Badjurr-Baluk (Women of Baluk) by ReDot Fine Art Gallery

REDOT FINE ART GALLERY in collaboration with Baluk Arts presents

Badjurr-Baluk (Women of Baluk) A Collection of Fine Baluk Indigenous Art

Curated by Lisa Waup

1 September â&#x20AC;&#x201C; 30 September 2018

Gallery 2

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Finding Places The ReDot Fine Art Gallery is extremely honoured to present our first ever collaboration with Baluk Arts, an urban Indigenous community arts centre making waves in the art world, based in Mornington, Victoria, in a double-header which highlights the stunning recent developments of this cooperative and its star doyenne, Lisa Waup. Baluk is a local Kulin word meaning many or group of people, clan or mob and this reflects the art centres close connection and the diversity with their artists. Their artists hail from all over Australia and their art expresses their identity and diverse cultural heritage in a contemporary context. Through Baluk Arts, family groups and members of the stolen generation have reconnected with their culture and express their histories through strong artistic practices to support their cultural and creative wellbeing. Finding Place, is the first international solo exhibition for Lisa Waup, a core, cohesive, figure in the development of Baluk Arts since 2012. The exhibition showcases all of Lisaâ&#x20AC;&#x2122;s exquisite weaving practices, as she creates stunning 3D sculptural works to symbolise connection to nature, connection to land and connection to her people. Whimsical works of tender detail, painstakingly created, meticulously dreamt up, which entice the audience to reflect on the beauty of modern Australian Indigenous culture. The adjunct exhibition, Badjurr-Baluk (Women of Baluk), has been lovingly curated by Lisa, to complement and energise her own show, and is a collection of works by four key female collaborators from Baluk Arts, Indigenous artists exploring the protective and nurturing role of nature as it applies to them. Beverley Meldrum, Cassie Leatham, Gillian Garvie and Tallara Gray make up the supporting cast in these not to be missed joyous homages to Indigenous Australian culture. The exhibitions run in parallel, creating a beautiful juxtaposition for our audience to enjoy, beginning on Saturday 1st September and runs until Sunday 30th September 2018 and is a fitting final homage to our time at our current location in the heart of the Singaporean central business district. Giorgio Pilla Director ReDot Fine Art Gallery

A COLLECTION OF WORKS BY FOUR KEY FEMALE ABORIGINAL ARTISTS EXPLORING THE PROTECTIVE AND NURTURING ROLE OF NATURE.

â&#x20AC;&#x153;Their woven fibre and threaded objects are important cultural identifiers and hold a significant place in Aboriginal culture and, together with trad songs and dances, play an important role in

The creation of fibre objects takes artistry. Knowledge of the prop when and where it is be fo most appropriate tech knowledge passe daughters and

As suc soci a

ditional ceremonies.

skill, precision and perties of each material, ound, its preparation and the hnique for its use is also important ed between generations of mothers, d grandmothers.

ch, they are an important vehicle for ensuring ial and cultural continuity and cohesion an act as a metaphorical connection to place and kin.â&#x20AC;? Lisa Waup

Beverley MELDRUM Birth Date Language Residence

1956 Wirangu Hastings, VIC

Beverley’s connection to the Wirangu and Kokatha people which is through her Dad’s side of the family. Beverley was born in Penola, a small town in SouthEast South Australia and remained in South Australia until she moved to the Mornington Peninsula 30 years ago. Beverley has recently became involved making art with the local Aboriginal community and this has offered her opportunities to sell and exhibit her work. Beverley was part of Fremantle Art Centre’s InCahoots project in 2017. She enjoys working with a wide variety of mediums including but not limited to; ceramics, carving, jewellery, kelp, oil and acrylic paints.

Group Exhibitions 2018 2017

Badjurr-Baluk (Women of Baluk) - ReDot Fine Art Gallery, Singapore. Too-roo-dun (Bunyip Exhibition) - 45 Downstairs, Flinders Lane; and Bunjil Place, Narre Warren. Sea HER Land - Benalla Regional Gallery, Benalla, Victoria, Australia. In Cahoots - Fremantle Arts Centre, Fremantle, WA, Australia.

