The Women’s Show is Vivien Anderson Gallery’s annual exhibition of paintings, ceramics, jewellery and sculpture by emerging and eminent Indigenous Australian women artists in recognition of their expanding contribution to Australian and International visual arts and culture.
Mrs K Butler |
Ngamurru – Katjarra
2022
synthetic polymer paint on canvas
147 x 121 cm
Provenance: Tjarlirli Art, WA cat 22-903 KA
Mary Gibson |
Kurlkurta – Mary
2022
synthetic polymer paint on canvas
152 x 122 cm
Provenance: Tjarlirli Art, WA cat 22-1014
Jillian Giles |
Minyma Tjukurla
2021
synthetic polymer paint on canvas
147 x 122 cm
Provenance: Tjarlirli Art, WA cat 21-1144
Denise Brady |
Deniseku Story
2022
synthetic polymer paint on canvas
147 x 122 cm
Provenance: Tjarlirli Art, WA cat 22-74
Janet Fieldhouse |
I am: Bones
2022
cool ice clay, raffia, wood, wire
55 x 35 x 20 cm
Exhibited: 'Faceless', Cairns Art Gallery, QLD 2022
Janet Fieldhouse |
I am: Bones
2022
cool ice clay, raffia, wood, wire
55 x 35 x 20 cm
Exhibited: 'Faceless', Cairns Art Gallery, QLD 2022
Charlotte Phillipus Napurrula |
Kalipinypa
2022
synthetic polymer paint on canvas
183 x 71 cm
Provenance: Papunya Tjupi, NT cat 120-22
Charlotte Phillipus Napurrula |
Kalipinypa
2022
synthetic polymer paint on canvas
91 x 76 cm
Provenance: Papunya Tjupi, NT cat 159-22
Candy Nelson Nakamarra |
Kalipinypa
2022
synthetic polymer paint on canvas
152 x 122 cm
Provenance: Papunya Tjupi, NT cat 318-22
Maureen Poulson Napangardi |
Kapi Tjukurpa – Kalipinypa
2022
synthetic polymer paint on canvas
183 x 152 cm
Provenance: Papunya Tjupi, NT cat 242-22
Coinciding with International Women’s Day since 2001, 2023 is the 18th iteration of The Women’s Show. The exhibition pays tribute to emerging and senior women artists from across Australia at the top of their game and their enduring commitment to making art that can create inspired revelations, insight, and a deeper understanding of the stories of Indigenous culture.
Maureen Poulson Napangardi |
Kapi Tjukurpa – Kalipinypa
2022
synthetic polymer paint on canvas
122 x 91 cm
Provenance: Papunya Tjupi, NT cat 326-22
Doris Bush Nungarrayi |
Mamunya Ngalyananyi (Monster Coming)
2022
synthetic polymer paint on canvas
122 x 152 cm
Provenance: Papunya Tjupi, NT cat 97-22
Kumanjayi Napangardi Wheeler |
Olden times at Palm Valley
2022
synthetic polymer paint on canvas
66 x 153 cm
Provenance: Tangentyere Artists, NT cat 12207-22
Lot of people...come to Alice Springs, stay with family at Town Camps, visit with family, then do their shopping and go back again to Hermannsburg. And the big truck brings fuel to Hermannsburg. And some people come on bush bus. Busy, busy road.”
— Joanne Napangardi Wheeler
Kumanjayi Napangardi Wheeler |
Road to Hermannsburg
2022
synthetic polymer paint on canvas
76.5 x 152.5 cm
Provenance: Tangentyere Artists, NT cat 12401-22
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
dimensions variable
Exhibited: 'Faceless', Cairns Art Gallery, QLD 2022
The concept of my 5 woven sculptures represents my cultural identity through
the stages of my life, each woven piece is my conscious journey of growing
up and finding who I am as an indigenous woman and my identity. I had a
sense of belonging, a feeling that I had already been there, an overwhelming sense of emotion a sense of belonging to my cultural identity.”
