Outback – Mungo Prints
8th – 14th October 2017
The organisers of the Mildura Australia Print Triennial will be hosting diverse, established artists who work in the area of printmaking to Mungo within the Willandra Lakes. We are seeking to challenge them individually and as a group so that they can explore and communicate the significance of the area. Mungo offers these artists a rich resource from which they can draw.
This area was recognised in 1981 as being of global importance. Willandra is one of only four World Heritage sites in Australia, listed as being significant for both natural and cultural values. It has been inscribed on the World Heritage List because it is of universal value according to three criteria:
- an outstanding example representing the major stages in the earth’s evolutionary history;
- an outstanding example representing significant ongoing geological processes;
- bearing an exceptional testimony to a past civilization.
A collaboration between three universities and the CSIRO dated Mungo Woman and Mungo Man to be roughly 42,000 years old, with additional artifacts showing human occupation of the area to be as far back as 50,000 years. This was at a time of dramatic environmental change. The Pleistocene period was characterised by repeated cycles of glaciation alternating with warmer interglacials.
The largest known collection in the world of human footprints from 20,000 years ago are imbedded in the damp clay pan at Mungo. Places like this are rare where 2000 generations of lineage back to the Stone Age can be found. Changes in the environment can be matched by people who have lived there continuously across vast ages.
Part of the Willandra Lakes area, which includes Mungo, has a recent history of pastoralism. Features of this pastoral history are preserved within Mungo National Park. The Indigenous people were removed from their homeland and much of their game was driven away by the pastoralists. Indigenous people often worked on these stations in various roles until they were displaced in the 1870s by Chinese workers who had come to Australia for the gold rushes. Many of the local aboriginal people were rounded up and sent away to church missions at Yelta (near Wentworth), Pooncarie, Carowra Tank (near Ivanhoe), Menindee, Balranald, Brewarrina and Lake Cargellico.
By the 1880s rabbits had spread across the countryside adding to the impact of chronic overgrazing. The drought of 1889 – 1890 brought windstorms and widespread erosion to the decimated landscape leading to an economic depression not only in the Mungo area but Australia wide. The 1920s saw the subdivision of much of the land for soldier settler blocks for veterans returning from World War 1. This was after the stock carrying capacity of the land had already been reduced from over stocking, rabbits and drought.
There are parallels that can be drawn between the history of this area socially, environmentally, economically and politically with the global situation of today.
We will bring together landscape printmaking artists to travel to the edge of the outback to respond to and sketch the Mungo landscape. These prints will be displayed as a major exhibition for the 2018 Australian Print Triennial. Nine established artists will be accompanied by 12 students and their teachers from the Creative Arts Department of la Trobe University – Melbourne, Bendigo and Mildura campuses. Artwork to be completed and printed over the months after the event. We will also bring photographers, art critics, writers, and film-makers for the project.
- Documentary film
- Solander Box of prints
- Exhibition of prints produced at the 2nd Australian Print Triennial 2018
- Magazine editorials
Arrive in Mildura on the 7th or morning of the 8th October
Sunday 8th October – Mildura meet and greet at 25 Carramar Drive Gol Gol NSW at 12.30pm
Monday 9th – travel to Mungo 9 am – welcome to country and smoking ceremony – tour of Mungo by Indigenous Elders
Tuesday 10th – Friday 13th Mungo – depart afternoon
Thursday 12th evening – Debriefing at Mungo Lodge
Friday 13th – accommodation Mildura
Established artists involved:
Rosalind Atkins Melbourne printmaker Rosalind Atkins completed a Bachelor of Fine Arts at RMIT, a Master of Fine Art at La Trobe University and is currently a PhD candidate at the University of Melbourne. Rosalind is currently the recipient of a Victorian State Library Fellowship. The State Library, in partnership with the Baldessin Press, offers a special residency opportunity as part of the annual fellowship program. Since completing her Master of Fine Art (research) in 2009, Rosalind Atkins has worked as a printmaker and engraver, and as a lecturer at Monash, RMIT, Federation Universities and the University of Melbourne. Widely published, she has exhibited her works at solo exhibitions in local and regional galleries, and contributed to group exhibitions both nationally and internationally. Rosalind published an artist book with Lyre Bird Press and collaborated on a number of projects with Brindabella Press in Canberra. Her work is represented in the collections of the British Museum, Art Gallery of New South Wales, Sydney, regional galleries including Geelong; the State Library of Victoria, and several university collections in Australia and the USA.
