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Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Artist Talks | First Peoples Art: Visual Sovereignty and the Civic Space

Located at the sculptural work FLOWER POWER by Kent Morris in the City Square, these free talks will consider the importance of artists and festivals in reckoning with histories of place, the power of First Peoples public art in resistance and memory, and share artist reflections on their personal practice. We will be welcomed to Country with a smoking ceremony to honour the lands on which we are hosting RISING and hear from past and current RISING artists Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Kait James (Waddawurrung), Jenna Mayilema Lee (Larrakia, Wardaman and KarraJarri) and Kent Morris (Barkindji).

Curated and moderated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung).

First Peoples Artist Talks
Sat 30 May | City Square | 11am

Congratulations to all the finalists, an honour to be showing on Country again for the NATSIAA @mag_nt
Curated by @shannonbrettartistcurator

#TelstraNATSIAA   #NATSIAA2026

Congratulations to all the finalists, an honour to be showing on Country again for the NATSIAA @mag_nt
Curated by @shannonbrettartistcurator

#TelstraNATSIAA   #NATSIAA2026

Announcing upcoming exhibition My Blood Sings Old Songs at La Trobe Art Institute.

Exhibition opening: Friday 22 May, 5–7 pm
La Trobe Art Institute, 121 View St, Bendigo VIC 3550
Refreshments provided
Welcome to Country with Peta Hudson

My Blood Sings Old Songs gathers artists who capture what is not always said—but deeply felt. The works in this exhibition resonate over time, unravelling layers of the body and the quiet weight of being seen, where movement becomes a vessel for remembrance.

Hovering between an ending and a beginning, each gesture holds the knowledge that there’s a certain sadness of memories that cannot be shared with those who were never there. Yet what ties us together is a shared understanding that ripples across cultures and communities, through performance and the spaces between what is known and shadowed.

Through new commissions and existing works, artists Atong Atem, Leyla Stevens, Jahkarli Felicitas Romanis (Pitta Pitta), Jenna Lee (Gulumerridjin (Larrakia), Wardaman, and KarraJarri), Sonja Hodge (Lardil), wani toaishara, and Tracey Moffatt consider how memory is embodied and passed on—honouring echoes of legacy, grief and joy, and cultural storytelling held within our bloodlines.

Curated by: Maya Hodge
Design: Jenna Lee
Exhibition dates: 20 May – 9 August 2026

Public Programs:

Storied Places: Keynote with Dr Leyla Stevens + film program curated by Jenna Rain Warwick
Saturday 8 August, 12–4 pm
Lunch and refreshments provided
Keynote by exhibiting artist Dr Leyla Stevens, followed by a film program curated by Luritja woman Jenna Rain Warwick.

Singing Old Songs: In conversation with artists
Date TBC
Join exhibiting artists from My Blood Sings Old Songs in conversation with curator Maya Hodge, reflecting on new commissions and how practice speaks to bloodlines, memory, and continuance of Old People.

Hope to see you there!

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

@atongatem @marsgallery @leyla_stevens @wanitoaishara @onyasonja27 @jenna.mlee @raindamages @mamalbury @creative.australia

Announcing upcoming exhibition My Blood Sings Old Songs at La Trobe Art Institute.

Exhibition opening: Friday 22 May, 5–7 pm
La Trobe Art Institute, 121 View St, Bendigo VIC 3550
Refreshments provided
Welcome to Country with Peta Hudson

My Blood Sings Old Songs gathers artists who capture what is not always said—but deeply felt. The works in this exhibition resonate over time, unravelling layers of the body and the quiet weight of being seen, where movement becomes a vessel for remembrance.

Hovering between an ending and a beginning, each gesture holds the knowledge that there’s a certain sadness of memories that cannot be shared with those who were never there. Yet what ties us together is a shared understanding that ripples across cultures and communities, through performance and the spaces between what is known and shadowed.

Through new commissions and existing works, artists Atong Atem, Leyla Stevens, Jahkarli Felicitas Romanis (Pitta Pitta), Jenna Lee (Gulumerridjin (Larrakia), Wardaman, and KarraJarri), Sonja Hodge (Lardil), wani toaishara, and Tracey Moffatt consider how memory is embodied and passed on—honouring echoes of legacy, grief and joy, and cultural storytelling held within our bloodlines.

Curated by: Maya Hodge
Design: Jenna Lee
Exhibition dates: 20 May – 9 August 2026

Public Programs:

Storied Places: Keynote with Dr Leyla Stevens + film program curated by Jenna Rain Warwick
Saturday 8 August, 12–4 pm
Lunch and refreshments provided
Keynote by exhibiting artist Dr Leyla Stevens, followed by a film program curated by Luritja woman Jenna Rain Warwick.

