Damien Shen draws from his Ngarringeri and Chinese heritage making powerful images that reflect the complexities of race and identity in Australia. He’s “interested in the Coorong region, work that relates to the stories my family has about their early memories of growing up on the Raukkan mission in the early 50s”. An accomplished story-teller, he will work with Mt Gambier artists, producing tintypes through a travelling interactive project involving local communities.
Profile image: Brent Leideritz
Burnie / Tasmania
Artists & Gallery Director
David mangenner Gough
David mangenner Gough is a proud trawlwoolway man who descends from bungana (chief) manalargenna’s oldest daughter, woretemoeteyemer of north-east Tasmania. David has spent many years passionately sharing his cultural knowledge with educators and students across the state. He is the cultural advisor for University of Tasmania, Co-Chair of the QVMAG Aboriginal Advisory Council, board member of the Aboriginal Advisory Council of TMAG, Co-Ordinator of Tiagarra Tasmanian Aboriginal Cultural Centre, Devonport and Chair of Six Rivers Aboriginal Corporation, Devonport. David has been heavily involved in protection of Aboriginal heritage sites across the state; he currently has works in permanent display at Queen Victoria Museum and Art Gallery, Launceston and was a commissioned artist in 10 Days on the Island 2017. His work received a Highly Commended in the Bay of Fires Art Prize 2018.
Profile image: theadvocate.com.au
Greg Lehman is a nationally recognized Aboriginal (Trewulway) writer, researcher and curator, whose PhD examined the representation of Tasmanian Aborigines in 18th-19th century colonial art. He has written,“…watercraft weren’t introduced to Tasmania by Europeans, but were preceded by a distinctive maritime technology developed by my Aboriginal ancestors involving canoe/ catamarans made from reeds and paperbark”. His project will offer an opportunity to reconsider traditional accounts of Tasmanian history through references to historical imagery and material evidence that are an indication of the strong continuing traditions of Aboriginal cultural production.
Greg Leong often uses cross-cultural symbolism to investigate the complexities of his identity as a Chinese Australian working in forms that traverse installation, sculpture and performance. His installation The Tasmanian Migration of Oriental Carp* uses a ‘pest’ species in Australian waterways to refer to Australia’s rejection of people from non-Anglo-Saxon countries. Greg writes, “My boat in Partnershipping is the boat that symbolically brings new peoples here. My installation can be read simply as a ghost ship, referencing the many paper effigies of worldly goods the Chinese living burn during ghost festivals and so keep their relatives in the nether world in comfort and well-heeled. To the Chinese the carp (or koi) is a symbol of love, courage and wealth. However my carp skeletons, wrapped in joss paper (gold and silver for the dead) tell a sadder story of migration and the search for asylum, and perhaps the references are to pitiless governments, drownings at sea and off shore incarceration.”
*Carp frames and installation method designed and completed by Mark Hoban, David Hamilton, Terry Ryan and the artist.
Jamin is a ‘local legend’ who works across a range of media including sound-mixing, graffiti and style-mixing, working with MONA’s festivals, running youth workshops and exhibiting as an artist in traditional gallery spaces. His installation for The Partnershipping Project, offers a reflection on perception and understanding. He draws from the notion of umwelt (reality as experienced by a specific organism) to suggest that there are many layers to a single experience, and that our own ideas, values and knowledge differ from person to person and community to community.
Since 2004, Joan Kelly has held the remarkable position of President for the World Federation of Miniaturists from her hometown of Burnie. Joan’s miniature paintings and etchings trace the tiny details of her local surroundings. For The Partnershipping Project, Joan plans to extend these works jewel-like miniatures into installation. She is documenting in black and white etched drawings the northern Tasmania coastline that welcomed her and her family to Tasmania in December, 1968. Joan writes that the practice of "partnershipping" with locals provided the basis for building a strong sense of community in northern Tasmania.
A highly acclaimed photographer, Lisa is from a long line of fisher-folk from Tasmania’s northern coastlines; her keen, candid eye and her familiarity with her subject matter grants her work poetic intimacy through the small details of ordinary lives. For Partnershipping Lisa aims to focus on a crucial turning point for Tasmanian aquaculture. “Now we see the arrival of fish farming from Southern Fish farms and the relocation of seals, wild fishing is on the decline on the North West coast. My family now fish for Southern Calamari (squid), that’s sent to the fish markets in Sydney. This is what remains: it is sustainable and it enables my family to continue life on the ocean (for now).” Lisa’s imagery is a paean to the fragile, powerful and haunting land, sea-scapes and denizens of Tasmania’s North West coast.
Ritchie Ares Doña
Born in Cebu in the Philippines, Ritchie draws from traditional basket-weaving and fabric-wrapping to transform discarded industrial materials, often working with large community teams. He writes, “Material discarded from factories around the North West of Tasmania are shipped from other shorelines but are discarded in this land. I aim to collect these materials, make them into art by using traditional techniques, construct them into an artwork, and then ship them back offshore again”. The careful, elegant attention to detail Ritchie brings to his work serves to sanctify the discarded, bringing community together in processes of shared conversation and care.
Selena de Carvalho
Is an inter-disciplinary artist based in Longley, Tasmania. She describes her artwork as “respond(ing) to human interaction with the environment, often relating to the perceived consumption of wilderness and lived experiences of wildness, focusing on the core paradox of how we yearn for the untamed, while consciously or unconsciously seeking to control it.” Selena’s success with interactive, immersive practice aims to be “experiential in the best possible sense, drawing viewers into its poetic sense of mystery and magic.” For Partnershipping Selena will address disturbance in Tasmania’s environment in ways that are up-close and personal.