Raymond Arnold Born in Victoria, Australia, Ray developed his career in the island state of Tasmania, where its landscape has been tempered and shaped by exposure to a prevailing westerly air-stream. Large tracts of forest in the west of the state give way to more settled pastoral areas in the east. This dynamic natural environment has in turn, shaped Tasmanian identity and culture. Arnold’s prints and paintings have reflected this construction of a landscape and the identification with a type of ‘ground’. As a compliment to this world, Arnold has worked on a regular basis in France and Scotland since 1993. Originally working in the Atelier Lacourière et Frélaut in Paris, his work has referenced the historical traditions of etching, while focusing on fashion and dress, the decorations of medieval armour and historical depictions of landscape. An interest in ‘figure’ as much as ground. For the last decade he has been running his ARI Landscape Art Research Queenstown (LARQ) in the Western Tasmanian mining town. Raymond Arnold has held more than 50 solo exhibitions and participated in group shows in Australia, Europe and the USA. He is represented in the collections of the Imperial War Museum, the Victoria and Albert Museum (London), the Bibliotheque Nationale and the Musee Courbet (France) and the National Gallery of Australia, State galleries and Australian Parliament House (Australia).
GW Bot has held over 60 solo exhibitions. In 2007 her work was included in the exhibition, ‘The story of Australian printmaking 1803 – 2005’, National Gallery of Australia, Canberra. A touring survey, ‘The Long Paddock’ was organised by the Goulburn Regional Art Gallery, NSW, 2010 – 2013. In 2011 her work was included in the exhibition ‘Out of Australia’, at the British Museum, London and in 2013, in the exhibition, ‘Australia’, at the Royal Academy, London. In 2014 her work was exhibited in the ‘National Gallery Contemporary’, National Gallery, Canberra and the ‘International Print Exhibition, Australia and Japan’, Kyoto, Japan. Her work is held in many galleries nationally and internationally, among them the National Gallery of Australia, Canberra; the British Museum, London; the Victoria and Albert Museum, London; the British Library, London; the Bibliotheque National, Paris; the Albertina, Vienna; the Museum of Modern Art, Osaka, Japan and the Fogg Museum of Fine Arts, Harvard University, Cambridge, MA, USA.
eX de Medici, born in 1959 in the Riverina district of New South Wales, lives and works in Canberra. She completed an undergraduate degree in visual arts at the Canberra School of Art and since the early 1980s has worked in photography, photomedia, printmaking, performance and painting. eX de Medici has always been interested in experimental and collaborative art projects, contributing to the Bitumen River Gallery Collective and later was a founding member of the Canberra Contemporary Art Space. Although continually shifting in subject matter, eX de Medici’s intricate works form ongoing interrogations of the politics of power. eX’s miniaturist technique and technical virtuosity invites close examination through which the spectator becomes caught in a paradoxical vacillation between the beautiful and the repulsive. eX de Medici’s work is held in numerous public collections in Australia including the National Gallery of Australia, Canberra and most State Galleries. In 2009, eX de Medici participated in the Artist in War Program as an Official War Artist through the Australian War Memorial, ACT, in the Solomon Islands Peace Keeping Mission.
Ellis Hutch Ellis Hutch was born in 1973 and lives and works in Canberra. Her practice spans printmaking, photography, video installation, performance and sculpture. Since completing her Masters Degree in Sculpture at the Australian National University School of Art in 2000 Ellis has worked on a diverse range of collaborative and solo projects. She is currently a PhD candidate at the Australian National University School of Art and Design and works as a sessional lecturer teaching in school’s Foundation workshop and the Centre for Art History and Theory. Ellis is fascinated with how people establish social relationships and transform their environments in order to create inhabitable spaces. She investigates human obsessions with exploration, and the powerful pull of remote and extreme places, from Antarctica to the Moon. In 2014 Ellis was commissioned to create the ephemeral installation Last light for All that fall at the National Portrait Gallery of Australia in response to a memorial designed by Theodora Cowan in 1920 and never built. Her series of huge wax screens transmitted projected video through their delicately carved surfaces and was simultaneously fragile and strangely monumental. In 2016 Ellis collaborated with US-based artist Jessica Brooke Anderson on a project inspired by the unique environment of the Arkaroola Wilderness Sanctuary in the Flinders Ranges SA. Their resulting work, produced as artists in residence at Megalo Print Studio in Canberra, was exhibited in Dreams and Terrors at Canberra Contemporary Art Space and Articulations of the Unknown at the ANU School of Art and Design Gallery.
Michael Kempson is a Senior Lecturer and Convenor of Printmaking Studies at the University of New South Wales Art & Design in Sydney, Australia; was a visiting professor at Xi’an (2012) and Tianjin (2016) Academies of Fine Art in China; and a resident artist at Alfred University, New York, USA (2017). He is also an advisory board member of the International Academic Printmaking Alliance, formed in Beijing (2016) and was the International Member at Large for the Southern Graphics Council International (2014-2016). Since 1983 Kempson has held 30 solo and over 200 group exhibitions, the most recent solo exhibitions being Child’s Play at Triskel Arts Centre, Cork, Ireland (2017) and Michael Kempson: Work and Play at Song Ya Feng Art Centre, Beijing, China (2017). Kempson also initiates printmaking projects throughout the Asia-Pacific in his position as Director of Cicada Press, working with over 220 significant Australian and international artists and curating 56 exhibitions. Recently these have included: Seoul-Sydney: Contemporary Korean and Australian Prints, Galleries UNSW in Sydney and Chugye University for the Arts, Seoul, South Korea (2014); Interchange: A Printmaking Dialogue between Australia and Thailand, at venues including Silpakorn University Art Gallery, Bangkok and Mosman Art Gallery, Sydney (2014-2015). Kempson exhibited in Kyoto Hanga 2014: Australia and Japan at the Kyoto Municipal Museum, Japan (2014) and curated the Australian component of the International Academic Printmaking Alliance Exhibition, Imperial Ancestral Temple, Working People’s Culture Palace, in Tiananmen, China (2016). Kempson’s work is represented in the Museum of Contemporary Art, Bangkok, Thailand; National Taiwan Museum of Fine Arts, Taipei; National Gallery of Australia, Canberra; and many Australian state and regional galleries.
Martin King lives Melbourne, Australia. Martin King has had over 40 solo exhibitions throughout Australia and has exhibited in many group exhibitions both in Australia and Internationally. He has been awarded a number of prizes and awards. . Throughout his career, Martin’s work has responded to the Australian landscape, most visibly by making connections between land, sea and air. His more recent works, express the fragility of our relationship with nature using simple motifs that convey a paradoxical vision of the Australian landscape as both tranquil and unsettling. Martin is represented collections including the British Museum, London UK, National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW, Art Gallery of S.A, Carleton College Library, Minesotta, USA. Bharat Bhavan Museum, Bhopal, India, Corporate and private collections in Australia and overseas
Brian Robinson was born in 1973 and grew up in the Torres Strait Islands. During this time he gained valuable knowledge and appreciation of the culture of his people and was particularly influenced by the myths and legends of the Torres Strait. Brian Robinson is a multi-skilled contemporary artist, whose practice includes painting, printmaking, sculpture and design. The graphic style in his practice combines his Torres Strait Islander heritage with a strong passion for experimentation, both in theoretical approach and medium, as well as crossing the boundaries between reality and fantasy. The results combine styles as diverse as graffiti art through to intricate relief carvings and construction sculpture echoing images of Torres Strait cultural motifs, objects and activity. His work has been widely collected both privately and through major institutions in Australia and overseas. These include the Australian National Gallery in Canberra, most state and many regional galleries, Australian Museum, Sydney, NSW, Australian War Museum Canberra, ACT, Australian National Maritime Museum, Sydney, NSW, Environmental Protection Agency, Jean-Marie Tjibaou Cultural Centre, Noumea, New Caledonia, Museum of Contemporary Aboriginal Art, Utrecht, The Netherlands, The Kluge-Ruhe Aboriginal Art Collection, Virginia, USA
Ian Westacott was born and brought up in Myrtleford, in the foothills of the Australian Victorian Alps. He studied at Victorian College of the Arts, Australia. He was international visiting artist at Aberdeen City Art Gallery Scotland, Aberystwyth Art Centre Wales and has widely exhibited in Australia, Europe and in the UK. His retrospective exhibition, Inside/Outside, toured throughout the state galleries of Australia in 2013/2014. His early Australian large paintings, drawings and etchings relate to industrial and urban environments. In recent years his imagery depicts historic and venerable trees. His work is quoted as capturing the power in their lines of growth, not just drawings but a portrait gallery of great trees. In Scotland he is presently working on: Cromarty Estate Black-Isle commission, recording the UK’s most Northerly Elms which are now tragically affected by Dutch Elms disease; on-going documentation of the ancient Cadzow Forest oaks, Ayrshire and Strathnaver museum project which is based on the 18th century North Sutherland’s Gaelic bard and drover, Rob Donn Mackay. His collaboration with Raymond Arnold throughout the years has developed into Double Vision, their ongoing artistic ventures. He is a peripatetic art teacher inspiring over 300 primary school children per week where he currently lives in the Eastern Highlands of Scotland with his artist wife, Sue Jane Taylor, where they have a small print studio.
Maureen Reyland (Mor Mor) was born in Balranald, South Western New South Wales and is a direct descendent of the Mungo Lady, a woman known from one of the oldest generation sites, Lake Mungo in New South Wales. Mor Mor’s mother Mrs Alice Kelly was the custodian of Lake Mungo and the Tribal Elder of the Mungo Mutthi-Mutthi people. Her father Alfred Kelly, was the Tribal Elder of the Wamba and Nyiampaa Tribes. Mor Mor’s spiritual paintings and stories are the link between an artist aboriginal Mutth-Mutthi woman, and the Mungo Woman: Mor-Mor’s 30,000 year old ancestor. Each drawing and bark painting tells its own distinctive individual Sacred Story and all the Sacred Stories interconnect back to the Sacred Spirit of Our Creation. Like Mungo Woman before him, Mungo Man has now started the long journey home. Maureen has been involved in the packing up of Mungo Man at the National Museum in Canberra for his return back to Mungo in November 2017. ANU had held the remains for over 40 years. In a moving ceremony, ANU handed the Ancestral Remains to elders of the Mutthi Mutthi, Ngiyampaa and Paakantji/Barkandji people, who are the traditional custodians of the Willandra Lakes region. The ceremony marked the end of years of discussion among the traditional owners, who have wanted Mungo Man’s remains to be returned almost since the day they were taken from Lake Mungo in the early 1970s. Researchers found Mungo Man’s remains date back over 40,000 years. They are the oldest human remains discovered in Australia and they helped establish evidence of continuous Indigenous culture in Australia. The remains also demonstrate the cultural significance of the Willandra Lakes region as a place of priceless national and cultural heritage. This very strong link to Mungo inspires Mor Mor to create spiritual drawings, paintings and stories that show her affiliation with Mother Earth, her ancestors and sacred tribal land that has been there since its creation. Mor Mor’s artwork also rekindles love, peace and harmony through her spiritual bark paintings. The highlight of Mor Mor’s artistic career and her proudest moment as an Aboriginal woman was the inclusion of her homemade possum skin cloak, one of 35 cloaks worn by Elders in the opening ceremony of the Commonwealth Games in Melbourne 2006. The example made by Mor Mor (Maureen Reyland) of the Muthi Muthi Aboriginal people in 2005 was acquired by the Australian Museum in 2009 with the assistance of the Gwendoline A West Bequest. “I come from the Mungo Muthi Muthi tribe. My mother Alice Kelly is now deceased. Mother’s life work for all of Aboriginal people and Mungo is a great gift for all to come and feel the past within the sands of time …My spiritual painting and stories show my spiritual ancestors. The snake is for Creation, the circles are the sacred sands of Mungo, the eggs are the past, present and future. Blue for the water, yellow for the sun, green for the trees and red for the fire. The threads represent the umbilical cord for all Aboriginal people.” Mor Mor
Welcome to Country
Peter Peterson is a Barkindji man who were predominant around the lower Darling, which they called the Barka, Barkindji literally meaning “Darling folk”. The homelands of the Barkindji extended from what is now Wentworth in the Riverina Bioregion, northward through the Murray Darling Depression Bioregion and into the Darling Riverine Plains Bioregion beyond Wilcannia. Barkindji homelands were known to extend into Queensland via the Paroo due to the friendly relations they had with the Parundji people of the Darling Riverine Plains Bioregion.