Singing Old Songs: In conversation with artists
Date TBC
Join exhibiting artists from My Blood Sings Old Songs in conversation with curator Maya Hodge, reflecting on new commissions and how practice speaks to bloodlines, memory, and continuance of Old People.

Hope to see you there!

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

@atongatem @marsgallery @leyla_stevens @wanitoaishara @onyasonja27 @jenna.mlee @raindamages @mamalbury @creative.australia

Announcing upcoming exhibition My Blood Sings Old Songs at La Trobe Art Institute.

Exhibition opening: Friday 22 May, 5–7 pm
La Trobe Art Institute, 121 View St, Bendigo VIC 3550
Refreshments provided
Welcome to Country with Peta Hudson

My Blood Sings Old Songs gathers artists who capture what is not always said—but deeply felt. The works in this exhibition resonate over time, unravelling layers of the body and the quiet weight of being seen, where movement becomes a vessel for remembrance.

Hovering between an ending and a beginning, each gesture holds the knowledge that there’s a certain sadness of memories that cannot be shared with those who were never there. Yet what ties us together is a shared understanding that ripples across cultures and communities, through performance and the spaces between what is known and shadowed.

Through new commissions and existing works, artists Atong Atem, Leyla Stevens, Jahkarli Felicitas Romanis (Pitta Pitta), Jenna Lee (Gulumerridjin (Larrakia), Wardaman, and KarraJarri), Sonja Hodge (Lardil), wani toaishara, and Tracey Moffatt consider how memory is embodied and passed on—honouring echoes of legacy, grief and joy, and cultural storytelling held within our bloodlines.

Curated by: Maya Hodge
Design: Jenna Lee
Exhibition dates: 20 May – 9 August 2026

Public Programs:

Storied Places: Keynote with Dr Leyla Stevens + film program curated by Jenna Rain Warwick
Saturday 8 August, 12–4 pm
Lunch and refreshments provided
Keynote by exhibiting artist Dr Leyla Stevens, followed by a film program curated by Luritja woman Jenna Rain Warwick.

Singing Old Songs: In conversation with artists
Date TBC
Join exhibiting artists from My Blood Sings Old Songs in conversation with curator Maya Hodge, reflecting on new commissions and how practice speaks to bloodlines, memory, and continuance of Old People.

Hope to see you there!

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.

@atongatem @marsgallery @leyla_stevens @wanitoaishara @onyasonja27 @jenna.mlee @raindamages @mamalbury @creative.australia

New work showing this week @marsgallery @aotearoaartfair

Carved cover, fallen leaf study no 1-3, 2025

Hardcover of 'An Illustrated Encyclopaedia of Aboriginal Life' A.W.Reed 1969

Hand-carved, unprinted collograph made on residency @megaloprintstudio

New work showing this week @marsgallery @aotearoaartfair

Carved cover, fallen leaf study no 1-3, 2025

Hardcover of 'An Illustrated Encyclopaedia of Aboriginal Life' A.W.Reed 1969

Hand-carved, unprinted collograph made on residency @megaloprintstudio

New work showing this week @marsgallery @aotearoaartfair

Carved cover, fallen leaf study no 1-3, 2025

Hardcover of 'An Illustrated Encyclopaedia of Aboriginal Life' A.W.Reed 1969

Hand-carved, unprinted collograph made on residency @megaloprintstudio

New work showing this week @marsgallery @aotearoaartfair

Carved cover, fallen leaf study no 1-3, 2025

Hardcover of 'An Illustrated Encyclopaedia of Aboriginal Life' A.W.Reed 1969

Hand-carved, unprinted collograph made on residency @megaloprintstudio

In our current issue of ‘Look’, Jenna Mayilema Lee (@jenna.mlee) opens her studio doors to uncover her practice of cutting, stringing, pulping and collaging, to create her ethereal sculpted artworks.

Lee’s works often incorporate Aboriginal ‘dictionaries’ from the 1970s, that misrepresent the many First Nations languages in Australia. Lee told curator Johanna Bear (@johannarbear), ‘I hope to heal the words and allow them to reconnect to where they’re from.’

