MAKE UP: PAINTED FACES IN CONTEMPORARY PHOTOGRAPHY.

MaKe UP

painted faces in contemporary photography 3 May–30 June 2013

Eric Bridgeman, Bindi Cole, Ray Cook, Sandy Edwards, Siri Hayes, Owen Leong, Darren Sylvester, Nat Thomas & Concettina Inserra, Christian Thompson and Justene Williams.

MONASH GALLERY OF ART 860 Ferntree Gully Rd Wheelers Hill Victoria 3150 T: +61 3 8544 0500 mga@monash.vic.gov.au www.mga.org.au Tues to Fri: 10am–5pm, Sat & Sun 12–5pm closed: Mondays and public holidays

MGA

THE HOME OF AUSTRALIAN PHOTOGRAPHY

CONTENTS INTRODUCTION 5 Artist’s pages ERIC BRIDGEMAN 6

BINDI COLE 10 RAY COOK 14 SANDY EDWARDS 16 SIRI HAYES 18 OWEN LEONG 22 DARREN SYLVESTER 28 NAT THOMAS AND CONCETTINA INSERRA

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CHRISTIAN THOMPSON 36 JUSTENE WILLIAMS ` 40 LIST OF WORKS 42

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MAKE UP: painted faces in contemporary photography For photographers interested in exploring the nature of personal identity, the painted face has become an important subject in recent art practice. This exhibition surveys a range of photographic projects that have used face-painting to examine conventions of photographic portraiture and explore its potential for developing new approaches to identity in the contemporary world.

Traditionally, photographic portraiture has served a range of functions, many of which assume an essential relationship between photography and the identity of the sitter. For example, photography has often been used as a tool for stereotyping individuals. From biometric documentation of indigenous people and physiognomic studies of criminals, through to passport photographs and professional headshots, photographic portraiture has been used to establish, fix and caricature identity.

On the other hand, photographic subjects have often enacted or manufactured identity specifically for the camera. Many nineteenth-century sitters for studio portraits understood that their dress, pose and setting could establish impressions of class, status or gender.

Having your portrait taken was highly fashionable, and

the photographic portrait could engender aspirations of social mobility. This imaginative approach to posing for the camera has continued to the current day. That is, there has always existed an aspect of role-play in photographic portraiture.

The difference between the two polarities suggested here could be thought of in terms of who controls the image: the sitter or the photographer. But the meaning of any portrait is also a product of conventions and contexts that the subject and photographer cannot fully control or anticipate. In this respect the face of portraiture is always contested territory, and the ephemeral and fluid quality of make-up is a particularly useful trope for exploring this notion. As many of the portraits in this exhibition demonstrate, contemporary identity is not the immutable essence of an individual, but nor is it something that can simply be enacted at will. Instead, identity is constantly being negotiated and contested at the inter-face between the subject and the social.

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Eric BRIDGEMAN in PNG, Bridgeman has used humour and parody to make a series of portraits (of ‘fuzzy wuzzy angels’ and ‘black beauties’) that point towards Australia’s own investment in archetypal constructions of the PNG ‘native’.

Face paint and dressing up are common motifs in the work of Eric Bridgeman. Dividing his time between Brisbane and his mother’s country in Chimbu Province, in Papua New Guinea’s Western Highlands, Bridgeman’s work has often examined cultural constructions of identity from the position of a mixed-heritage queer man.

The inspiration for Bridgeman’s series New photographs from the Kokwara Trail came from spending three months living in his mother’s country in the Highlands of PNG. As he came to know his family and their community, Bridgeman became increasingly conscious of his own ‘whiteness’. At the same time, he also became aware of the role played by the camera in the colonial history of PNG and how those ethnographic studies continue to impact on contemporary national identity.

This series was produced on his return to Brisbane.