Krystal Seigerman Krystal is a Melbourne based photographer specialising in the areas of portraiture and documentary photography. In 2003, Krystal completed a Bachelor of Media Arts (Photography) at Deakin University, Melbourne. In 2013 Krystal was a finalist in the National Photographic Portraiture Prize at the National Portrait Gallery in Canberra. She has been a finalist in the Incinerator Art Award as well as the Olive Cotton Award for Photographic Portraiture on three occasions. Krystal’s work has appeared in publications including The Big Issue magazine, Australian Art Monthly, The Australian and Australian Geographic magazine. She has also contributed her images to several books including Beyond Reasonable Drought and Heartland: Celebrating Fifty Years of the Australian Conservation Foundation. Her work is held in the permanent collections of Horsham Regional Art Gallery and the State Library of Queensland. Krystal has been a member of MAPgroup (Many Australian Photographers), an independent association of documentary photographers, since 2006.
Donata Carrazza after growing up in Mildura, Donata studied at the University of Melbourne and is a graduate of Italian language and literature from the University of Melbourne. She has worked for over twenty years in hospitality, notably at the Mildura Grand Hotel. She is Chair of the Mildura Writers’ Festival Committee and, with New York poet and academic Paul Kane, has edited two books: Vintage: A Celebration of Ten Years of the Mildura Writers’ Festival (2004) and Letters to Les (2005). She is currently studying Professional Writing and Editing at RMIT University in Melbourne. In 2017 Donata was appointed as a member of the Committee of Management of Writers Victoria, a professional organisation to support the Victorian writing community with over 3500 members.
Donata will be writing the introduction for the exhibition catalogue for the Mungo Project.
Andrew Stephens Based in the historic Fitzroy Town Hall in Melbourne, Victoria, the Print Council of Australia (PCA) is a national not-for-profit member organisation that promotes contemporary Australian fine art printmaking and print media, including artist’s books, zines, digital art and works on paper, and provides support and advocacy for artists. Through publications, commissioned editions, exhibitions and other events they work to foster a greater appreciation of original prints and an understanding of the history of Australian printmaking amongst members, collectors and the wider community. The Print Council of Australia produces a quarterly publication, Imprint, packed with articles, interviews, images, exhibition information, news and events. With the Australian experience as a focus, Andrew Stephens, as editor of Imprint, seeks to engage in meaningful and diverse debate and analysis surrounding contemporary printmaking today within a broader fine art context. Andrew will be overseeing an article and imagery to be used by the Print Council of Australia.
Toni Stoekl is the publishing editor and creative director of the Mildura Living magazine. Mildura Living Magazine is a glossy, full colour, sophisticated lifestyle magazine showcasing the best of Mildura and the Sunraysia region. Published quarterly, inline with the seasons, Mildura Living magazine has a focus on people and events that make the Mallee an interesting and significant place.
Helen Healy is currently working on her first novel Kiss Underwater and is a writer of short stories and songs that she performs live occasionally. She has written for lifestyle, events and arts publications but turned to fiction in 2014. Her first short story The Stolen Child was published in the Cahaba River Literary Journal in 2015. Professional experiences range from composer in residence, festival director (including Mildura Writers’ Festival) to owning an award winning event management company, HHO Events, that produced over 300 events across Australia including the national Indigenous arts program for the Centenary of Canberra. Helen is currently studying a Masters of Cultural Leadership at NIDA and provides marketing and management consulting services to arts and cultural groups.
ABC Radio National
Sheridan Stewart For more than 20 years, Sheridan Stewart has been one of Australia’s favourite FM music radio personalities and presenters. Sheridan’s radio career took her from FOX FM, Melbourne to FM 104.7 Canberra, MIX 106.5 Sydney and MMM Brisbane before spending a decade at Triple M Adelaide and a memorable stint as the host of national radio countdown PLANET ROCK. The last few years have seen Sheridan go from, as one friend describes, “rock chick” to “renaissance woman”, hosting and producing award winning Fringe shows, exhibiting as an artist and writing. Until recently she lived with her husband, a poodle, two donkeys, a horse, a goat and five chooks in the Mallee and before that the Adelaide Hills. Sheridan has now joined the team at ABC Sunshine Coast as Drive presenter which she sees as a chance to connect with people from all over the coast and hinterland. Sheridan is passionate about the arts and participating in the Mungo Project. She attended the first Australian Print Triennial in Mildura and will be the Chairperson of panels and presentations at the Second Australian Print Triennial in 2018.
