Craft’s First Peoples-led exhibition in 2024 is Moombarra – curated by Wadawurrung artist Kait James in the fourth iteration of the annual guest-curated exhibition series. Moombarra features six First Nations artists – Amina Briggs, Eleanor Franks, Keemon Williams, Matthew Harris, Peter Waples-Crowe and Tammy Gilson – working across textiles and fibre art, weaving, sculpture, painting and collage. The exhibition celebrates rich traditions and contemporary expressions of craft.
In the Wadawurrung language, ‘moombarra’ translates to ‘stick it up your arse’, an irreverent phrase that hints at the exhibition’s profound commentary on the ongoing battle against racism and tokenism, and the complexities of Australian Indigenous identity.
In Conversation with Kait James
How did you decide on the artists selected for Moombarra?
Curating my first exhibition has been an exciting yet challenging experience, especially when it came to selecting the artists. I wanted to include both emerging and established artists, focusing on those whose work I love and that resonates with the themes of Moombarra. I also wanted to focus on artists who haven't shown together in the past and bring them together. Narrowing it down to just six was incredibly difficult, but I'm so happy with the selection. It's been an honour that these artists wanted to be part of Moombarra and working with them has been a joy, I’m so excited to see the final works.
What is the significance of Blak* humour for you? And how is it a connecting theme for you and the artists in the context of this exhibition in 2024?
For me, Blak humour embodies resilience, solidarity, and cultural identity. There is an optimism in Blak humour, but it is also an important tool for mob to navigate or cope with the complexities of our histories and contemporary lived experiences. Through humour, we can confront these and have a sense of connection and mutual understanding.
In Moombarra, Blak humour serves as a vital unifying thread. It allows us to share our stories and perspectives, either overtly or subversively. By weaving humour throughout, we challenge stereotypes, question societal norms, and celebrate our culture. It creates a space where our voices can be heard and appreciated.
"When people visit Moombarra, I want them to reflect on how the works challenge colonial narratives, and critically engage with culture in a post-colonial world."
What would you like the audience to see/feel/think about when they walk into the gallery space?
When people visit Moombarra, I want them to reflect on how the works challenge colonial narratives, and critically engage with culture in a post-colonial world. Additionally, I hope they appreciate the resilience of the artists as they explore the complexities of Indigenous identity.
Thinking about craft and its significance within your own practice what does it mean for you to be curating this exhibition at Craft Victoria? And how has the experience been for you as a practicing artist to sit in the curator’s seat?
Being asked to curate this year's exhibition has been a true honour. It has been an incredibly meaningful experience for me, especially given the significance of craft in my own practice. As it’s my first experience curating, it has also been a major step outside my comfort zone. I've loved the previous First Nations-led NAIDOC exhibitions at Craft. Following in the footsteps of previous guest curators; Jahkarli Felicitas Romanis, Shahn Stewart and Eden Fiske, and Jenna Lee has been both challenging and inspiring. Each of them brought their own distinct approach and assembled an amazing group of artists.
Curating Moombarra has been a great opportunity to bring together artists whose work I admire, celebrating both the rich traditions and contemporary expressions of craft while fostering dialogue and sharing our stories with a wider audience.
*Acknowledgement and respect are paid to artist and activist Destiny Deacon (KuKu, Erub/Mer) who first coined the term ‘Blak’.