— Kim Ah Sam
Kim Ah Sam |
repurposed rope, raffia, and bamboo
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
43 x 33 x 26 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
43 x 33 x 26 cm
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
20 x 28 x 26 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
20 x 28 x 26 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
30 x 27 x 28 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
30 x 27 x 28 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
57 x 36 x 41 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
57 x 36 x 41 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
54 x 63 x 59 cm
Exhibited: ‘Faceless’, Cairns Art Gallery, QLD 2022
Kim Ah Sam |
Not Knowing What You Know
2022
repurposed rope, raffia, and bamboo
54 x 63 x 59 cm
Exhibited: 'Faceless', Cairns Art Gallery, QLD 2022
Naomi Hobson |
Red Kangaroo
2023
HAND-BUILT TERRACOTTA WITH INCISED WHITE SLIP
52.5 x 17 x 11 cm
Naomi Hobson |
Rock Cod
2023
EARTHENWARE WITH INCISED WHITE SLIP
44 x 20 x 12 cm
Naomi Hobson |
Red Kangaroo
2023
HAND-BUILT TERRACOTTA WITH INCISED WHITE SLIP
58 x 16 x 12 cm
Dhuwarrwarr Marika |
Yalaŋbara
2019
earth pigment on hollow log
288 cm (h)
Provenance: Buku Larrŋgay Mulka, NT cat 6905-19
Racy Oui Pitt |
Leena Gel
2022
ghost nets (reclaimed fishing nets)
53 x 23 x 22 cm
Provenance: Erub Arts, TSI cat 22-55
In Australia, abandoned fishing nets (also known as ghost nets) from boats are washed ashore, trapping marine species such as turtles and dugongs. Sadly, these turtles make up 80 percent of the marine life found caught in these nets. As an environmental project, Erub Artists are utilising these abandoned ghost nets in an attempt to clean up the oceans. Their objective is to raise awareness about the negative impacts of ghost nets by creating art such as this jellyfish out of reclaimed fishing net.”
— Lavinia Ketchell
Lavinia Ketchell |
Popwag Jinx
2022
ghost nets (reclaimed fishing nets)
50 x 13 x 13 cm
Provenance: Erub Arts, TSI cat 22-54
Sophia Alone |
Olive Joseph
2022
synthetic polymer paint on canvas
61 x 45.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-618
Introducing Sophia Alone, who took up painting around 2020 to express her family’s stories through art. Sophia says, “The people who are present and have left us are well known to our people and are special in my heart and if I could, I would love to give you a glimpse of that.”
Sophia Alone |
Layne Dhu-Dickie
2022
synthetic polymer paint on canvas
71 x 61 cm
Sophia Alone |
Jack Seed Man
2021
synthetic polymer paint on canvas
35.5 x 40.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-926
Sophia Alone |
Layne Dhu-Dickie
2022
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-7
Sophia Alone |
Lorna at 6 Mile
2022
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-255
Sophia Alone |
Mark Different Look
2022
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-256
Sophia Alone |
Kariyarra Elder Mum Sally Mack
2022
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-155
Sophia Alone |
Willarra Barker
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-1103
Sophia Alone |
Doreen Chapman
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-785
Sophia Alone |
Mummy & Daughter
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-740
Sophia Alone |
Kimberley
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-589
Sophia Alone |
Lorna Dawson
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-570
Sophia Alone |
Nyangamarta Woman – Willarra
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-557
Sophia Alone |
Untitled (Self-Portrait)
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-556
Sophia Alone |
Layne Dhu-Dickie
2022
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 22-640
Sophia Alone |
Crystal Gardiner
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-938
Sophia Alone |
Sharlene Phillips
2021
synthetic polymer paint on canvas
30.5 x 30.5 cm
Provenance: Spinifex Hill Studio, WA cat 21-1096
Lorraine Connelly Northey’s reclaimed iron and steel sculptures of narrbong are variations of the Wurundjeri women’s traditional carry-all bags. The muscularity of the artist’s material amplifies the role of women’s work in traditional and contemporary times.