La Trobe University
Kylie Banyard is a multidisciplinary artist, educator and curator with a strong research background. She has over six years undergraduate and postgraduate teaching experience in Australia’s leading Art and Design Colleges. In 2006 Kylie won The Basil and Muriel Art Scholarship at the Art Gallery of New South Wales and was the winner of The National Tertiary Art Prize. In 2010 she was Highly Commended in the Kudos Art Prize and from 2008-11 was granted The Australian Postgraduate Award. In 2011 she won the COFA Travel Grant from the University of New South Wales and in 2012 was artist in residence, Cité Internationale des Arts, Paris, France. In 2013 Kylie was: granted by Arts NSW a NSW Artists’ Grant Scheme, a funding program administered by the National Association of the Visual Arts on behalf of the NSW Government; an Emerging Artist Studio Residency at Firstdraft Gallery, Sydney; and she was a finalist in the Hazelhurst Art Award, Hazelhurst Regional Gallery, Gymea. In 2016 she was artist in residence at Hill End NSW. Kylie has a Bachelor of Fine Arts (Honours), Master of Fine Arts and Doctor of Philosophy (Fine Arts) from the University of NSW. She is currently a Lecturer Visual Arts at La Trobe University. Kylie has been working closely with The Art Vault on the Mungo Project and will accompany 12 La Trobe University students involved in the project from Mildura, Bendigo and Melbourne to Mungo.
Nicola Stern is a Palaeolithic Archaeologist interested in the contribution that archaeology makes to our understanding of the narrative and dynamics of human evolution. Her research interests straddle both ends of the time scale, and include investigation of the Early Stone Age in East Africa and the late Pleistocene of Australia. A general interest in the problem of how we know what we think we know about the distant past has spawned more specific interests, including investigation of the way sites form, the information that can be generated from chipped stone artefacts, and the behavioural information that can be generated from agglomerations of material remains scattered across ancient landscapes. She has a particular interest in the way in which site formation processes and time structure the archaeological record and the implications of this for the information archaeologists can hope to generate about the past. Nicola has a BA (Hons-Sydney), MA (Harvard), PhD (Harvard).
The Art Vault
Julie Chambers Although Julie has completed degrees in Economics, Politics, Sociology and Education her primary interest has remained in the Visual Arts area. Her involvement in the Visual Arts was at the National as well as State level. Julie has been a member of the Executive and the National Secretariat of the Design in Education Council of Australia (DECA), Vice-President of the Australian Institute of Art Education (AIAE), and a representative on the National Board of the National Affiliation of Arts Educators (NAAE). She was the Director of the 7th Conference for the Australian Institute of Art Education in Canberra titled “Ärt is Political’’. Julie lived and worked in Canberra before coming to Mildura where she again returned to visual arts by enrolling part-time in a Visual Arts Degree at La Trobe University which she completed in 2009. This return to her personal art work and her interactions with students, artists and lecturers has largely been the impetus behind The Art Vault which opened in 2008. Julie is currently a Director of the Art Vault and was the Director of the 1st Australian Print Triennial in 2015. She is currently co-coordinating the 2nd Australian Print Triennial in 2018 and is a member of the board of La Trobe University Mildura Campus.
Vikki Moore In 2016 Vikki joined The Art Vault as a co-director and has taken responsibility largely for the administrative and financial side of The Art Vault. Vikki and her husband Ross Lake are Mildura residents with a long history of philanthropy, particularly in the Arts. They are passionate about Visual Arts and have long sponsored Arts events as well as being collectors of Art. Vikki had a background in finance and administration before opening up galleries at Deakin 27 and Moore on Eighth. Vikki was the Chair of the Mildura Arts and Culture Committee for a number of years. After a short break she became involved in the planning of the First Australian Print Triennial and now works full time as a partner at The Art Vault. Vikki is currently heavily involved with the planning of the 2nd Australian Print Triennial in 2018.
Sonja Hodge Mildura based artist and printmaker Sonja Hodge was born in Meekatharra WA in 1969. Sonja grew up in Perth, WA and moved to Melbourne in 1990. After working and studying in Melbourne she relocated to Mildura in 1996. Sonja is employed part-time at The Art Vault and has a studio space upstairs where she works in the areas of printmaking, painting, silversmithing and multi-media work. ‘My people are from far North Queensland, the Lardil People from Mornington Island in the Gulf of Carpentaria. My artwork reflects how I feel about my identity, how I connect to my culture, my diverse family, friends and the world around me. The images I use in my artwork are strong symbolic designs based on my Aboriginality and my people.’
Mildura Arts Centre
Heather Lee is the Gallery and Heritage Team Leader for the Mildura Arts Centre and she will be curating the outcome of the Mungo event in an exhibition for the 2nd Australian Print Triennial in October /November 2018.