Projects

Bahar Behbahani’s research-based practice interweaves archival materials, cartography, horticultural history and contemporary context to critique imperial structures of knowledge and power.

Drawing from Eurasian nomadic and Indigenous folklore, Almagul Menlibayeva’s work grapples with themes of displacement,
ethnic erasure and environmental destruction under totalitarian rule in post-Soviet Central Asia.

Marisol Mendez’s work journeys into ancestral and collective histories of colonialism, racism and traditionalism—all of which shaped her experience of growing up in Cochabamba, Bolivia.

Shiraz Bayjoo’s practice elucidates forgotten histories that contain multiple layers of meaning and visual culture. Mainly working with repurposed archival displays, his works subvert oppressive western historical narratives that have defined the psyches of colonised peoples.

With ecological research at the centre of her intersecting artistic interests, Naiza Khan considers the ways in which geography materialises power and facilitates the collective remembrance of colonial histories.

Raheleh Filsoofi’s practice addresses the customs that mediate everyday experiences through research, education, community- centred work and performance.

Shelley Niro’s practice challenges the clichéd perceptions and circumscribed expectations projected onto First Nations communities.

An Anmatyerre elder and lifelong custodian of women’s ‘dreaming’ sites in her clan country of Alhalkere, Emily Kame Kngwarreye (1910–1996) developed an abstract visual language centred around ancestral spirits and Australian Aboriginal cosmology.

Fathi Hassan explores the colonial erasure of ancient languages and oral histories as well as the ambivalence and fallibility of semiotic meaning.

An elder of the Wangkajunga people and respected custodian of its women’s law, Eubena Nampitjin (1921–2013) utilised her knowledge of Aboriginal ceremonies to produce large-scale canvases that reflect the strength of her Aboriginal culture and community.

Pamela Phatsimo Sunstrum’s boundary-defying practice attempts to transfigure notions of power and agency for Black subjectivity within systems that would otherwise dismiss the complexity and nuances of its cultural and intellectual histories.

Combining ancient mythology with modern history, Nilima Sheikh draws on diverse narrative and visual layering to compose symbolic dramaturgies and ephemeral landscapes dealing with themes of migration, exile, tradition and poetry.

In her bodies of work, Sangeeta Sandrasegar constructs a continuous narrative centred upon the relationships of migrant communities to their homelands.

Queenie McKenzie (1915–1998) depicted the Aboriginal experience through bold autobiographical canvases that offer insight into life on the remote cattle stations of the East Kimberley region in early twentieth-century Australia.

Natalie Ball investigates histories of Native American symbolism in dialogue with contemporary Indigenous iconography to propose alternative definitions of Native life.