Bridgeman photographed friends and associates made up as ‘Papua New Guineans’ from the mythic Kokwara Trail. He dressed his subjects in ‘tribal dress’ and accoutrements such as war bonnets, breast plates and dilly bags. The subjects, some in ‘blackface’, pose in front of backdrops that refer to the convention in ethnographic portrait photography of isolating the subject in front of a white sheet. So, rather than making ‘authentic’ photographs of his family and community

OPPOSITE Eric BRIDGEMAN born Australia 1986 Woman from settlement with boobs 2010 from the series New photographs from Kokwara Trail ink-jet print 120.0 x 100.0 cm courtesy of the artist and Gallerysmith (Melbourne)

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Eric BRIDGEMAN born Australia 1986 Black beauty 2010 from the series New photographs from Kokwara Trail ink-jet print 100.0 x 120.0 cm courtesy of the artist and Gallerysmith (Melbourne)

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Eric BRIDGEMAN born Australia 1986 Young Simbu boy 2010 from the series New photographs from Kokwara Trail ink-jet print 100.0 x 120.0 cm courtesy of the artist and Gallerysmith (Melbourne)

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Bindi COLE The three photographs by Melbourne artist Bindi Cole shown here come from her series Not really Aboriginal. The series was produced as a response to both Cole’s experience as a light-skinned Aboriginal woman and, in her terms, ‘how I was perceiving the world was perceiving me’.

version of blackness, but as a light-skinned Aboriginal woman probing current cultural ideas and anxieties around what constitutes black and white identity in Australia.

The pictures show members of Cole’s family posing ‘blackfaced’ in a range of domestic and landscape settings.

Like Eric Bridgeman’s photographs, Cole’s pictures engage the historic and troubling practice of ‘blackfacing’, perhaps most usually associated with the minstrel shows common to nineteenth– and twentieth–century colonial popular culture. In these theatrical shows, usually white actors would ‘blackface’ and – singing, dancing and miming – perform a stereotyped caricature of black identity. The blackfaced minstrel usually reduced all the nuances and differences of black identity to one, monotone version of blackness.

The potency of Cole’s family portraits lies in the fact that she and her family so easily disrupt and confuse basic assumptions of whiteness and blackness. She adopts the act of blackfacing not as a white woman performing a simplified

PAGE 12 Bindi COLE born Australia 1975 Wathaurung people Tarri Wil 2008 from the series Not really Aboriginal ink-jet print 150.0 x 125.0 cm all works courtesy of the artist and Nellie Castan Gallery (Melbourne)

OPPOSITE Bindi COLE born Australia 1975 Wathaurung people Wathaurung mob 2008 from the series Not really Aboriginal ink-jet print 125.0 x 150.0 cm Horsham Regional Art Gallery Collection all works courtesy of the artist and Nellie Castan Gallery (Melbourne)

PAGE 13 Bindi COLE born Australia 1975 Wathaurung people Gnung Ok 2008 from the series Not really Aboriginal ink-jet print 150.0 x 125.0 cm all works courtesy of the artist and Nellie Castan Gallery (Melbourne)

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Ray COOK Ray Cook is a Brisbane-based photographer whose practice is concerned with the social construction of masculinity and homosexual identity. His practice acknowledges the history of underground erotic photography, and is critically informed by discussions of camp style and Queer theory that were popularised in the 1990s. Central to these discussions is the notion that sexual-orientation is fundamentally idiosyncratic and constantly changing. In order to celebrate the shifting nature of sexual desire, and protect it from static stereotypes, Queer theorists often conceptualise sexuality as a theatre of changing roles.

Cook’s working method reflects these ideas. The photographs that make up the Oblivion series were taken on a spontaneous basis while he and his friends improvised with theatre props and costumes that had accumulated in their group house. Cook often works in this way in order to affirm life itself as a theatrical performance, which involves responding creatively to chance encounters. The photographs in this series resemble excerpts from a play or circus show; the subjects perform in front of decorated backdrops and have been depicted with props such as clown noses, swords, skulls, bones, phallic horns, and dying vegetation. Cook uses face paint in order to accentuate his reference to theatre and performance. He has also hand coloured parts of the print to introduce an element of artifice to his otherwise sober black-and-white documentary photographs.

