Land, Sea and Sky: Contemporary Art of the Torres Strait
Islands
@ Gallery of Modern Art, Brisbane
Walking into the gallery space you immediately feel
immersed, with large commissioned works painted onto walls alongside big
installations hanging from the ceiling. Traditional Islander music plays in the
distance, drawing the viewer deeper into the space. The high walls which are decorated
with sculptures give the impression of open sky, speaking of the Torres Strait
Islander peoples’ relationship to the stars, sky and weather and reflecting a deep
spiritual connection and practicality.
Land, Sea
and Sky: Contemporary Art of the Torres Strait Islands was not
just an excellent introduction to the contemporary art of the Torres Strait
people but a stunning display of craftsmanship and a celebration of culture and
life. The exhibit focused on the key aspects of Torres Strait Island culture,
highlighting the importance and spirituality of the land, sea and sky. The
curatorial strategy created a sense of this through the open planned space,
high ceilings and walls, large works with a vast floor space, with an array of
blues, colours of the sea and sky in the larger space and earthy hues in
smaller gallery. The exhibition itself is separated into four parts, into the
themes of ‘land, sea and sky’. Comprising of traditional headdresses (dhari)
and wall length lino prints, to more contemporary art forms such as animation,
photography and film.
The lino prints were overwhelming in their sheer size and
minute details. Islander Dennis Nona began the popular use of working with lino
within the Torres Strait Island communities, which has now led to it becoming a
signature, contemporary art from for the Torres Strait people. Alick Tipoti’s
print Apu Kaz, 2010, is an example of
the use of traditional carving imagery, being used on lino instead of wood. The
stories present within the art of the Torres Strait people depict an intimate
knowledge and respect towards their land, culture, history and wild life. The
intricate detailed lines mimic the waves of the sea, embracing the image of the
dugong mother and calf.
Urban artists, such as Douglas Watkin, employ storytelling
to tell politicised and conceptual driven art. Watkin’s film Mother & I, 2011 is a commissioned
piece which draws from his own family history, telling a story from the Island
using a similar aesthetic to a graphic novel, with the drawn characters and
settings. His and other works in the exhibition stand out due to their use of
craft and skill. Destiny Deacon’s collaborative commission with Virginia
Fraser, stand out or stand down. When watching visitors in the space, it is
notable that Deacon’s blurred photographs have viewers walk past without
stopping. The poor quality, blown up photographs, sit unnaturally in the space.
Seventeen, colour inkjet prints of blurry, orangey stills from her film Island Flicks, which is projected onto a
small glasshouse situated on an opposing wall. In between sit framed stills
titled Frieze Frames, Erub 1899, 2011
sliced from archival footage which is projected onto another opposing wall
titled D-tales from Erub 1899, 2011. The coloured videos and stills seem to be
a replication of the historical footage and it’s imagery of ‘colonised’
Islanders. The content and any message present is lost in the presentation of
what seems to be hasty effort, lacking the certified edge which is inherently
present in Deacon’s other work.
Aside from minor discrepancies the exhibition in whole told
a rich and encompassing story of the people. This survey of current,
contemporary art from the Torres Strait filled a big gap in GoMA’s exhibition
history; depicting a sense of culture, tradition and change of the Islands’ art
and people.
Sancintya Simpson
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