Sovereign sisters: domestic work sheds light on Aboriginal and Torres Strait Islander women’s forced domestic service. Throughout colonisation, young women were frequently taken from their communities to service the familial needs of white settler homes. The exhibition highlights the resilience of these women, who experienced labour conditions akin to slavery.
Featuring Yhonnie Scarce, Dale Harding, Tracey Moffatt, Destiny Deacon, Unbound Collective and Julie Dowling, as well as photos, materials and handmade garments from unknown artists, the exhibition is a testimony to truth and Blak survival. “The prime minister recently said there was ‘no slavery in this country,’” co-curator Ali Gumillya Baker explains. “The exhibition responds to the denial of the fact that indentured servitude can be called slavery.
For Baker and co-curator Madeline Reece, the collection plays a role in the truth-telling and healing of a nation stained by colonisation’s harm. Bringing together contemporary artworks and historical documentation fortifies First Peoples’ ongoing sovereignty while acknowledging their harsh exploitation. “The wealth of this country was built on the back of our unpaid labour and being told we were savage and unclean,” Baker says.
In Yhonnie Scarce’s 2011 work Florey and Fanny, two hand-sewn white aprons contain blown-glass yams in their pockets. The matriarchs’ names are embroidered into the white cotton, demonstrating Scarce’s unbreakable connection to culture. This piece, alongside other video work, photography and historical documentation, cleverly challenges settler stereotypes of Aboriginal weakness. While grief haunts much of the collection, hope and strength radiates, allowing communities to mourn and honour their ancestors’ labour.
Sovereign sisters: domestic work
Flinders University Museum of Art
Curated by Ali Gumillya Baker with Madeline Reece
11 October—8 April 2022
This article was originally published in the September/October 2021 print edition of Art Guide Australia.
Endlessly inventive, the work of Hong Kong-born, Melbourne-based artist Scotty So spans photography, painting, video work, and drag performance. With a dual exhibition at the Art Gallery of Ballarat, So talks about pageantry, begonias and queens.
Kokatha and Nukunu artist Yhonnie Scarce has earned critical acclaim for her research in nuclear testing and its ongoing impact on First Nations communities. With a survey at the Art Gallery of Western Australia, Scarce speaks to her blown glass forms.
A new exhibition at Bendigo Art Gallery, drawn from the Musée Carnavalet in Paris, brings the Belle Èpoque era to life through impressionist paintings and antique ephemera. View, in pictures, a slice of Parisian history.
Known for her beguiling, stained canvases, and her evocation of matrilineal Indigenous histories, Waanyi artist Judy Watson is now embarking on a 40-year survey at the Queensland Art Gallery.
Ceremony and radical activism may seem like differing forces, but The 4th National Indigenous Art Triennial is showing us otherwise, centering itself on art, action and change. This touring exhibition is now on display at Western Plains Cultural Centre.
In our special interview with the one-and-only Marina Abramović, ahead of her curatorial project at Adelaide Festival, she talks on almost 60 years of performance art, wanting a one-way ticket into space, and answers a question about her most famous performance that no-one has asked before.
