upcoming Exhibitions

Greg Semu - The Raft of the Tagata Pasifika (People of the Pacific) 2017

04-Apr-2017 - 22-Apr-2017
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The Raft of the Tagata Pasifika (People of the Pacific) is Semu’s most recent and ambitious project to date, whereby he has assigned himself the task of questioning the fact or fiction of the painterly recorded history of colonisation by referencing two culturally significant paintings: first, Theodore Géricault's 1819 masterwork, The Raft of the Medusa and secondly, The Arrival of the Māoris in New Zealand, 1898 by English-born Louis John Steele and New Zealander Charles F. Goldie. Grasping photography’s traditional perception as a device for representing truth, Semu has photographically recreated the epic sea voyage using residents of the Cook Islands; consequently fusing and appropriating ideals from the two referenced paintings to cement art historically and for the first time an often shared Māori depiction of the true events surrounding their ancestors’ arrival in New Zealand.

‘I want my images to be iconic and significant in a world sense, tribulation to the collaboration of the displaced, frozen and distilled in a frame: testaments that transcend geography and generations, transfiguring the ambiguous power and affirmation of photography and art.’

 - Greg Semu

 The Raft of the Tagata Pasifika (People of the Pacific) was exhibited at the NGV International, Melbourne from 10 June to 11 September 2016. Alcaston Gallery is thrilled to present the complete series commercially for the first time. 

EXHIBITION POSTPONED. ALTERNATIVE DATES TO BE ANNOUNCED LATER IN 2017. PLEASE CONTACT ALCASTON GALLERY FOR MORE INFORMATION

Image: Greg Semu, The Raft, 2014-2016, Digital C-type print 

© Greg Semu and Alcaston Gallery, Melbourne 

CLAUDIA MOODOONUTHI: RUBY AND HUNTER IN DULKA WARNGIID (STORY PLACE)

14-Nov-2017 - 09-Dec-2017
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Alcaston Gallery is delighted to present an exhibition of dynamic paintings and installation by Queensland artist Claudia Moodoonuthi. Following from her exceptional exhibition Ruby and Hunter at Redland Art Gallery, Queensland earlier this year, this vibrant new body of work shares stories from the artist’s ancestral land, Kaiadilt Country of Bentinck Island in Queensland’s Gulf of Carpentaria. Inspired by the special bond Moodoonuthi has with her two dogs, Ruby and Hunter, the exhibition celebrates the Kaiadilt People’s significant and enduring relationship with dingoes. Brought to life through personal reflections on family, history and lived experience, Moodoonuthi honours the innate connection between people, place and Country. Within these works, she expresses the Island’s unique topography and vitality.

2017 has been an extraordinary milestone in the young artist’s flourishing career. This year Moodoonuthi’s work was featured in Who’s Afraid of Colour? at The Ian Potter Centre: NGV Australia, an exhibition of prominent Indigenous women artists whose practices are unbounded by convention, her painting My Body, My Country was projected onto the William Jolly Bridge as part of the Brisbane Festival, and Redland Art Gallery, Queensland hosted a solo exhibition of Claudia’s installation art and paintings featuring this body of work Ruby and Hunter.

 

In 2017 Claudia has also undertaken a large-scale painting commission for Artbank + QPAC, QLD, and a major installation for the Mecca Cosmetica + National Gallery of Victoria Holiday collaboration. Her work is held in numerous public and private collections including National Gallery of Victoria, Melbourne, Maitland Regional Art Gallery, NSW, Cairns Regional Gallery, QLD, and Queensland Health Collection.

CONRAD TIPUNGWUTI: PAKITIRINGA 2017

14-Nov-2017 - 09-Dec-2017
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Alcaston Gallery is delighted to present Pakitiringa recent works on paper and linen by Tiwi artist Conrad Tipungwuti.

Conrad Tipungwuti's painting practice has developed and matured over many years displaying unique and expressive brush marks, much looser than the tight traditional marks the Tiwi are known for. His mark making is reminiscent of the late Freda Warlapinni and Kitty Kantilla.

 Pakitiringa is the tiwi word for rain. The over-riding theme of Tipungwuti’s most recent work depicts the wet season and the heavy Pakatiringa that falls in the top end for months on end. He is also known for painting the initiation ceremony Kulama, which is practiced in the late wet season. In the Kulama paintings a particular figure is singled out, Japara, who became the moon man after the first pukamani ceremony was performed. This is represented by the large concentric circles.

 Tipungwuti works with the traditional ironwood carved comb called kayimwagakimi to make the pwoja, the small and intricate dots that fall across the canvas in a meditative state, reflecting rain falling over the Tiwi landscape. As with all artists from Jilamara Art Centre, Conrad paints with natural ochres which are collected from around the local community.

This is Conrad’s fourth solo exhibition. His works are held in both national and international collections including National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra; Du Musee des Confluences, Paris, France; Charles Darwin University Collection, Darwin; Murdoch University Collection, Perth; Artbank Australia; and, the Queensland University Art Museum, Brisbane.

 

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