Beverley MELDRUM Earth Connection Ceramic and Ochre 41 x 21 x 8cm (irregular) 151-17

Earth Connection is a ceramic coolamon, traditionally coolamons are made out of wood and are used for carrying items including food gathered, they also are used to carry and sleep babies in. The etched lines on the inside of the coolamon represents an aerial view of the lands below and their natural formations of mountain ranges, trees, dessert and water ways. It always astounds Beverley of the natural straight lines on the land viewed from up in sky, and how they all come together. The painted ochre on the front of the coolamon represents life to Beverley, the soil is a life force that we grow food and nature from. She was greatly inspired by the colourful outcrop of ochre, a great natural beauty and the connection to nature is very evident in this piece. In 2000 Beverley was fortunate to visit the Ochre pits in Central Australia and has been intrigued by the amazing rainbow of colour found naturally with in ochre since. Ochre has always been an important part of Aboriginal culture and a vital part of everyday life. Beverleyâ&#x20AC;&#x2122;s connection to the Wirangu people is through her Dadâ&#x20AC;&#x2122;s side of the family. Beverley was born in Penola, a small town in South-East South Australia and remained in South Australia until she moved to the Mornington Peninsula 30 years ago. Beverley has been an artist at Baluk Arts for over a year and has been making art with the local Aboriginal community and this has offered her opportunityâ&#x20AC;&#x2122;s to sell and exhibit her work locally and in Melbourne. She enjoys working with a wide variety of mediums including but not limited to; ceramics, carving, kelp, oil and acrylic paints.

Beverley MELDRUM The Seed Lomandra, Emu Feathers, Air Dry Clay, Ochre, Wire, Wool 35 x 28 x 32cm (irregular) 627-17

Beverley has created The Seed which has been formed from clay and ochre, this seed is symbolic of life and the beginning point of all things. It is a reminder to accept and respect other people’s beliefs and to stop mindless fighting against other people beliefs. We all have our own belief system and this should be respected - everybody is not the same. Whether it is compassion, respect or diversity the process will always have a starting point to grow from, to embrace and to live by. The Seed sits on a woven bed of natural materials which resembles a nest or cradle to provide a nurturing space for the Seed, as thoughts and ideas develop. Beverley’s connection to the Wirangu and Kokatha people which is through her Dad’s side of the family. Beverley was born in Penola, a small town in South-East South Australia and remained in South Australia until she moved to the Mornington Peninsula 30 years ago.

Beverley MELDRUM Fractured Ground Air Dry Clay, Ochre, Lomandra, Emu Feathers 37 x 39 x 10cm (irregular) 135-18

Beverley’s inspiration for the creation of Fractured Ground is to detail and highlight the destruction of the earth. It is a close representation for her, of the Fragility of the earth and the impacts made by man made intervention and construction. The Spherical bowl is made from clay, ochre and charcoal, representing the complexed layers of the earth. The woven bed made from Lomandra and emu feathers is a nest attempting to nurture it and the fragility of the earth. Beverley’s wish if for all mankind to Look after the earth and mother nature and not drill, poison, forge and dig it into a vulnerable state. The sticks incorporated into the woven bed represents the foundation - to signify stabilizing the earth. The bowl represents all Spraying of food with poison, ingested poisons that are not only sacrificing the earth, but also for our own existence on earth. Beverley’s connection to the Wirangu and Kokatha people which is through her Dad’s side of the family. Beverley was born in Penola, a small town in South-East South Australia and remained in South Australia until she moved to the Mornington Peninsula 30 years ago. She enjoys working with a wide variety of mediums including but not limited to; ceramics, carving, jewellery, kelp, oil and acrylic painting.

Beverley MELDRUM Shielded Earth Ceramics and Ochre 37 x 20 x 4cm (irregular) 136-18

Beverley has created Shielded Earth from Clay from locally sourced Ochre, which is in a shape that resembles a shield. Beverley’s process of making is very materially driven and thus it was important to her that this work be made solely from materials that come from the earth, and to evoke people to talk about the earth. Shielded Earth is about protecting Country, which holds great importance for Beverley. ’The earth sustains us and looks after us and we need to look after her’. The earth owns us, we don’t own it, we are merely caretakers and to ensure its survival and ours, we need to take care of it. Beverley’s connection to the Wirangu and Kokatha people which is through her Dad’s side of the family. Beverley was born in Penola, a small town in South-East South Australia and remained in South Australia until she moved to the Mornington Peninsula 30 years ago.

Cassie LEATHAM Birth Date Language Residence

1974 Daungwurrung, Woiwurrung Boisdale, VIC

Cassie Leatham is from the Taungurung / Wurundjeri of the Kulin Nation. Cassie was born in Sale on Gunai Kurnai Country and takes pride and place in her local community. Cassie first became a member of Baluk Arts in 2017, she is an Indigenous artist, master weaver, traditional dancer, bushtukka woman and educator. Cassieâ&#x20AC;&#x2122;s work has been acquired by the National Gallery of Victoria, Koorie Heritage Trust Collection, Melbourne Magistrates Court of Victoria and is exhibited nationally and internationally.

Group Exhibitions 2018 Badjurr-Baluk (Women of Baluk) - ReDot Fine Art Gallery, Singapore. Sea HER Land - Benalla Regional Gallery, Benalla, Victoria, Australia.

Cassie LEATHAM Weaved Coolamon with Weaved Digging Stick Flax, Lomandra, Brown Rustic Natural Raffia, Raw Raffia, Ochre, Wattle Sap Glue 45 x 21 x 11cm (irregular) 119-18

Inspired by Cassie’s ancestors foraging Murnongs (Yam Daisy’s) and other food sources,she created this unique weaved coolamon and weaved digging stick in honour of them. Traditionally made from wood, coolamon’s have many uses and although Cassie uses hers for food/bush tukka, they can also be used to carry babies and crushing ochre for painting. Whilst weaving this Coolamon on Country it brought back many memories to Cassie of carving and creating her first coolamon from the outer bark of the river red gum many years before. Cassie Leatham is from the Taungurung / Wurundjeri of the Kulin Nation and resides at Boisdale in Gippsland. Cassie facilitates workshops in a variety of mediums and specialises in native indigenous bush plants. It’s nurturing culture and heritage and respecting the land, the elders, the traditional ways that are most important to Cassie and most importantly nurturing the aboriginal youth who will one day become elders and become the teachers for generations to come.

Cassie LEATHAM Woven Coolomon with Emu Feather Lomandra, Emu Feathers, Twine 40 x 35 x 9cm (irregular) 134-18

Cassie has woven this piece using locally sourced materials from her Country. The soft emu feathers lining the brim of this coolamon shows the soft nurturing mother emu wrapping around caring for what is to be placed into the coolamon. Whether its precious or foraged items, they will be nurtured in this. Traditionally coolamons were made by the women along the river banks, reflecting how the women would sit together weaving, connecting to Country and sharing knowledge together. Cassie has great passion with creating pieces that showcases how she loves to explore and forage for natural materials on Country, to process these beautiful gifts from deceased animals and utilise these in a respectful manner and to explore like her ancestors did many of thousands of years ago. To continue doing these techniques today is what Cassie is most passionate about. To carry strength and be guided by the beauty of her Country, and to create unique works from natural resources and to share the connection Cassie has with her Country, and to build on her knowledge by empowering herself through her ancestors old ways.

Cassie LEATHAM Weaved Coolamon with Possum Fur Raffia and Possum Fur 22 x 14 x 8cm (irregular) 122-18

Cassie Wove this coolamon whilst she was on her Country with a significant Elder present, who gave her some of his possum fur from his cloak to weave into this vessel. They shared stories by the fire and were singing whilst creating this piece in language. Cassie holds on dearly to the importance of keeping both her and her peoples culture alive and continuing traditional ways with any mediums is important, to ensure that the skills, stories, songs and language are passed on to the next generation. Cassie Leatham is from the Taungurung / Wurundjeri of the Kulin Nation. Cassie started exploring her heritage and looking to Elders to help her with her journey and belonging. Many assisted and she continued her journey embracing culture, teaching her knowledge and skills in art and traditional methods used by her ancestors. Cassie has worked in many schools all over the country and continues to this day mentoring Koorie youth in culture and identity.

Cassie LEATHAM Weaved Kangaroo Grass Coolamon Lomandra, Cumbungi, Flax, Kangaroo Grass, Emu Tail Feathers 18 x 10 x 7cm (irregular) 123-18

Cassie created a small coolamon that represents the foraging of locally sourced kangaroo grass, which was a great source of protein, used to make flour for damper. Carrying smaller coolamons for more delicate bushfoods, creating this in a field of native grasses she came across some emu tail feathers which she also has weaved into this piece detailing the connection of time and place. Cassie Leatham is from the Taungurung / Wurundjeri of the Kulin Nation.Cassie was born in Sale on Gunai Kurnai Country and takes pride and place in the local community and has been a member at Ramahyuck in Sale, Gippsland and is also a member of her Taungurung Country.

Gillian GARVIE Birth Date Language Residence

1981 Wiradjuri Crib Point, VIC

Gillian was born in Leeton, a small town situated in Wiradjuri Country in New South Wales, though she has lived on the Peninsula for many years. Gillian connected with Baluk Arts in 2014, and since then has tried her hand at many different mediums and techniques including kelp, bush sculpture creatures, weaving, drum making and jewellery making to name a few.

Group Exhibitions 2018 Badjurr-Baluk (Women of Baluk) - ReDot Fine Art Gallery, Singapore. Sea HER Land - Benalla Regional Gallery, Benalla, Victoria, Australia. 2017 In Cahoots - Fremantle Arts Centre, Fremantle, WA, Australia.