Lorraine Connelly-Northey |
Narrbong 1
2019
rusted steel, agriculture comb with rusted tin and tie wire
215 x 90 x 36 cm
Lorraine Connelly-Northey |
Narrbong 2
2019
rusted steel, agriculture comb with rusted tin and tie wire
215 x 90 x 42 cm
Lorraine Connelly-Northey |
Narrbong 3
2019
rusted steel and ring-lock fencing wire
185 x 27 x 30 cm
Lorraine Connelly-Northey |
Narrbong 4
2019
rusted steel and ring-lock fencing wire
164 x 32 x 24 cm
Lorraine Connelly-Northey |
Narrbong 5
2019
rusted steel piping and burnt corrugated iron
192 x 52 x 63 cm
Lorraine Connelly-Northey |
Narrbong 6
2023
rusted steel and white acrylic handle with rusted tin
210 x 31 x 24 cm
Lorraine Connelly-Northey |
Narrbong 7
2019
rusted mattress wire and tie wire
124 x 65 x 16 cm
Lorraine Connelly-Northey |
Narrbong 8
2019
rusted fencing wire with burnt corrugated iron
146 x 75 x 13 cm
Lorraine Connelly-Northey |
Narrbong 9
2019
rusted bed springs and fencing wire
157 x 60 x 20 cm
Lorraine Connelly-Northey |
Narrbong 10
2019
rusted bed springs and fencing wire
182 x 30 x 12 cm
Lorraine Connelly-Northey |
Narrbong 11
2020
burnt rabbit proof fencing wire and fencing wire
200 x 60 x 29 cm
Lorraine Connelly-Northey |
Narrbong 12
2022
rusted tin and fencing wire
108 x 15 x 10 cm
Lorraine Connelly-Northey |
Narrbong 13
2022
rusted tin and fencing wire
62 x 19 x 15 cm
Lorraine Connelly-Northey |
Narrbong 14
2022
rusted tin and fencing wire
45 x 20 x 17 cm
P. Boorljoonngali Thomas |
GEMERRE (CEREMONIAL SCARRING)
2014
earth pigment on canvas
90 x 360 CM (90 x 120 CM EACH)
Provenance: WARMUN ART CENTRE, WA CAT 88/14
Peggy Patrick |
Roogoon
2014
earth pigment on canvas
150 x 150 cm
Provenance: Warmun Art Centre, WA cat 287/14
The river reed necklace is based on traditional talisman that were given to people passing through Country as a sign of safe passage and friendship, but are supersized to reflect the scale of the loss of knowledge of cultural practices.”
— Maree Clarke
Maree Clarke |
River Reed Necklace (Centre)
2022
river reeds, hawk feathers, twine
500 cm (length)
Vicki West |
Kelp Necklace
2023
kelp stalk, copper
100 x 8 cm
Vicki West |
Kelp Necklace
2022
kelp stalk, twine
76 x 8 cm
Vicki West |
Kelp Vessel
2023
bull kelp, twine
23 x 17 x 10 cm
Vicki West |
Kelp Vessel
2023
bull kelp, twine
10 x 10 x 14 cm
My relationship with kalikina (bull kelp) is a continuation of my ancestor's traditional cultural practices...The old people created rikawa (water carriers) made from the kalikina and continue to do so - these vessels played an essential role in the survival of Tasmanian Aboriginal people and culture over thousands of years. The kalikina for me is a metaphor for survival, it is a precious and sacred cultural resource...the kalikina in these works was collected from my homelands in the north east of Tasmania, and while these vessels carry my concerns for country/sea, they also celebrate the continuing cultural practices and survival of my people.”
— Vicki West
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