“It’s a racist review about reminding colonial Australia of how they first came to Australia, starting a new chapter on somebody else’s continent, bringing their unchanged package of poison. Today they face others seeking a better life here too.”
You Came From
“Results of a care-less, care-free world. The vision is snapped, and the thief successful.”
Less to Care For (detail)
“Let caution be your friend to discern the hidden poisons and dangers of this world that will rip you apart and bury you alive my friend.”
Gutted (detail)
“A time to relax, to redirect my thoughts and actions, to ground my spirit within, in where I’m from - drawing upon a freshness of breath - allowing peace to accompany me to sleep.”
Living Ground (detail)
“The collide of two ideologies (nature and modernisation) bringing imbalance and dislodgement to erupt foundations, never stable where the two meet.”
Termite (detail)
“It’s about our cosmic First Lady ‘Mother Earth’, the birth giver to all life, radiant, trusting, nurturing and flowing in natural beauty. We. I, the human, represents the raping civilisations manufacturing destructive greed, manipulating life to the convenience of our insecurities, dependency of bettering our state of perceived progression, taking advantage of the free. Is there any dignity in our actions and how they relate to the future or will we continue the self-destruction at her expense.”
Slut
“It’s about saying fuck off in a visual way. Rejecting the shit of social and personal injustice (misuse of power, abuse of rights, and turning away from personal responsibilities), received by force, intrusive thoughts, attitudes and teachings, washing and disposing down the sink, sometimes clogging and coming back up to be dealt with. In other words, it is saying back off and be respectful, or be prepared to receive what you give.”
Twer
Photography David Campbell. Printed on Harvest Gloss manufactured predominently from bagasse fibre, a waste product of the sugar industry.
Zane Saunders was born in Cairns in 1971 and grew up in Kuranda. He identifies with the Butchulla (Bajala) of Fraser Island some 1500km to the south. Attendance at art school at Cairns TAFE was encouraged by his mother. Zane has a Gungu Yimithir language name given by a Hopevale Elder. The name - Ngamu Mangal Bungal - means ‘clever hands’. He was a delegate to the International Rock Art Symposium in Alice Springs. Although Zane has found it challenging to survive as an artist, he has works in the collections of the Australian National Gallery, Queensland Art Gallery, National Gallery of Victoria and an impressive string of state, corporate and private collections.
Zane’s concerns are at the collision of cultures and beliefs. This includes politics in the community, and the effects of colonisation. He interrogates social barriers around belief, and the shifting notion of religion and spirituality. His current work is a progression referencing human form, identity, values of society and a sense of spirit and religion. Performance brings his practice closer to the physical body in an investigation of what makes us the same or different, while his ultimate responsibility is to carry a message about spiritual connection, for he believes art is an educational process that offers us spiritual strength.
This exhibition is self-exploration that is also heavily influenced by investigations into other people’s lives and environments. Zane is now incorporating performances into his repertoire that are both powerful and confronting, portraying yet another element of his creative strength.
Zane Saunders is an artist of great ability, sensitivity and fine aesthetic in his various applications of art making. He has taken advantage of this exhibition to explore new mediums. In the design and presentation of ‘Lone Guinea Fowl’ this exploration has lead to several intimate installations using raw materials integrated with cast sculptural forms that draw the viewer into his philosophical messages and questioning nature. In this, his well overdue first major solo exhibition, he asks the viewer to consider what has happened to our environment and the way we accept the impact on ‘Mother Earth’. We are compelled to engage with questions that are often avoided, as they are too difficult to address.
list of works
“A social and world issue from time began and time continue - race and the ism’s - I find myself - identified as part of a group, and as an individual, I’ve struggled with these opposing forces - them vs us - I vs them - analysing, criticism, intrusive thinking and action - trying to understand each other what makes the ‘heart’ tick. The direction of cultural life forms, civilisations, political and social infrastructure, education, religious points of aggression, criminal extremes to innocence lost through so-called mindful manipulation from distance effected gossip, burning and branding the well-being of the individual. I’m finding there can be less problems with people from other cultures or colours etc., but it’s about understanding who I am - and linking to the greater truth within life - consistent with equality and respect for the individual and their differences.”
White
Zane Saunders and Ian Connolly performing for Corresponding Latitudes exhibition project, 2004
Rae O’Connell, Russell Milledge, KickArts Board of Directors, KickArts Staff, Arts Queensland, Christensen Fund, KMKM, Ray, Lynette, Staff and fellow artists, Brian Coates, Lisa, Les, Sista, Blake (you are a star!), Demetrius, Dennis, Bianca, Joslyn, Mum Thurlus and family, Ian Connolly, Nick Mills, Tanks Arts Centre, David Campbell, George, Frankie, Sonia, Lisa, Kaitlin, Solomon, Margaret, Lindus, Mary, Dave, Serena, Philamon, Carol, Deb Eldemire, Peter Thompson, Graham McGregor, TNQITAFE, Martin & Pat Kelly, Bridget, Peter, Les at the tip shop, my good friend and counsellor - Jesus, Father George & Jane, Father David & Wontulp-BiBuya, Wu Chopperen, Indigenous Men’s Group, Arone & Tex, Anna Eglitis, Theo, BBM 98.7 fm, the Elders. To anyone I may have overlooked, thank you.
Acknowledgements
From this show I’d like the ‘Lone Guinea Fowl’ experience to continue to live on and remain as a unique life force that can positively affect the lives of myself and others, bringing hope and meaning to people, creating and inspiring more life stories.
I’m enquiring into the life around me, and my thoughts are evolving on many of the matters expressed in these works.
With the new works Clay pieces and 3-D installation works, floor and wall - these were inspiring, reassuring freshness and good vibes, connecting back to primitive design and use of materials - being conscious of the environment, using the natural and recycling the already used. Knowing what we take from the earth goes back.
Producing the works I’ve carried on the process of employing others to part or fully create pieces, jointly or individually. Overall trying to depict the meaning of each piece of artwork and what it is trying to say, how it speaks to us individually.
The soul of this exhibition I Tried to explore ideas about the ‘human’ in its social, emotional, spiritual and physical environments including my story. As a means to expose, educate, examine - to find and search for answers and other possibilities to dialogue with you, the viewer or myself, the artist and person.
The focus of the exhibition This experience has been an accumulation of ideas, thoughts, attitudes and experiences, from my life and the life of others. I believe ‘Lone Guinea Fowl’ speaks of an identity - ‘survival’ - we people and all the existing life forms and environments take on the need to identify the needs from the wants, the need to continue, the need to learn to let go and live, to make mistakes and make corrections, to cope with change, to modify one’s perception of self and the surroundings of the surround.
The body of work consists of 2 dimensional and 3 dimensional pieces in various mediums and forms, plus performance.
Artists Statement