A Series of Unwarranted Events (2018)
Exhibited in Primavera 2018: Young Australian Artists, Museum of Contemporary Art Australia (MCA), Sydney, NSW; Ramsay Art Prize, 2019, Art Gallery of South Australia, Adelaide, SA; Darebin Art Prize, 2019, Bundoora Homestead Art Centre, Bundoora, VIC; National Photography Prize, 2020, MAMA, Albury, NSW;
The truth of what occurred remains (with Tracey Moffatt), Broken Hill Regional Art Gallery, Broken Hill, NSW.
In the collections of Murray Art Museum Albury (MAMA), NSW, Australia, Australian War Memorial, ACT, Melbourne Museum, VIC, Bundoora Homestead Art Centre, VIC, State Library of Victoria, VIC, University of Technology Sydney (UTS), NSW, Warrnambool Art Gallery, VIC, Shepparton Art Museum (SAM), VIC.
The truth of what occurred remains (with Tracey Moffatt), Broken Hill Regional Art Gallery, Broken Hill, NSW.
In the collections of Murray Art Museum Albury (MAMA), NSW, Australia, Australian War Memorial, ACT, Melbourne Museum, VIC, Bundoora Homestead Art Centre, VIC, State Library of Victoria, VIC, University of Technology Sydney (UTS), NSW, Warrnambool Art Gallery, VIC, Shepparton Art Museum (SAM), VIC.
A Series of Unwarranted Events portrays stories of the Gunditjmara people that expose realities of life during the colonisation of their Country. The European invasion of western Victoria - where Gunditjmara Country is located - was violent, with killings and massacres of Aboriginals too many to count.
Stories of skulls nailed to doorways, and rivers running red, serve both as a haunting reminder of a past unforgivable, and as witness to the strength and resilience of the Gunditjmara – never ceasing to submission, no matter the condition or consequence.
I have heard tales told, and some things I have seen that would form as dark a page as ever you could read in the book of history — but I thank God, I have never participated in them — If I could remedy these things I would speak loudly though it would cost me all I am worth in the world, but as I cannot I will keep aloof and know nothing, and say nothing. – Henry Howard Meyrick, Journal dated 1840–47
Stories of skulls nailed to doorways, and rivers running red, serve both as a haunting reminder of a past unforgivable, and as witness to the strength and resilience of the Gunditjmara – never ceasing to submission, no matter the condition or consequence.
I have heard tales told, and some things I have seen that would form as dark a page as ever you could read in the book of history — but I thank God, I have never participated in them — If I could remedy these things I would speak loudly though it would cost me all I am worth in the world, but as I cannot I will keep aloof and know nothing, and say nothing. – Henry Howard Meyrick, Journal dated 1840–47
Untitled (The best means, of caring for, and dealing with them in the future), 2018, 80 x 100 cm, inkjet on cotton rag.
Untitled (The theft of the White men's sheep), 2018, 80 x 100 cm, inkjet on cotton rag.
Untitled (So he mixed arsenic with half the flour and a raging thirst was created), 2018, 80 x 100cm, inkjet on cotton rag.
Untitled (The circumstances are that a whale had come on shore), 2018, 67 x 67 cm, inkjet on cotton rag.
A Series of Unwarranted Events (2018) in Primavera 2018: Young Australian Artists at Museum of Contemporary Art Australia, 2018. Photo courtesy of Jess Maurer.
A Series of Unwarranted Events (2018) in Primavera 2018: Young Australian Artists at Museum of Contemporary Art Australia, 2018.
A Series of Unwarranted Events (2018) in the 2019 Ramsay Art Prize at the Art Gallery of South Australia, 2019.
A Series of Unwarranted Events (2018) in 'The truth of what occurred remains: Tracey Moffatt & Hayley Millar-Baker' at Broken Hill Regional Art Gallery, 2019.
Photo courtesy of tbgphoto.