Here I Am: Art by Great Women

Last week I was at an event at Kambri at ANU, and reached it by walking through this exhibition. Inspired by Know My Name and in cultural partnership with the National Gallery of Australia, HERE I AM: Art by Great Women is a showcase of Indigenous and non-Indigenous artists from multi-disciplinary backgrounds including street art, fine art, photography, illustration, digital, sculpture, film and more.

As I wrote on my other blog, I really like outdoor exhibitions, bringing art into public spaces, and it's interesting to see people interacting with the works with a fresh focus in a less forced environment than the usual gallery setting. This exhibition made a brisk walk into a thoughtful diversion.

The Fruits of My Labour Taste Sweet, But They Are Not For You To Eat by Jess Cochrane

I like the colours of this image - I like the way it is both specific and abstract, as the paint runs down the woman's body and she is both proud and defensive of her naked form, which in turn supports her and nourishes other life. Having recently had breast surgery, I am particularly drawn to the way in which the lines are blurred, suggesting a malleable and evolving form. Artist Jess Cochrane writes,

This artwork is a portrait of Verity Babbs. Verity is an Oxford graduate and one of the top up-and-coming arts writers in London. An abundance of oddly shaped, flat peaches are gently cradled in her arms against her bare skin. An imperfectly shaped peach serves as a metaphor for the physical body, in protest to all of the years of harmful stereotypes that have been marketed to us as women. As imperfectly shaped as the peaches are, they are still an absolute delight to enjoy, as are all women in their diverse range of existence.

Pass de Deux III by Kaff-eine

Once again I am drawn to the inherent imperfections in the way the image is presented and in the image itself. To be naked is to be vulnerable, and to be naked in public before strangers is outstanding. Perhaps the only thing worse than being looked at in this situation is not to be looked at, which might explain why there is a mask of a dead animal (also a victim of vulnerability) being worn. There is a suggestion that 'if I can't see you; you can't see me' which is both childish and deeply philosophical. We choose what we see, and also what (and who) we ignore. The artist, Kaff-eine believes,

Posing nude for a painting is an intimate, vulnerable act, requiring the model to muster significant confidence, and conquer past experiences and trauma. In late 2018, I invited the public to model nude for my paintings of 'deerhunters'; my signature characters with animal skull heads and hooved limbs. I prioritised people underrepresented in discourse about beauty and desirability. The resulting portraits reflect my interest in outback queer Australia, the LGBTQI+ community, the gothic, and the potential of hyper real portraiture to convey the interections of these themes. Darkness and light, animal and human, living and dead, softness and strength; lines were blurred and contradictions celebrated.

Mt Tomaree by Helen Proctor

Very reminiscent of David Hockney's ipad pictures, this image blends the beauty and simplicity of nature with the artifice and complexity of digitisation. The blocks of colour and the suggestion of shade and movement are oblique as they cannot capture the connection that we instinctively feel towards landscape. This work speaks out as either a collision or a compromise between culture; the way the viewer responds can be abstract or specific, which is a true reflection of our current relationship with places we physically cannot reach.

'Mt Tomaree' is an artwork that depicts the Worimi country along the New South Wales coastline. Although the artwork abstractly depicts a certain place, I wanted it to connect both in colours and shapes to the essence of the Australian coastline and the emotional connection that people feel with it. - Helen Proctor

Cook ain't no timelord by Aretha Brown

The juxtaposition of modern iconography (cars and factories) depicted in a monochromatic naïve style leaps out in bold confrontation. It is no accident that black counters white and vice versa, and it feels as though there are echoes of Dick Frizzell. There is something of a woodcut image in its clear lines, while it also recalls block type face and comic strip panels - is this news; or is it treated as incidental? These are clearly the issues that artist, Aretha Brown faces.

This work is about my need to constantly reiterate just how recent white history is here in Australia. It's been 232 years since Cook rocked up, that's so painfully recent. To think about how much destruction has happened, in such a small amount of time, towards First Nations histories and cultures is heartbreaking. But that said, Captain Cook isn't a time lord; he didn't bring light and time to this continent. We have always been here - not just living but thriving as the oldest living culture on the planet. My grandma couldn't even vote in her lifetime because she's black. So much for Australian democracy!

Queen of Strategy by Jodee Knowles

This one of my favourite works in this exhibition. As a child learning the rules of chess, I was always disappointed by the fact that we had to defend the king, who was so useless he couldn't do it himself. The king could only move one square at a time (apart from when he scuttled off to the corner to be barricaded behind his castle) while the queen raced around the board organising everything; discussing tactics with the sidling diagonal bishops and the leaping courageous knights. Even pawns could become queens, but the king had no hope but to rely on everyone else to do his bidding. It always seemed unfair. I'm glad modern artists are looking at redressing this (im)balance.

Chess is a game of strategy. The King has to be protected but the Queen is the most powerful piece. The history of art has predominantly been depicted through the eyes of males, thus diminishing the power of the female artist for centuries. The female suppression has placed us in the shadows of obscurity for too long. My aim is to enhance the understanding of women's contribution to Australia's cultural life. In this work I've attempted to represent the liberation of equality and the necessary benefits it holds for our future storytelling and history, to be told by ALL equally; to gauge the closest reality to the truth of our human existence. - Jodee Knowles

The Canberra Spider Orchid by George Rose

Technique and colour are powerful in this image - it looks pretty, like a repeating pattern one might use as a wallpaper, but it is more reminiscent of militant Morris & Co than inoffensive Ikea. It is as striking and claustrophobic as it is sensual and calming.