LEFT Ray COOK born Australia 1962 Don’t worry, we’ll fix it 2007 from the series Oblivion 2005–08 gelatin silver print, hand-coloured with heavy metal toner 37.2 x 30.0 cm Monash Gallery of Art, City of Monash Collection acquired 2008 MGA 2008.212 RIGHT Ray COOK born Australia 1962 For God’s sake, somebody throw a pie 2006 from the series Oblivion 2005–08 gelatin silver print, hand-coloured with heavy metal toner 38.5 x 31.0 cm Monash Gallery of Art, City of Monash Collection acquired 2008 MGA 2008.210

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Sandy EDWARDS Sydney-based photographer Sandy Edwards is best known for the black-andwhite documentary work that she has produced since the 1970s. For Edwards, photography has often supported political and social action, whether in the cause of gender equality or workers’ rights.

Edwards’s work has also exploited photography’s more poetic or elegiac qualities; her photographs have often examined, for example, the passage of time and the fragility of identity. The two portraits on display here, which came about quite by accident, engage both of these conditions. Edwards was in Clifton Hill in suburban Melbourne, taking photographs of the artist Peter Kennedy wearing blue face paint for one of his conceptual artworks. Kennedy’s young son Alasdair decided that he also wanted to have his face painted blue. This then became the basis for a series of portraits of Alasdair enacting expressions that mimicked his father.

OPPOSITE LEFT Sandy EDWARDS born Australia 1948 Alastair, blue boy 2, Clifton Hill 1999 chromogenic print 75.0 x 51.0 cm Monash Gallery of Art, City of Monash Collection acquired 2005 courtesy of the artist and Stills Gallery (Sydney) OPPOSITE RIGHT Sandy EDWARDS born Australia 1948 Alastair, blue boy 3, Clifton Hill 1999 chromogenic print 75.0 x 51.0 cm Monash Gallery of Art, City of Monash Collection courtesy of the artist and Stills Gallery (Sydney)

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Siri HAYES Siri Hayes’s series Transition is made up of moody portraits of people looking into a mirror while they go through the process of removing clown makeup. Hayes’s sister and a friend applied makeup to a group of the artist’s friends and family before she photographed their reflection in a mirror. By photographing their reflection, Hayes conflates the mirror with the camera, reminding us of the ways that both apparatuses have a hand to play in the way that people selfidentify and present themselves to others. Also, by photographing their reflection, Hayes folds together three different illusionary surfaces: the painted skin, the mirrored reflection and the surface of the photographic print.

These portraits record the process of transition from one identity to another. As Hayes explains, ‘the subject and the viewer see the disintegration of one identity and the unveiling of another’, revealing ‘a moment of existential crisis’ where the subject is neither one thing (clown) nor the other (actual person). In this way the portraits suggest that identity is, to use the artist’s term, ‘illusionary’; a performance that is always provisional and incomplete.

OPPOSITE Siri Hayes born Australia 1977 Bozo/Sanja II 2008 from the series Transition chromogenic print 32.0 x 31.85 cm courtesy of the artist

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OPPOSITE Siri Hayes born Australia 1977 Diggidy/Dave I 2008 from the series Transition chromogenic print 32.0 x 31.85 cm courtesy of the artist ABOVE LEFT Siri Hayes born Australia 1977 Monty/Sally III 2008 from the series Transition chromogenic print 32.0 x 31.85 cm courtesy of the artist ABOVE RIGHT Siri Hayes born Australia 1977 Digit/Paul IV 2008 from the series Transition chromogenic print 32.0 x 31.85 cm courtesy of the artist

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Owen LEONG Over the last decade, Owen Leong’s video, installation and photographic work has explored the thresholds of the human body and identity, and the potential for their transformation. Drawing on queer and postcolonial theory, and the prominence of shapeshifting in contemporary popular and medical culture, Leong’s work presents an account of contemporary identity that is fluid and constantly changing.

As Leong has written of these photographs: ‘I like to create a sense of alien beauty, that is at once familiar and foreign. In doing so, I hope to destabilise the viewer’s perception of the body depicted in the work, cause slippages in meaning, and create space for new identities to come into being.’

Like other artists in this exhibition, Leong’s work sets out to challenge the idea that identity is fixed or stable. The point of origin for much of his work is European culture’s simultaneous fascination with and fear of Asian identity and sexuality. These portraits come from two closely related series in which actual and digital face paint has been applied to Asian and Asian-Australian models. In developing his Birthmark series, Leong researched native Australian moths in the collection of Museum of Victoria’s entomology department. He documented wings and bodies of selected specimen moths using macro photography. The fish scale marks found on the faces in his Tidal skin portraits come from fish Leong found at the Tsukiji Fish Markets while on a residency in Tokyo, Japan. In both series, professional makeup artists created wounds, cuts and scars to sitters, over which Leong digitally painted animal skins.

Owen LEONG born Australia 1979 Ray 2010 from the series Birthmark pigment ink-jet print on cotton paper 70.0 x 70.0 cm courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne)

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ABOVE LEFT Owen LEONG born Australia 1979 Hisae 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne)

ABOVE RIGHT Owen LEONG born Australia 1979 Yasu 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne)

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OPPOSITE Owen LEONG born Australia 1979 Akira 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne)

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Owen LEONG born Australia 1979 Chi 2010 from the series Birthmark pigment ink-jet print on cotton paper 70.0 x 70.0 cm courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne)

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Darren SYLVESTER Darren Sylvester’s What happens will happen is a series of teenage portraits where the faces have been painted up in the fashion of political protestors. As if attending street demonstrations for peace and nuclear disarmament or rallies against political oppression and American Imperialism, their faces become banners of activist opinion.

provide participants with a different kind of experience. Face painting allows for short-term dissent, offering what Sylvester ironically labels ‘the non-permanent thrill of defiance’ and the easy prospect of a safe return to middle-class family life.

The dramatic lighting and the high-definition of the photographic images evoke the aesthetic of the classic closeup shot that is used in cinema and advertising; a type of shot that registers a moment of high emotion. Far removed from the genre of grainy street photography that is typically used to document political protests, Sylvester encourages us to consider the pathos of these painted faces as fashion statements; this is politics as adolescent glamour rather than ethical conviction.

As the title of the series suggests, the efficacy of political protest has largely been neutralised in neo-liberal societies – what happens will happen – but street demonstrations now

PAGE 30 Darren SYLVESTER born Australia 1974 #3 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm courtesy of the artist and Sullivan & Strumpf (Sydney)

PAGE 31 Darren SYLVESTER born Australia 1974 #5 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm courtesy of the artist and Sullivan & Strumpf (Sydney)

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0PP0SITE Darren SYLVESTER born Australia 1974 #4 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm courtesy of the artist and Sullivan & Strumpf (Sydney)

Nat THOMAS and Concettina INSERRA

Nat Thomas and Concettina Inserra’s series, Sunday afternoon: after Mirka, presents a series of family portraits of the two artists and Thomas’s mother wearing face-paint. The portraits were inspired by a story of the artist Mirka Mora painting her face with zinc cream and mascara during one particularly dull Sunday afternoon while at her beach house in Aspendale. The monstrous-looking Mora was photographed interacting with her family by Roger Whitaker, and one of Whitaker’s pictures later appeared on the cover of the iconic underground magazine Oz. This anecdote presents a wonderful account of the avantgarde artist-mother using play and masquerade to disrupt the tedium of conservative, suburban life in Melbourne.

Inserra and Thomas have appropriated the primitivist facepaint design worn by Mora to similarly disturb dominant ideas of domestic life. In two of the pictures shown here, Thomas’s child seems uncomfortable in the presence of her monstrous mother and grandmother. In another, Thomas’s mother and Inserra’s father stand guard over their daughters, whose strange makeup confuses expectations of family resemblance and the formal order of this otherwise very conservative family portrait.

Nat THOMAS born Australia 1967 Concettina INSERRA born Australia 1966 The family, Sunday afternoon 2009 from the series After Mirka 2008-09 chromogenic print, printed 2013 75.0 x 112.0 cm courtesy of the artists

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Nat THOMAS born Australia 1967 Concettina INSERRA born Australia 1966 Mothers and daughters 2008 from the series After Mirka 2008-09 chromogenic print, printed 2013 74.5 x 111.5 cm courtesy of the artists

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Nat THOMAS born Australia 1967 Concettina INSERRA born Australia 1966 Portrait of mother and daughter 2008 from the series After Mirka 2008-09 chromogenic print 75.5 x 112.0 cm courtesy of the artists

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Christian THOMPSON Christian Thompson’s practice revolves around questions of Indigenous identity. Informed by Euro-American traditions of performance art and conceptual art, and under-pinned by theoretical discussions of ‘performative’ identity, Thompson enacts self-portraits for the camera. His practice is primarily photographic, but he also elaborates his interests through live performances and video artworks.

