The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

merri-bek public art collection

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork