Interview with Nichola Dare, conducted by Jennifer Hesketh
V∆ND∆L Gallery will soon be celebrating the opening night of ‘Desert Stars’, an exhibition of Indigenous art to be guest curated by Aboriginal Contemporary owner, Nichola Dare. ‘Desert Stars’ consists of works from talented Indigenous Australian artists who live in remote communities.
‘Desert Stars’ will showcase the work of some of our finest living contemporary artists to an urban Sydney audience.
Jennifer Hesketh AKA Art Pharmacy artist Quirky Bones talks to Nichola about bringing remote indigenous art to an urban audience, sourcing art and ethics.
You’ve curated a very diverse selection of artworks and artists for this exhibition. What themes bind them together?
Nichola Dare: Essentially, two things link all the work in ‘Desert Stars’. The first is provenance. All of the paintings are from art centres in extremely remote desert communities. Some of them, such as Martumili, in the very heart of the Western Desert, is one of the most remote communities in all of Australia, many hours by 4WD from the nearest town of any significance.
The other thing that binds all these works is their connection to ‘country’, which is a profound concept for all Aboriginal peoples. Some of the works tell stories of country tens of thousands of years old, others are depictions of country, the locations of tracks, hunting grounds and waterholes.
The link between people and country is so complete in fact that there is a contemporary painting by Tjungkara Ken from Amata in the APY Lands in this year’s Archibald Exhibition, which, as you know, is a portrait prize, that is actually a representation of the land but submitted as a self portrait because of her connection to her lands. All credit to the Archibald curators for not insisting all portraits need to show eyes and a nose!
A big part of sourcing your art is travelling to these remote communities. How has your relationships with these art centres, artists and communities changed over time?
I consider it an extraordinary privilege to be able to go into these communities, most of which are totally off-limits to the general public and even some art dealers. Even though I’ve travelled to these communities many times, the raw beauty of the landscapes and the warmth of the people still fills me with excitement and awe.
The communities themselves are understandably cautious of strangers so it has been a long process of slowly earning their trust, listening to their concerns and always doing the right thing by them. Once you are accepted the relationships are very strong and need to be, as individual art centre managers move on and the communities of artists are also fluid. The work I sell through Aboriginal Contemporary in Bronte is one of the main sources of income for many of these communities so I feel a real sense of responsibility towards them. A big upside of building authentic relationships with communities, art centres and artists over many years is getting access to some of the very best work that those art centres produce. I’m very lucky.
More and more people today are concerned about ethical practices in Aboriginal art. What role does this play in the way you select work and curate exhibitions?
Some of the stories of unfair and unethical exploitation of artists make my blood boil. People are right to be concerned and wary but at the same time it’s important they aren’t scared away from the category or both themselves and the communities who rely on art sales miss out.
My responsibility as a gallery owner is to ensure my customers can be confident they are buying work with impeccable provenance and can be confident that the artists are treated fairly, respectfully and ethically. The simplest way to do this is to work directly with the community art centres, who always issue certificates of authentication for every piece. Art centres also provide opportunities, training and career development for practising Aboriginal artists and arts workers and act as agents between artists and galleries, museums and institutions. Most art centres will sell directly to the public but as they are often in very remote locations it’s often more efficient for them to work alongside reputable galleries in urban areas, who are better placed to sell and promote the artwork.
Why is it important to bring regional Indigenous art to an urban audience?
It is not only important to bring remote community art to Sydney it is essential, for both the artists and customers. Having worked with remote communities for the last seven years I know that people will look at this exhibition and be amazed at what they are seeing, this is as exciting for me to see as it is to sell an artwork. It is also important for people to understand how scarce some of these works are, for example the only other works available in Sydney at the moment by Mabel Juli are held in the public collections by the MCA and the Art Gallery of NSW. My belief is that every home should be filled with art, as it is good for the soul, and when Australia has one of the richest art cultures in the world it makes total sense for that art to be indigenous art.
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