Like many of Thompson’s projects, the two pictures that form his series Native’s instinct involve the artist ‘performing’ a self-portrait for the camera. Thompson produced these works while undertaking a residency at the Australia Council’s Greene Street Studio in Manhattan. While in New York, Thompson became interested in the appropriation of indigenous American styles of adornment in contemporary street fashion. In response he created these strange, urbane warrior figures using face-paint and feathers, suggestive of both the war bonnets worn by Native American Plains Indian warriors and the colours of the Australian Aboriginal flag. The politically charged nature of these allusions is undercut by the subject’s countenance: he stares at the camera in a blank or expressionless way.

Christian THOMPSON born Australia 1978 Bidjara man of the Kunja Nation Howl your troubles 2011 from the series Native’s instinct chromogenic print 100.0 x 100.0 cm courtesy of the artist and Gallery Gabrielle Pizzi (Melbourne)

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Christian THOMPSON born Australia 1978 Bidjara man of the Kunja Nation The Devil made him do it 2011 from the series Native’s instinct chromogenic print 100.0 x 100.0 cm courtesy of the artist and Gallery Gabrielle Pizzi (Melbourne)

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Justene WILLIAMS Justene Williams is a Sydney-based artist whose early photographs and installations dealt with the everyday and suburban life. Embracing a deliberately un-refined aesthetic, which was critically associated with Grunge fashion and slacker culture of the 1990s, she generally used disposable instamatic cameras replete with their inherent flaws. Since 2005 Williams has increasingly used video over the still camera but she remains interested in the avant-garde practice of creating the marvellous from rubbish; using the power of art and performance to transform the everyday into something surprising.

Williams’s well-known Bunny boy series embodies key characteristics of her early photographic work. Dolling up her then-partner, the artist Tony Schwensen, as a bedraggled Playboy bunny, she asked him to strike a series of poses for the camera. Shot against a crimson background, with dropping rabbit ears and smudged make-up, the sexually suggestive portraits oscillate between the ridiculous and the pathetic. Williams photographed a number of her artist friends in a similarly comical way during this time, including David M Thomas as Skull Man, Sophie Coombs as the Joker and Hany Armanious as the Devil.

LEFT TO RIGHT (INSTALLATION SHOT) Justene WILLIAMS born Australia 1970 Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Ricardo Camarate Silveir courtesy of the artist and Sarah Cottier Gallery (Sydney)

With the Bunny boy portraits, Williams was interested in ‘the fact that a supposedly big guy was the focus of the gaze; he was the pin up rather than the woman.’ The figure of the bunny boy also reflects a latetwentieth century interest in giving a dark underbelly to iconic images of American cuteness.

Justene WILLIAMS born Australia 1970 Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Mikala Dwyer courtesy of the artist and Sarah Cottier Gallery (Sydney) Justene WILLIAMS born Australia 1970 Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Ricardo Camarate Silveira courtesy of the artist and Sarah Cottier Gallery (Sydney)

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LIST OF WORKS

Eric BRIDGEMAN born Australia 1986 all works collection of the artist courtesy of the artist and Gallerysmith (Melbourne) Young Simbu boy 2010 from the series New photographs from Kokwara Trail ink-jet print 121.8 x 99.9 cm Woman from settlement with boobs 2010 from the series New photographs from Kokwara Trail ink-jet print 121.8 x 99.9 cm Black beauty 2010 from the series New photographs from Kokwara Trail ink-jet print 99.9 x 121.9 cm ----------------------------------------------------Bindi COLE born Australia 1975 Wathaurung people all works courtesy of the artist and Nellie Castan Gallery (Melbourne) Wathaurung mob 2008 from the series Not really Aboriginal ink-jet print 125.0 x 150.0 cm Horsham Regional Art Gallery Collection Gnung Ok 2008 from the series Not really Aboriginal ink-jet print 150.0 x 125.0 cm collection of the artist Tarri Wil 2008 from the series Not really Aboriginal ink-jet print 150.0 x 125.0 cm collection of the artist -----------------------------------------------------