I've created a work that reflects upon the use of botanicals as a symbol of femininity and identity. I often utilise the depiction of botanical emblems as a way to connect my art to communities and culture. Here I've depicted an orchid, often regarded as a symbol of femininity. The Canberra spider orchid only grows in the ACT, is found in just three locations, and with less than [sic] 600 plants known to botanists it is considered endangered. I painted the small delicate flowers in bold, bright colours, paired with strong line work, to juxtapose the image of something regarded as frail being powerful instead. - George Rose

Holly and Chrysanthemums by Faith Kerehona

In an example of seeing something everywhere once you've noticed it somewhere, I refer to Faith Kerehona. I'd not heard of her until a couple of weeks ago, when I blogged about an amazing mural by her and Bohie Palecek (see below) at the Dickson Shops called In Our Hands. I have since seen that she is the designer and painter of the new mural at the Cook shops that I was admiring yesterday (and which will be featured in an upcoming post). I like her unashamed use of colour and the female form to frame her ideas and celebrate her connections.

This artwork is of my friend, Holly, a beautiful young woman who is capable, independent, and fierce. Her wisdom, humour and compassion uplift everyone she meets. I wanted to capture some of the radiating warmth and clarity I see in her. It's a cathartic process to paint somebody you love. I try to take as many moments as I can to celebrate the beautiful women in my life. - Faith Kerehona

Peony 2 by Nicole Reed

While this image is used as the advertising poster for this exhibition, it is, for me, one of those artworks that requires words to bring out the art behind the science - it is an image of flowers on fire, yes, but there is nothing in the execution or the background to inspire or explain. Maybe this clinical approach is deliberate, but it is not one that appeals to me.

Meaning and symbolism has been attributed to flowers for thousands of years. Floriography (the language of flowers) is like a secret means of communication through the arrangement or use of flowers. As legend has it, peonies are assigned the meaning of 'shame' or 'bashfulness' because of the playful nymphs that were said to hide in their petals. I wanted to make subtle commentary on the stereotypes that associate being mischievous with shame. For me, mischief is about taking calculated risks to make life a little more fun. Plus, I just like the challenge of setting plastic things on fire! - Nicole Reed

When our voices are censored, our spirits make noise by Maddie Gibbs

A personal interpretation of indigenous artwork designs, this is a striking and powerful piece. The swirling, halo, nimbus effect is interspersed with symbols of flora and fauna in a specific landscape highlighting connections to the land through palette and image. It demands to be seen and questioned. 

Aboriginal female spirits. Our spirits survive and thrive. Our connection cannot be broken - we fight, we stand, we connect. Authority won't suppress our spirits. Political systems will not categorise us. Governing bodies will try to muffle our voices but our spirits will roar. Spirit they will never have, spirit they can never control. - Maddie Gibbs

Onna Bugeisha by Nanami Cowdroy

I like the playful nature of the modern and traditional in this work - the cultural touchstones of East and West reflected in every aspect from the dress and hairstyle to the depiction of animal iconography. The spray can contrasts with the traditional tools of the artist in the brushes and pencils; the stylised fish trapped in the bubble forming bubbles of its own; the skateboard with the impression of a skull beneath; symbols of the elements; badges of flags and rock bands... this picture invites contemplation and offers multiple discoveries.

This is my interpretation of Neoclassicism - playing with traditional Japanese Ukiyo-E subjects and styles, combined with contemporary objects, elements and themes. Being lucky to be born and raised in a free country like Australia - where the concept of 'female empowerment' is the cultural norm - occasionally led to tensions when I was trying to relate to my okassan (mother) and her old-school, traditional Japanese views and behavioural expectations of how I, as a female, should 'be'. This piece reflects a rebellion over some of those cultural expectations which so many Japanese women still face. It's a playful reflection on what it means to be 'female'. - Nanami Cowdroy

The Future is Bright by Bohie Palecek

Bohie Palecek was mentioned above in partnership with Faith Kerehona. They both seem to deal in broad sweeps of paint to create meaningful interactions - this delightful piece of work expresses wonder and tenderness, with a beautiful nurturing relationship based on care and comfort through instinct rather than performance.

After a long drought, a catastrophic fire season, floods and a global pandemic, I find solace in moments of quiet reflection. This portrait is of the three-year-old daughter of one of my closest friends; out in the wild and braving the darkness in a field of purple Kunzea, which hugs the shores of the Shoalhaven River. This young girl is not asking for permission, or validation, or assistance. She's courageously immersed in the moment. My artwork invites the viewer to pause - to witness the magic of the wild and allow your heart to connect to and be moved by it. - Bohie Palecek

She/ Her by Gemma O'Brien

I've saved one of the best until last (or first, if you approach the avenue from the other direction). The bright vibrant text stands out from a busy and brilliant background shouting identity with pride. She makes no apologies for what being what she is.

'She/ Her' is a large two-panel painting of my pronouns. I wanted to share this through my art, as a way to remind myself that asking and using someone's preferred pronouns is a way of showing openness and respect, and disrupting any gender associations I may have. Although my pronouns are familiar, like he/ him, some people prefer to use gender-neutral or gender-inclusive pronounces such as they/ them/ theirs and ze/ hir/ hir, or perhaps by their name. So without further ado, pleased to meet you, my name is Gemma and I go by she/her pronouns. How should I refer to you? - Gemma O'Brien