Lethal Heating: (AU The Guardian) Big Weather: Indigenous Artists Reflect On Climate Crisis

The Guardian

Aboriginal and Torres Strait Islander peoples’ cultural knowledge and sophisticated understanding of weather systems is the cornerstone for Big Weather, an exhibition currently showing at NGV Australia’s Ian Potter Centre.

Climate crisis is never far from the surface, with works from artists like Karla Dickens, Clinton Naina, Treahna Hamm and Nici Cumpston addressing the changing weather patterns and the ongoing effects of colonisation on the land and its processes.

Big Weather will be showing at the Ian Potter Centre: NGV Australia, Melbourne, until 21 October

Nookamka – Lake Bonney (2007) by Nici Cumpston

Nici Cumpston is a Barkandji artist from the Barka, or Darling River in far west NSW, and is compelled to make work that testifies to the ongoing plight of the people and the waterways of the Murray-Darling basin. In this series of works the artist has spent time walking and documenting the backwaters of this incredible river system with the aim to raise awareness of the fragility of this vital resource and the vulnerability of the people, animals and plants that rely upon it.

Lightning in the rock (2015) by Noŋgirrŋa Marawilli

‘Noŋgirrŋa Marawili is a senior Madarrpa artist working at Buku-Larrnggay Mulka at Yirrkala in the Northern Territory. This work represents Baratjula, the Madarrpa clan estate adjacent to Cape Shield where Mundukul, the Lightning Snake lives deep beneath the sea. The artist shows the sacred rock set in deep water between the electric ‘curse’ that the snake spits into the sky in the form of lightning, and the spray of the sea trying to shift the immovable rock foundation of the Madarrpa people.’ – Hannah Presley, curator of Indigenous art, NGV (Photograph: National Gallery of Victoria)

We are on fire (Not in a sexy way) (2020) by Karla Dickens

‘This is one of a number of works I created acknowledging the Black Summer fires. The work comments on the effect Australia’s mining industry has on climate change, revealed through the vintage fire hose covered in stickers from mining companies, rows of crosses and dollar signs symbolising death. The title of the work painted large on a chipped red surface and the word “empty” painted on the hose.’ – Karla Dickens

Stolen climate (2020) by Clinton Naina

‘Stolen climate is made from cotton and bleach, representing the capitalist industry of cotton that was born from slavery and theft, which helped create the foundation of what is known today as climate change. White King bleach is used in this work as a metaphor of western imperialism and colonisation that has also played a major role in the creation of the circumstances that we face together globally as people.’ – Clinton Naina

Methexical Countryscape Paakantyi #2 (2013) by Brian Martin

‘This drawing is a presentation of Country and in this case, Wurundjeri Country. The drawing reiterates the importance of Country hence is titled ‘Countryscape’ instead of landscape. There is a different configuration of Country as opposed to land, as Country has subjectivity. Country is important to all of us especially in terms of climate and sustainability as we need to deeply listen and relate to the non-human: Country.’– Brian Martin

Eye of the storm (2020) by Treahna Hamm

‘Central to First Nations identity are totems that represent who we are as a people. Through practices of settlement, laws and regulations of the land, our cultural landscape has been made more fragile and therefore prone to bushfires ... Beneath the possum skin cloak’s symbols of what came to be in Australia 2019-2020 is an optimism that what was once wrong will become a balance, and stability through worldwide First Nations consciousness [will] prevail.’ – Treahna Hamm

Dark Emu spiritual cultural connections to Homelands (2020) by Treahna Hamm

‘Painting spirituality on a subconscious level can take on many depths and levels of symbology especially on cultural ancestral objects such as possum skin cloaks. Elders’ teachings and those gained in the spiritual realm can bring forth many individual meanings to self and to others. This includes aspects of weather within culture and how connection is made by First Nations knowledge and connection to country.’ – Treahna Hamm

Fish scoop (2010) by Yvonne Koolmatrie

‘Senior Ngarrindjeri weaver Yvonne Koolmatrie has woven a fish scoop out of sedge, using the Ngarrindjeri coiling technique. Women customarily used scoops to collect fish caught in nets and to entrap fish, yabbies and crayfish in the shallows. By making such cultural objects, Koolmatrie connects with the river, her Country and her ancestors.’ – Hannah Presley

Flooded Gum, Katarapko Creek, Murray River National Park (2007) by Nici Cumpston

This piece was created during a major drought following a decision to pump water back in to this precious river red gum forest, enabling the saplings to grow.

Tree stumps, western shoreline – Nookamka (2007) by Nici Cumpston

All of the works in this series show the direct impact of changing weather patterns and human control of water flow. This one shows the shoreline of this inland lake. In this case, the flow of fresh water in to the lake was stopped so the water could be kept in the River Murray. This had catastrophic effects on the fish and bird life as well as the livelihoods of those living alongside it. The stagnant water became incredibly saline and sulphuric acid rose to the surface, which reeked of rotten egg gas.

Rockholes and country near Kata Tjuta (2007) by Bill Whiskey Tjapaltjarri

‘[Tjapaltjarri] tells the story of the cockatoo who was attacked by the cheeky crow while preparing to lay her eggs ... The result of the clash lies in the formations of white stones scattered across the landscape, and an overlooking hill that is the embodiment of the eagle spirit.’ – Hannah Presley

Mount Giles from sandhills near Gilbert Springs (c. 1937) by Albert Namatjira

‘Albert Namatjira was a remarkable Western Arrernte artist who painted his ancestral Country. Master of a western painting style, his watercolours are infused with a deep personal connection to the rocky escarpments, native grasses and majestic ghost gums. By presenting his works alongside contemporary Western Arrernte artists in Big Weather, we can see changes in the landscape and highlight the importance of the inter-generational transfer of knowledge.’ – Hannah Presley (Photograph: NGV)

Links

19/04/2021

(AU The Guardian) Big Weather: Indigenous Artists Reflect On Climate Crisis – In Pictures