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Ray COOK born Australia 1962 all works courtesy of the artist For God’s sake, somebody throw a pie 2006 from the series Oblivion 2005–08 gelatin silver print, handcoloured with heavy metal toner 38.5 x 31.0 cm Monash Gallery of Art, City of Monash Collection acquired 2008 MGA 2008.210 Don’t worry, we’ll fix it 2007 from the series Oblivion 2005–08 gelatin silver print, handcoloured with heavy metal toner 37.2 x 30.0 cm Monash Gallery of Art, City of Monash Collection acquired 2008 MGA 2008.212 ----------------------------------------------------Sandy EDWARDS born Australia 1948 all works courtesy of the artist and Stills Gallery (Sydney) Alastair, blue boy 2, Clifton Hill 1999 chromogenic print 75.0 x 51.0 cm Monash Gallery of Art, City of Monash Collection acquired 2005 MGA 2005.06 Alastair, blue boy 3, Clifton Hill 1999 chromogenic print 75.0 x 51.0 cm Monash Gallery of Art, City of Monash Collection acquired 2005 MGA 2005.07 -----------------------------------------------------

Siri HAYES born Australia 1977 all works collection of the artist, courtesy of the artist Bozo/Sanja II 2008 from the series Transition chromogenic print 32.0 x 31.85 cm Diggidy/Dave I 2008 from the series Transition chromogenic print 32.0 x 31.85 cm Digit/Paul IV 2008 from the series Transition chromogenic print 32.0 x 31.85 cm Monty/Sally III 2008 from the series Transition chromogenic print 32.0 x 31.85 cm ----------------------------------------------------Owen LEONG born Australia 1979 all works collection of the artist courtesy the artist and Dianne Tanzer Gallery + Projects (Melbourne) Ray 2010 from the series Birthmark pigment ink-jet print on cotton paper 70.0 x 70.0 cm) Chi 2010 from the series Birthmark pigment ink-jet print on cotton paper 70.0 x 70.0 cm Akira 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm Hisae 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm

Yasu 2012 from the series Tidal skin pigment ink-jet print on cotton paper 80.0 x 80.0 cm -----------------------------------------------------

The family, Sunday afternoon 2009 from the series After Mirka 2008-09 chromogenic print, printed 2013 75.0 x 112.0 cm -----------------------------------------------------

Darren SYLVESTER born Australia 1974 all works collection of the artist courtesy of the artist and Sullivan & Strumpf (Sydney)

Christian THOMPSON born Australia 1978 Bidjara man of the Kunja Nation all works collection of the artist courtesy of the artist and Gallery Gabrielle Pizzi (Melbourne)

#2 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm collection of the artist courtesy of the artist and Sullivan & Strumpf (Sydney) #3 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm #4 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm #5 2010 from the series What happens will happen chromogenic print 120.0 x 90.0 cm ----------------------------------------------------Nat THOMAS born Australia 1966 Concettina INSERRA born Australia 1966 all works collection of the artists courtesy of the artists Portrait of mother and daughter 2008 from the series After Mirka 2008-09 chromogenic print 75.5 x 112.0 cm Mothers and daughters 2008 from the series After Mirka 2008-09 chromogenic print, printed 2013 74.5 x 111.5 cm 43

The Devil made him do it 2011 from the series Native’s instinct chromogenic print 100.0 x 100.0 cm Howl your troubles 2011 from the series Native’s instinct chromogenic print 100.0 x 100.0 cm ----------------------------------------------------Justene WILLIAMS born Australia 1970 all works courtesy of the artist and Sarah Cottier Gallery (Sydney) Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Ricardo Camarate Silveir Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Ricardo Camarate Silveira Untitled 1995 from the series Bunny boy chromogenic print 75.0 x 50.0 cm collection of Mikala Dwyer