jarrawujarrawuwarra by Ros Sultan

Ros Sultan is an Eastern Arrernte and Gurindji woman who uses ink; texta pens; acrylic paints; and finely ground earth that resembles pigment or ochre to create intricate and highly detailed images.

For this exhibition, entitled jarrawujarrawuwarra, meaning ‘moving light’ in Gurindji language, Sultan’s small, detailed drawings are projected at a momentous scale. The light beams life into the lines, shapes, curves and colours of each delicately arranged composition creating movement as they dance across the park.

'Still Thriving' by Dylan Mooney Peel St Park

Dylan Mooney is a proud Yuwi, Torres Strait and South Sea Islander man from Mackay in North Queensland working across painting, printmaking, digital illustration and drawing.Influenced by history, culture and family, Mooney responds to community stories, current affairs and social media. Legally blind, the digital medium’s backlit display allows the artist to produce a high-impact illustrative style with bright, saturated colour that reflects his experiences with keen political energy and insight. 

'Confined 14' presented by The Torch at Peel St Park

Confined is an annual exhibition of artworks from Indigenous artists currently in or recently released from prisons in Victoria presented by The Torch. This is the 14th exhibition, which coincides with National Reconciliation Week, and will be on display at the Glen Eira Town Hall Gallery from 5 May to 4 June and projected in Peel Street Park until 16 July 2023.

Peel Street Park Projection Program X GSPF 2023 presents 'Murnong' (Digging for Yam Daisy) by Tahlia Palmer

Centre for Projection Art is proud to partner with Peel Street Park Projection Program to present Tahlia Palmer’s work Murnong as part of Confluence - GSPF 2023. Murnong is the premier projection artwork from First Nations Artist and Musician Tahlia Palmer (aka amby downs) and is the result of their six-month residency with the Centre for Projection Art. 

Rebecca Atkinson

Atkinson’s artwork acknowledges the important Aboriginal history of Yarra. Her work focuses on native plants and animals, and in particular birds, and highlights the critical role these creatures play in our lives and within the ecosystem.

Steven Rhall

Rebecca Rouging is a short film made during a residency based on the lands of the Wotjobaluk, Wergaia, Jupagulk, Jaadwa and Jadawadjali people based at the Australian Grains Genebank in Horsham, Victoria (supported by Horsham Regional Gallery, Centre of Contemporary Photography and La Trobe University's Centre for AgriBioscience).

VAHS, a home away from home

This video was filmed and produced by staff and students of the Koori Kollij Media Program in c. 1982. It shows the VAHS building at 136 Gertrude Street, Fitzroy (painted in the colours of the Aboriginal flag) from different angles; and locates it within surrounding areas of inner-city Melbourne. This film is a snapshot of the Aboriginal and Torres Strait Islander community, as they come and go; or stay and gather around the building to socialise, have a yarn and support each other.

Exploring the Blak Queer Frontier

'Exploring the Blak Queer Frontier' is an official exhibition presented as part of 'Vcitoria's Pride 2023', delivered by Midsumma in partnership with the Victorian State Government.

Daen Sansbury-Smith and Isobel Knowles

Adja Country ARt is an artistic exploration through Narungga Country. Following four totems, the artwork has been created to allow viewers the ability to travel and to develop or maintain a connection to Country when sometimes for many reasons they cannot.

Jahkarli Romanis

Recurring images of Pitta Pitta and a portrait of the artist's great-grandmother flick across Google Earth’s representation of Country.

Moorina Bonini and Michael Tuhanuku

Recognising that institutions are founded upon a western value system, RE-POSITIONING critically examines the differences between the Indigenous and western value system.

Jenna Lee

'The Flame Turns the Page' by Jenna Lee explores fire, love and time as processes of regenerative transformation enacted upon colonial-settler Aboriginal word list books. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the form of burning—referencing the old cultural ways of using fire to maintain and heal. The resulting ashes from this process were bottled and displayed as a part of the exhibition ‘Old Flame’ 2022 at MARS Gallery.

Dean Cross

Right Land’s by Dean Cross is a work considering edges, boundaries, borders, and displacement. In the work, the viewer is witness to a walk along Northern, Southern, Eastern and Western boundaries of my family farm on Ngunnawal/Ngambri Country. 

Amrita Hepi, Honey Long & Prue Stent

'Omphalus' referring to the navel or to the yonic, brings about images of chalices, cauldrons, caves and concavities—it employs the use of a single phallic inflatable and symmetry to distort the body in ways that is at times erotic, uncanny and consistently mutating.

Kent Morris

By reconstructing the built environment through a First Peoples lens, Kent Morris reveals the continuing presence and patterns of Aboriginal history, culture and knowledge in the contemporary Australian landscape, despite ongoing colonial interventions in the physical and political environments.

Simon Rose

Textual Analysis I is an exploration into communication through the moving image. It brings into focus how narrative, emotion and symbolism are affected by motion, colour and composition.

Steaphan Paton

In My Jindabyne, the artist is concerned with the audience viewing and experiencing what they see and feel on country. It is a combination vision, like a 4D or 5D visioning. It is about horizons, visioning, seeing, feeling and knowing.

Archie Moore

To be considered Aboriginal by white commentators like Andrew Bolt, how much of one’s ancestry must be indigenous? Do you have to be 'full blood' and living in 'the bush’ traditionally, align yourself with the 'flora and fauna' and not live in the city with a full-time job?

Maree Clarke

Rising up from the red dirt, where the land itself is representative of my connections to Country, this work evokes the spirit of my Ancestors and draws on the traditional mourning practices of the past to tell new stories about the history of Aboriginal resilience in southeast Australia.

