In This Issue
We acknowledge and pay our respects to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Gadigal people of the Eora Nation, the traditional owners of the land on which we work.
Letter from the Editor
Lorraine Connelly-Northey weaves rusted sheets of corrugated iron, wire, metal gauze and other found objects to create narrbongs, among other items. Coarse, prickly; ‘Any edge in those bags will bite,’ the artist explains; ‘it’s the roughness, the unevenness, that bites you. And by doing so, it reminds you that we Aborigines have been hurt and hurt, over and over, and you will too; this bite will piss you off. I designed the bags to keep biting because things haven’t been sorted in Australia.’
One of Connelly-Northey’s wire string bags features on the cover of this issue: a simple yet powerful work that speaks of history, culture, and personal stories, part of ‘Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey’ at The Ian Potter Centre: NGV Australia.
In addition, connection to past and present, private and public, self and other, filter through the pages of this issue. Words and works depict studio life; still lifes and interiors; contemplative landscapes; contemporary Indigenous art; living with art in the corporate world; life in lockdown and transformative experiences.
– Melissa Peša
Tarnanthi 2021 – Emma-Kate Wilson
Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey – Jeremy Eccles
John Bokor, Still Lifes and Interiors – Elizabeth Fortescue
In the Studio:
Behind the Scenes:
Catherine Asquith Art Advisory / #LIVEWITHART©
Jahnne Pasco-White: Kin – Kirsty Francis
Cover: Lorraine Connelly-Northey, Waradgerie 1962, Narrbong (String bag), 2005, wire, 17.6 × 12.5 × 10.8cm. National Gallery of Victoria, Melbourne, Purchased with funds donated by NGV
Supporters and Patrons of Indigenous Art, 2005
© the artist
Courtesy the artist and National Gallery of Victoria, Melbourne