Gillian GARVIE Drought Flax, Kangaroo Teeth, Alpaca Wool, Wire, Emu Feathers, Wool 25 x 25 x 12cm (irregular) 118-18

Gillian has grown up in farms from remote out-back New South Wales from a very young age looking after sheep, and learnt very quickly how destructive droughts can be. When the drought comes they cause great destruction not only the crops die, yet the destruction that is caused on the community is ever lasting. When the crops die the dead plants blow away and what is left is the paddocks are the varying shades of red earth. The ground bakes hard with loose sand and red dirt blowing on top. The coloured wool that Gillian has utilized in Drought is a direct representation of the vast red empty paddocks. Though the loss of crops also comes a loss of live stock, all the sheep die from the lack of water and food to sustain them. Tufts of wool from carcasses blow away and get caught in the barbed wire fences. The fences all become bent and saggy as there is no funds to fix things in times of drought. Life is very hard being a farmer at the best of times, yet in times of drought the destruction is limitless. Gillian has created Drought to be a sensory pieces, touching the sharp ends of wire, touching the tufts of wool stuck in wire, this reminds Gillian of her childhood it takes her back in time. The weaved kangaroo teeth into this vessel represents also the times of drought. Kangaroos have a unique ability to smell water and will dig for it, and this becomes a sign of precious water to be found for the farmers. Gillian was born in Leeton, a small town situated in Wiradjuri Country in New South Wales, though she has lived on the Peninsula for many years.

Gillian GARVIE Flood Flax, Alpaca, Wool, Paper Bark Wood 22 x 22 x 30cm (irregular) 124-18

Gillian has grown up in Out-Back New South Wales and has experienced many hardships living on a farm due to the elements. After the drought comes the floods, the baked earth resists the water and sometimes its swirling, sometimes the surface is fairly calm. But in the depths, the powerful water will have its way, no dam made by man can stop its might, when the floods of the water are released. It will rightfully reclaim the land, it will nourish what belongs to it, it is the natural order of this land. Drought, Flood, Fire, man fools himself if he thinks he can stop that natural progression of nature. Gillian has memories of the trees standing proudly out of the water almost like living art, beautiful to the eye. The fences surrounding the farm where Gillian grew up on acted like nets, catching debris instead of fish. Gillian and her people are at the people of the 3 rivers, and to live by the river, is to be at the mercy of nature. The natural progression of existence is that After death, after destruction, comes life, which Gillian experienced many times over living in the out-back. The three rungs on the outside weaving represents the Wiradjuri people of the 3 rivers: Murrumbidgee, Macquarie and the Lachlan. The Wool represents the muddy banks, in between the rivers and the sand bags laid along the rivers in attempt to curve it fury. Inside the fence catches debris and the muddy water is represented weaved on the inside of the vessel. The light wool on the lip represents the sky, and the woven lines down the side of the weaving represents the rains coming down in the times of flooding. The Tree in the middle of the weaving detail the trees standing in the flood waters, and the countless memories that are associated to Gillian with this image. Gillian was born in Leeton, a small town situated in Wiradjuri Country in New South Wales, though she has lived on the Peninsula for many years.

Gillian GARVIE Passing Down Knowledge Alpaca Wool, Possum Skin, Human Hair Rope 14 x 9 x 9 cm (irregular) 117-18

It has always been a great importance for Gillian to pass down cultural information to her two daughters. Not only for their own knowledge yet for the continuum of this practice of weaving with natural fibre and the harvesting procedures involved. Gillian has involved her girls with the harvesting, preparing of fibre and drying methods for this vessel, their assistance has aided in the creation and the passing down of knowledge in the process. With in the vessel contains multiple symbolic connections to this very practice of passing down knowledge. Both her daughters hair has been created into hair rope along with Gillianâ&#x20AC;&#x2122;s, this represents the passing of knowledge to the next generation, the acquiring skills and knowledge to create. The possum skin featured with in this vessel pay homage to the traditional possum skin cloaks that have been created and a skill that Gillian herself has been taught. The weaving has been created from locally sourced flax represents the unique basket weaving stitch technique from Victoria that Gillian has also been taught and has passed down to her girls. Cherry Ballart has also be included near the lip of the vessel, this plant is traditionally used in smoking ceremonies and represents the nurturing and protection of children. All these elements combined together have created a story weaved with in the Passing Down of Knowledge. Gillian was born in Leeton, a small town situated in Wiradjuri Country in New South Wales, though she has lived on the Peninsula for many years.