Charlotte Allingham

Charlotte Allingham is a Melbourne-based Wiradjuri, Ngiyampaa artist who creates illustrations that detail her culture, identity and the impacts of colonisation. Her graphic images depict her beliefs, values and ties with the civil rights movement. Her practice also navigates viewers through concepts around community, love, feminism, queer politics, and body image positivity.

Arini Byng

(indistinct chatter) is an intimate and personal work with only my father and myself on screen, in an improvised duet. We negotiate with each other's limbs, vulnerably and tenderly but also with the subtle tensions inherent in the discovery and exploration of cultural and familial themes. The introduced objects serve as personal and historical markers, signifying my fathers experience growing up working-class in the American northeast in the '50s and '60s. They address not only this Black American history, but also the personal histories of children from divorced households anywhere - exploring the possibilities, problems and potentialities of reconstructing relationships with an absentee parent.

Leila Jeffreys

Snow-white budgerigars, wings flapping joyfully, glide through the air to alight on the surface of a burnt, black tree. A sun-yellow flock flies across a triptych with liquid grace, airborne bodies recalling falling leaves. As the music grows slower, more plaintive, the camera focuses in on a bird. It shakes its head from side to side, feathers rippling in the breeze. The subject is unmistakably avian, but the gesture is pure human. The bird’s life and our life are connected, shaped by shared cycles of loss, grief and renewal. Its home among the trees is the place we belong, too.

Destiny Deacon and Virginia Fraser

Forced into Images is a video work by Destiny Deacon & Virginia Fraser. The two four-year olds in this video are cousins, Inyaka Saunders and Elia Harding, the children of two of Destiny’s siblings. They were like brother and sister themselves when the video was shot, and the artists minded them often from when they were babies.  

Tania Smith

Untitled (pusher) by Tania Smith is a short, tragicomic video work. A harried woman in a bright red dress and stilettos bounds across a stadium pushing an empty stroller. The reason for her sense of urgency is unclear. Untitled (pusher) is a wry take on parenting, anxiety, navigating public space, and all of these things mixed together.

James Henry

Celebrating the local mob known as ‘Parkies’, this intimate series of portraits is projected at a momentous scale onto a massive red brick wall in a small, but very popular, park just behind Smith Street in Collingwood.

Rose Hartley

Rose Hartley’s suite of photographs, entitled framed (2019), depicts people from a number of countries around the world who are framed by their structural and physical environments. The series aims to expose a visual symbiotic relationship between an individual and their broader contextual environment.

Madeleine Cleeve Gerkens, with Daniela Raniti

Have you tried... shutting up, mate? – Perspectives on chronic pain and illness challenges public perception of what it’s like to be a young person living with chronic health issues in our capitalist society.

Morgan Hickinbotham

Over the last three years, Composer Morgan Hickinbotham has been working on a multi-disciplinary series of work, Reflection. Inspired by the research of Oliver Sacks, Hickinbotham created a series of compositional experiments by inducing sleep state aural hallucinations and documenting the results. From these Hickinbotham was able to compose with fragments of music constructed in dreams.

Malcolm McKinnon

Malcolm McKinnon's Smith & Gertrude (Look Both Ways) is a simple but carefully crafted exercise in time-travel. The two minute, looping video work combines contemporary and historical film, juxtaposing similar locations and parallel patterns of movement. The work plays with conventions of old-fashioned film projection, employing various film and video textures and shifts of film speed and framing.

Elizaveta Maltseva

OKHA/Windows is part of Elizaveta Maltseva’s research into migrant melancholia and cultural artefacts. Exploring themes of identity and performativity, she uses her own family’s migration from Russia in the 1990s as both a case study and point of departure for her visual material.

Martine Corompt

Reduction has become a contemporary imperative, a mantra for both our civic and personal well-being. To use less, to want less, to reject the superfluous. Speaking through the doctrines of Modernist abstraction, contemporary lifestyle minimalism and retirement advice, the reductive ethos is subliminally transmitted to the viewer using the flash frame technique – an efficient process developed for training WW2 fighter pilots. 

Josh Muir

Josh Muir is a proud Yorta Yorta/ Gunditjmara man who holds his culture strong and close to his heart; it gives him his voice and his identity. Muir’s artworks echo his culture in a contemporary setting, and his practice reflects his journey. Using bright colours and bold lines, he often draws together historical events and stories and presents them alongside current narratives in a distinctive graphic style.  

Georgia Robenstone

I’m Trying uses body language to explore the dynamics of relationships between close friends and queer couples, taking cues from a party game with sexual overtones.

Amanda Wright

Using solid block colours and her own distinctive style, Amanda Wright paints powerful portraits of Aboriginal people. She draws inspiration from family and friends as well as the Mullum Mullum Indigenous gathering place and community, a group of people who are committed to retaining promoting and strengthening Aboriginal and Torres Strait Islander cultural identity in the Eastern Metropolitan region of Melbourne.

Angela Tiatia

Hibiscus Rosa Sinensis was filmed in Vaimaanga at the site of the Cook Islands' failed Sheraton Resort development. In this work Angela Tiatia creates a sense of suspense as the camera slowly leads us through a garden, where we are confronted with the intimate image of a woman with a flower in her mouth.

Salote Tawale

In Salote Tawale’s single-channel video work entitled Super, the artist uses her own body to portray all of the main characters within a super hero narrative―the gendered stereotypes of the hero, sidekick, villain and victim.  Through this act the inequalities of gender within society are revealed.