diversity of peoples who share space with each other on this southern continent in the here and now. Indigenous and non-Indigenous art sits comfortably alongside each other, in active dialogue about the connections we all make to the world.  These are significant dialogues about the spaces we share, the spaces we have lost, the spaces we claim and the spaces we defend, more importantly they speak to spaces we are yet to find.

 

Glenn Iseger-Pilkington, 2016

 

Middle-Distance_2016_Install-31.gif
       
     
Middle-Distance_2016_Install-10.gif
       
     
Benjamin Lichtenstein
       
     
Benjamin Lichtenstein

You with me? 2015
Unique silver gelatin print
119 x 84 cm
$2600

Mabel Juli
       
     
Mabel Juli

Garnkiny Ngarranggarni (Moon Dreaming) 2016
Natural ochre and pigments on canvas
90 x 120 cm
$7600

Steaphan Paton
       
     
Steaphan Paton

The Anti-myth 2015
Synthetic polymer paint on board, carbon fibre, and plastic
106 x 156 x 230 cm
$6000

Middle-Distance_2016_Install-23.gif
       
     
Mumu Mike Williams
       
     
Mumu Mike Williams

Postbag Painting 2016
Acrylic on canvas mailbag with kulata (spear) by Sammy Dodd
70 x 116 cm
$2000

Matt Arbuckle
       
     
Matt Arbuckle

I Believe You 2015
Oil on board
82 x 62 cm
$2800

Robert Fielding
       
     
Robert Fielding

2016
Acrylic paint on found bicycle
$1250

Matt Arbuckle
       
     
Matt Arbuckle

Which Way 2016
Oil on board
41 x 32 cm
SOLD

Ned Grant, Simon Hogan, Lawrence Pennington, Ian Rictor, Roy Underwood, Lennard Walker
       
     
Ned Grant, Simon Hogan, Lawrence Pennington, Ian Rictor, Roy Underwood, Lennard Walker

Kalaya 2016
Acrylic on linen
290 x 200cm
$35000

Matt Arbuckle
       
     
Matt Arbuckle

Down the Line 2016
Oil on board
41 x 32 cm framed
SOLD

Manupa Butler
       
     
Manupa Butler

Mina Mina 2016
Acrylic on canvas
76 x 76 cm
$1950

Lily Hargraves
       
     
Lily Hargraves

Women’s Dreaming 2015
Acrylic on Linen
180 x 60cm
$3500

Lily Hargraves
       
     
Lily Hargraves

Turkey Dreaming 2012
Acrylic on canvas
180 x 60cm
$3500

Rammey Ramsey
       
     
Rammey Ramsey

Melon Patch (Warlawoon Country) 2010
Synthetic polymer paint on board
60 x 80 cm
$3600

Sade Carrington
       
     
Sade Carrington

Nambin 2016
Natural ochre on canvas
45 x 70cm
SOLD

Robert Fielding
       
     
Robert Fielding

In Our Hands
2016
High Definition Video (ed.5)
$4300

Matt Arbuckle
       
     
Matt Arbuckle

Meet You Down The Line
2016
Oil on Cotton
178 x 152cm
$8200

Galuma Maymuru
       
     
Galuma Maymuru

Ngoykal
2016
Natural pigments on hollow eucalyptus
204cm
SOLD

Galuma Maymuru
       
     
Galuma Maymuru

Ngoykal (detail)
2016
Natural pigments on hollow eucalyptus
204cm
SOLD

Galuma Maymuru
       
     
Galuma Maymuru

Ngoykal
2016
Natural pigments on hollow eucalyptus
231cm
SOLD
 

Galuma Maymuru
       
     
Galuma Maymuru

Ngoykal (detail)
2016
Natural pigments on hollow eucalyptus
231cm
SOLD

Galuma 2333-16.jpg
       
     
Galuma 2333-16 detail.JPG
       
     
Galuma Maymuru
       
     
Galuma Maymuru

Ngoykal
2016
Natural pigments on hollow eucalyptus
200cm
$5100
 

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