Gillian GARVIE Home Human Hair String, Alpaca Wool, Lomandra, Flax, Cotton, Emu Feathers, Crow Feathers 10 x 9 x 8cm (irregular) 113-18

This vessel is a representation of Home for Gillian, it incorporates hair rope from her two daughters and herself. The lomandra and flax fibre is grown near her home, which she has collected with her daughters and in the process teaching them how to harvest and prepare the fibre. The crow feathers that have been weaved into the piece represent Gillian’s totem Waang, it is a protector to herself her home and to her children. The vessels is also weaved with emu feathers, and is constantly finding them in unusual places in her home from previous weaved creations. The shape of Home, is a direct translation of a nest, nests are homes, they are places of security, warmth and nurturing. Hair represents home (dark hair is Gillian’s, Light blonde is last born Niamh’s and the lighter brown is Maddison’s) The two feathers represent Gill and Niamh her last child in the home. Gillian was born in Leeton, a small town situated in Wiradjuri Country in New South Wales, though she has lived on the Peninsula for many years.

Tallara GRAY Birth Date Language Residence

1993 Yadhaigana Frankston, VIC

Tallara is a descendant of the Gudang people of far north Cape York. Tallara grew up on Yuggera and Ugarapul Country in South East Queensland, and has only recently moved to the Mornington Peninsula and joined the Baluk Arts team. Tallara has been involved with Seed, Australiaâ&#x20AC;&#x2122;s first Indigenous Youth Climate Action group, which has groups nationally. She graduated from QUT with a Bachelor of visual art (fine art) Honors in 2015. Tallara is very inspired with expression through her artwork to explore cultural and environmental issues through contemporary art making practise. Tallara continues to be interested in exploring her experience of Aboriginal culture and family narratives through the natural landscapes and stories. Her work takes the form of sculpture and mixed media works, including photographic and text exploration.

Group Exhibitions 2018 2017

Tallara GRAY Life Bowl Ceramics and Ochre 28 x 20 x 9cm (irregular) 146-17

Baluk Arts recently ran ceramic workshops which introduced this concept as a way to get members working with clay. This open ceramic bowl is covered in ochre, which Tallara collected from the beaches of the Mornington Peninsula. The imagery carved into the inside of the coolomon in ochre resembles that of an embryo or egg and signals the beginning of life. An abstracted pattern made from fingerprints on the underside shows the artists hand and a presence of life. Tallara is a descendant of the Gudang people of far north Cape York. Tallara grew up on Yuggera and Ugarapul country in South East Queensland, and has only recently moved to the Mornington Peninsula and joined the Baluk Arts team. Tallara has been and continues to be involved with Seed, Australia’s first Indigenous Youth Climate Action group. She graduated from QUT with a Bachelor of visual art (fine art) Honors in 2015. Her honors project titled “You and I are worthwhile: Exploring cultural and environmental agency through contemporary art” expressed lived experiences of identity politics and environmental activism to create a body of artworks that reflect the interactions, stories and memories that make up that narrative. Tallara continues to be interested in exploring her experience of Aboriginal culture and family narratives through the natural landscape and stories. Her work takes the form of sculpture and mixed media works, including photographic and text explorations.

Tallara GRAY Large Life Dish Ceramic and Ochre 16.5 x 22 x 3cm (irregular) 140-18

This open ceramic dish is covered in ochre, which Tallara collected from the beaches of the Mornington Peninsula. The imagery carved into the inside of the dish in ochre resembles that of an embryo or egg and signals the beginning of life. Tallara is a descendant of the Gudang people of far north Cape York. Tallara grew up on Yuggera and Ugarapul country in South East Queensland, and has only recently moved to the Mornington Peninsula and joined the Baluk Arts team. Tallara has been and continues to be involved with Seed, Australia’s first Indigenous Youth Climate Action group. She graduated from QUT with a Bachelor of visual art (fine art) Honors in 2015. Her honors project titled “You and I are worthwhile: Exploring cultural and environmental agency through contemporary art” expressed lived experiences of identity politics and environmental activism to create a body of artworks that reflect the interactions, stories and memories that make up that narrative. Tallara continues to be interested in exploring her experience of Aboriginal culture and family narratives through the natural landscape and stories. Her work takes the form of sculpture and mixed media works, including photographic and text explorations.

Tallara GRAY Medium Life Dish Ceramic and Ochre 12 x 11 x 2.5cm (irregular) 139-18

Tallara GRAY Small Life Dish Ceramic and Ochre 7.5 x 7.5 x 2cm (irregular) 138-18

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For a high resolution, downloadable, PDF version of this catalogue, with pricing, please send us an email to info@redotgallery.com Thank you.