‘Look’ is an exclusive benefit for @ArtGalleryofNSW Champion, Inspire and Connect members. Not a member? Join today or pick up a copy from the @artgallerynswshop

-

Images: Jenna Mayilema Lee in the studio, photos: Tatanja Ross (@on_jacksonstreet); Jenna Mayilema Lee 'Language in bloom' 2025 © Jenna Mayilema Lee, photo © AGNSW, Mim Stirling

In our current issue of ‘Look’, Jenna Mayilema Lee (@jenna.mlee) opens her studio doors to uncover her practice of cutting, stringing, pulping and collaging, to create her ethereal sculpted artworks.

Lee’s works often incorporate Aboriginal ‘dictionaries’ from the 1970s, that misrepresent the many First Nations languages in Australia. Lee told curator Johanna Bear (@johannarbear), ‘I hope to heal the words and allow them to reconnect to where they’re from.’

‘Look’ is an exclusive benefit for @ArtGalleryofNSW Champion, Inspire and Connect members. Not a member? Join today or pick up a copy from the @artgallerynswshop

-

Images: Jenna Mayilema Lee in the studio, photos: Tatanja Ross (@on_jacksonstreet); Jenna Mayilema Lee 'Language in bloom' 2025 © Jenna Mayilema Lee, photo © AGNSW, Mim Stirling

In our current issue of ‘Look’, Jenna Mayilema Lee (@jenna.mlee) opens her studio doors to uncover her practice of cutting, stringing, pulping and collaging, to create her ethereal sculpted artworks.

Lee’s works often incorporate Aboriginal ‘dictionaries’ from the 1970s, that misrepresent the many First Nations languages in Australia. Lee told curator Johanna Bear (@johannarbear), ‘I hope to heal the words and allow them to reconnect to where they’re from.’

‘Look’ is an exclusive benefit for @ArtGalleryofNSW Champion, Inspire and Connect members. Not a member? Join today or pick up a copy from the @artgallerynswshop

-

Images: Jenna Mayilema Lee in the studio, photos: Tatanja Ross (@on_jacksonstreet); Jenna Mayilema Lee 'Language in bloom' 2025 © Jenna Mayilema Lee, photo © AGNSW, Mim Stirling

In our current issue of ‘Look’, Jenna Mayilema Lee (@jenna.mlee) opens her studio doors to uncover her practice of cutting, stringing, pulping and collaging, to create her ethereal sculpted artworks.

Lee’s works often incorporate Aboriginal ‘dictionaries’ from the 1970s, that misrepresent the many First Nations languages in Australia. Lee told curator Johanna Bear (@johannarbear), ‘I hope to heal the words and allow them to reconnect to where they’re from.’

‘Look’ is an exclusive benefit for @ArtGalleryofNSW Champion, Inspire and Connect members. Not a member? Join today or pick up a copy from the @artgallerynswshop

-

Images: Jenna Mayilema Lee in the studio, photos: Tatanja Ross (@on_jacksonstreet); Jenna Mayilema Lee 'Language in bloom' 2025 © Jenna Mayilema Lee, photo © AGNSW, Mim Stirling

Before the artwork meets the gallery walls…

A glimpse into artist Jenna Lee’s process for our upcoming exhibition 'Recovering Art' at DAX.

Lee’s practice explores language, memory and what gets lost in translation, transforming inherited narratives through careful deconstruction and reconstruction.

Discover how art can hold stories of healing, history and lived experience.

Swipe to see the work in progress →

Before the artwork meets the gallery walls…

A glimpse into artist Jenna Lee’s process for our upcoming exhibition 'Recovering Art' at DAX.

Lee’s practice explores language, memory and what gets lost in translation, transforming inherited narratives through careful deconstruction and reconstruction.

Discover how art can hold stories of healing, history and lived experience.

Swipe to see the work in progress →

Before the artwork meets the gallery walls…

A glimpse into artist Jenna Lee’s process for our upcoming exhibition 'Recovering Art' at DAX.

Lee’s practice explores language, memory and what gets lost in translation, transforming inherited narratives through careful deconstruction and reconstruction.

Discover how art can hold stories of healing, history and lived experience.

Swipe to see the work in progress →

Before the artwork meets the gallery walls…

A glimpse into artist Jenna Lee’s process for our upcoming exhibition 'Recovering Art' at DAX.

Lee’s practice explores language, memory and what gets lost in translation, transforming inherited narratives through careful deconstruction and reconstruction.

Discover how art can hold stories of healing, history and lived experience.

Swipe to see the work in progress →

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

Meet the First Peoples Melbourne Art Trams 2026 artists 🚃

The artists include Natasha Carter (Dja Dja Wurrung, Yorta Yorta and Jaru), Sonja Hodge (Lardil), Jenna Mayilema Lee (Larrakia, KarraJarri, Wardaman), Mitch Mahoney (Boonwurrung and Barkindji), and Zena Zada Cumpston (Barkandji/Kurnu).

The sixth tram, which honours an artist who has significantly contributed to First Peoples art history, will be announced in April, along with the Art Trams public program. Stay tuned.

The 2026 First Peoples Melbourne Arts Trams are curated by Kate ten Buuren (Taungurung) and will celebrate the power of Blak imagination.

Presented in partnership with RISING, Transport Victoria @transport.victoria and Yarra Trams @yarratrams. #RISING2026

So happy to finally have these works out in the world! Showing now with @marsgallery at @melbourneartfair

Still light with cockatoo feathers
Still light with eucalyptus
Still light with Larrakia ochre

Available in: 90 x 60 and 150 x100 cm
Edition: 25 each with 2AP for each size

--

Extending my ongoing work with the Larrakia word Balarr (to dawn, to light up, to make light), 'Still Light' reflects on the histories of European still life painting and colonial photography in Australia.

In its early tradition, still-life paintings staged ‘exotic’ flora, fauna, and luxury goods as emblems of wealth and imperial reach. In the colony, photography extended this impulse, cataloguing Country and Ancestors as subjects to be captured and classified.

Here, what is illuminated is different, yet equally deserving of reverence: cockatoo feathers gathered by my Dad from the roadside, eucalyptus leaves fallen after a storm on a walk with my partner, Larrakia ochre collected on Country with my siblings. Nothing extracted.

In near darkness, the only illumination comes from within a handwoven kozo bark danala (dillybag). Made from semi-unprocessed paper mulberry fibres, traditionally used to make paper for lanterns. From material to form, these vessels are crafted to hold and carry light, revealing these materials in the compositional language of still life, but grounded in care, kinship and continuity with Country.

POA contact MARS Gallery
Printed by @peter_hatzipavlis
Framed by @unitedmeasures

Biggest love to @andy_dinan for all your support and Embie for all your hard work x

So happy to finally have these works out in the world! Showing now with @marsgallery at @melbourneartfair

Still light with cockatoo feathers
Still light with eucalyptus
Still light with Larrakia ochre

Available in: 90 x 60 and 150 x100 cm
Edition: 25 each with 2AP for each size

--

Extending my ongoing work with the Larrakia word Balarr (to dawn, to light up, to make light), 'Still Light' reflects on the histories of European still life painting and colonial photography in Australia.

In its early tradition, still-life paintings staged ‘exotic’ flora, fauna, and luxury goods as emblems of wealth and imperial reach. In the colony, photography extended this impulse, cataloguing Country and Ancestors as subjects to be captured and classified.

Here, what is illuminated is different, yet equally deserving of reverence: cockatoo feathers gathered by my Dad from the roadside, eucalyptus leaves fallen after a storm on a walk with my partner, Larrakia ochre collected on Country with my siblings. Nothing extracted.

In near darkness, the only illumination comes from within a handwoven kozo bark danala (dillybag). Made from semi-unprocessed paper mulberry fibres, traditionally used to make paper for lanterns. From material to form, these vessels are crafted to hold and carry light, revealing these materials in the compositional language of still life, but grounded in care, kinship and continuity with Country.

POA contact MARS Gallery
Printed by @peter_hatzipavlis
Framed by @unitedmeasures

Biggest love to @andy_dinan for all your support and Embie for all your hard work x

So happy to finally have these works out in the world! Showing now with @marsgallery at @melbourneartfair

Still light with cockatoo feathers
Still light with eucalyptus
Still light with Larrakia ochre

Available in: 90 x 60 and 150 x100 cm
Edition: 25 each with 2AP for each size

--

Extending my ongoing work with the Larrakia word Balarr (to dawn, to light up, to make light), 'Still Light' reflects on the histories of European still life painting and colonial photography in Australia.

In its early tradition, still-life paintings staged ‘exotic’ flora, fauna, and luxury goods as emblems of wealth and imperial reach. In the colony, photography extended this impulse, cataloguing Country and Ancestors as subjects to be captured and classified.

Here, what is illuminated is different, yet equally deserving of reverence: cockatoo feathers gathered by my Dad from the roadside, eucalyptus leaves fallen after a storm on a walk with my partner, Larrakia ochre collected on Country with my siblings. Nothing extracted.

In near darkness, the only illumination comes from within a handwoven kozo bark danala (dillybag). Made from semi-unprocessed paper mulberry fibres, traditionally used to make paper for lanterns. From material to form, these vessels are crafted to hold and carry light, revealing these materials in the compositional language of still life, but grounded in care, kinship and continuity with Country.

POA contact MARS Gallery
Printed by @peter_hatzipavlis
Framed by @unitedmeasures

Biggest love to @andy_dinan for all your support and Embie for all your hard work x

Join Jenna Lee (@jenna.mlee) as she speaks about her presentation with MARS Gallery (@marsgallery) at this year’s Melbourne Art Fair (@melbourneartfair #), open now

Find MARS Gallery at Booth I3
Melbourne Convention Centre
19–22 FEB ★

@jenna.mlee’s fascination with dictionaries stems from the poor historical documentation of Indigenous languages. Lee interrogates colonial artefacts that have conflated First Peoples languages alongside Larrakia linguistics, using them to describe better the world she sees around her.

She uses these documents directly in her works - tearing them up before reconstructing them, assigning new meaning and creating something beautiful in the process.

We had the opportunity to visit her in the studio and see her process unfold. At Melbourne Art Fair, Jenna Lee’s works will be presented in a group exhibition by MARS Gallery @marsgallery (Naarm/Melbourne), Booth I3. Her work will be displayed alongside Cassie Sullivan, Damien Shen, Georgia Boseley, Madi Mercer. 

@cassiesullivan_._@damienshen @georgiaboseley___art @_ghostgum

Throughout November, Megalo Print Studio had the pleasure of hosting our final resident for the year, Jenna Lee. We loved getting to know Jenna and her practice, and we’re looking forward to welcoming her back to the studios on future visits to Canberra!⁠
⁠
Jenna is a Gulumerridjin (Larrakia), Wardaman, and KarraJarri woman with Japanese, Chinese, Filipino, and Anglo-Australian (Irish and Scottish) ancestry. Her practice centres on language, materiality, and the transformation of inherited narratives. By capturing the subtle complexities within language, Jenna channels overlooked nuances into immersive installations, works on paper, sculpture, and multimedia.⁠
⁠
During her residency, Jenna completed several intaglio projects - including the intricate dilly bag print pictured - printed in both positive and negative.⁠
⁠
We’ve become huge fans of Jenna’s work and can’t wait to see what she does next. A huge thank you to Jenna, and to all of our 2025 residents, for enriching Megalo with your wonerful practices and creative energy. We’re incredibly excited for what 2026 will bring!

Throughout November, Megalo Print Studio had the pleasure of hosting our final resident for the year, Jenna Lee. We loved getting to know Jenna and her practice, and we’re looking forward to welcoming her back to the studios on future visits to Canberra!⁠
⁠
Jenna is a Gulumerridjin (Larrakia), Wardaman, and KarraJarri woman with Japanese, Chinese, Filipino, and Anglo-Australian (Irish and Scottish) ancestry. Her practice centres on language, materiality, and the transformation of inherited narratives. By capturing the subtle complexities within language, Jenna channels overlooked nuances into immersive installations, works on paper, sculpture, and multimedia.⁠
⁠
During her residency, Jenna completed several intaglio projects - including the intricate dilly bag print pictured - printed in both positive and negative.⁠
⁠
We’ve become huge fans of Jenna’s work and can’t wait to see what she does next. A huge thank you to Jenna, and to all of our 2025 residents, for enriching Megalo with your wonerful practices and creative energy. We’re incredibly excited for what 2026 will bring!

Throughout November, Megalo Print Studio had the pleasure of hosting our final resident for the year, Jenna Lee. We loved getting to know Jenna and her practice, and we’re looking forward to welcoming her back to the studios on future visits to Canberra!⁠
⁠
Jenna is a Gulumerridjin (Larrakia), Wardaman, and KarraJarri woman with Japanese, Chinese, Filipino, and Anglo-Australian (Irish and Scottish) ancestry. Her practice centres on language, materiality, and the transformation of inherited narratives. By capturing the subtle complexities within language, Jenna channels overlooked nuances into immersive installations, works on paper, sculpture, and multimedia.⁠
⁠
During her residency, Jenna completed several intaglio projects - including the intricate dilly bag print pictured - printed in both positive and negative.⁠
⁠
We’ve become huge fans of Jenna’s work and can’t wait to see what she does next. A huge thank you to Jenna, and to all of our 2025 residents, for enriching Megalo with your wonerful practices and creative energy. We’re incredibly excited for what 2026 will bring!

Throughout November, Megalo Print Studio had the pleasure of hosting our final resident for the year, Jenna Lee. We loved getting to know Jenna and her practice, and we’re looking forward to welcoming her back to the studios on future visits to Canberra!⁠
⁠
Jenna is a Gulumerridjin (Larrakia), Wardaman, and KarraJarri woman with Japanese, Chinese, Filipino, and Anglo-Australian (Irish and Scottish) ancestry. Her practice centres on language, materiality, and the transformation of inherited narratives. By capturing the subtle complexities within language, Jenna channels overlooked nuances into immersive installations, works on paper, sculpture, and multimedia.⁠
⁠
During her residency, Jenna completed several intaglio projects - including the intricate dilly bag print pictured - printed in both positive and negative.⁠
⁠
We’ve become huge fans of Jenna’s work and can’t wait to see what she does next. A huge thank you to Jenna, and to all of our 2025 residents, for enriching Megalo with your wonerful practices and creative energy. We’re incredibly excited for what 2026 will bring!

On at @gertrudecontemporary 'Various Small Fires' curated by @brigie.moriarty until Saturday 13 December!

Blakened Tongue, 2025
Pages of Aboriginal Words and Place Names, sumi ink, vintage Bosistos eucalyptus oil bottles, wire, glue, single-channel projection (1 min 8 sec looped)

This work comes from my ongoing fascination with eucalyptus, how it ignites, burns and regenerates. I think of the Larrakia language the same way: an ecosystem that can recover and grow again after devastation.

Each leaf is cut from the pages of Aboriginal Words and Place Names, a book that flattens over 250 unique Aboriginal languages and over 850 regional dialects into one imagined whole.
Stained black with Japanese sumi ink: made from black soot, a material that holds the memory of fire.

The old Bosistos eucalyptus oil bottles reference both the extraction of natural resources and the plucking of Aboriginal languages for words without connection and context to publish and commodify.

They also connect to where I have lived in Naarm since relocating in 2020, directly across the road from the original Bosistos factory in Richmond.

Gertrude Contemporary, 21-31 High Street, Preston
Opening Hours: Tuesday to Saturday 11am - 5pm

Photography by Christian Capurro

On at @gertrudecontemporary 'Various Small Fires' curated by @brigie.moriarty until Saturday 13 December!

Blakened Tongue, 2025
Pages of Aboriginal Words and Place Names, sumi ink, vintage Bosistos eucalyptus oil bottles, wire, glue, single-channel projection (1 min 8 sec looped)

This work comes from my ongoing fascination with eucalyptus, how it ignites, burns and regenerates. I think of the Larrakia language the same way: an ecosystem that can recover and grow again after devastation.

Each leaf is cut from the pages of Aboriginal Words and Place Names, a book that flattens over 250 unique Aboriginal languages and over 850 regional dialects into one imagined whole.
Stained black with Japanese sumi ink: made from black soot, a material that holds the memory of fire.

The old Bosistos eucalyptus oil bottles reference both the extraction of natural resources and the plucking of Aboriginal languages for words without connection and context to publish and commodify.

They also connect to where I have lived in Naarm since relocating in 2020, directly across the road from the original Bosistos factory in Richmond.

Gertrude Contemporary, 21-31 High Street, Preston
Opening Hours: Tuesday to Saturday 11am - 5pm

Photography by Christian Capurro

On at @gertrudecontemporary 'Various Small Fires' curated by @brigie.moriarty until Saturday 13 December!

Blakened Tongue, 2025
Pages of Aboriginal Words and Place Names, sumi ink, vintage Bosistos eucalyptus oil bottles, wire, glue, single-channel projection (1 min 8 sec looped)

This work comes from my ongoing fascination with eucalyptus, how it ignites, burns and regenerates. I think of the Larrakia language the same way: an ecosystem that can recover and grow again after devastation.

Each leaf is cut from the pages of Aboriginal Words and Place Names, a book that flattens over 250 unique Aboriginal languages and over 850 regional dialects into one imagined whole.
Stained black with Japanese sumi ink: made from black soot, a material that holds the memory of fire.

The old Bosistos eucalyptus oil bottles reference both the extraction of natural resources and the plucking of Aboriginal languages for words without connection and context to publish and commodify.

They also connect to where I have lived in Naarm since relocating in 2020, directly across the road from the original Bosistos factory in Richmond.

Gertrude Contemporary, 21-31 High Street, Preston
Opening Hours: Tuesday to Saturday 11am - 5pm

Photography by Christian Capurro