Stake attention in this memory
The image displays a section of an indoor art exhibition, featuring several artworks mounted on a dark blue wall. The setting is well-lit, highlighting the colors and textures of the pieces. In the upper left, a square-framed mixed-media artwork commands attention. It features a reddish-orange background, and incorporates a spherical object resembling a globe, multiple eye-like components, mechanical parts, and a textured yellow element. A speech bubble within this piece reads, "She's GONE to Hell in a handbasket," accompanied by a smaller sign that says "DANGER," indicating a critical or cautionary message. To the right, a larger, multi-panel artwork is visible, arranged in vertical segments. This piece appears to be a vibrant collage or series of paintings, depicting a variety of scenes including tropical landscapes with palm trees and butterflies, diverse marine life, and abstract patterns. A portion of another framed artwork is visible at the bottom left, featuring circular patterns and the distinct red word "STOP," which further reinforces themes of warning or environmental concern. Extensive exhibition text is printed vertically on the wall, providing detailed context for the display. It identifies the artist as KARLA DICKENS and introduces her work, "As above, so below 2004," as an "ongoing interrogation of the legacies of colonialism, capitalism and patriarchy," and their effects on "post-contact Aboriginal experiences and the natural world." The text describes her "densely layered assemblages" as a statement on a "volatile and vulnerable world and an urgent call to action." The text further elaborates on specific series: "The 'Disastrous' series 2022" addresses "environmental devastation across Australia," focusing on issues like "rising temperatures, exploitation of resources, drought, extinction, floods and coral bleaching," and criticizing the "failure of political powers." "Hell or High Water 2022-23" uses "symbols of alarm and environmental exploitation and distress" with "tongue-in-cheek text" and "black humour." "Keeping it together 2022-23" symbolizes the struggle to maintain order in a disintegrating world. The text concludes with the artist's statement about the "waagan (crow in Wiradjuri)" acting as a "guardian and messenger," expressing, "I believe my ancestors are visiting if the crows appear. The crow gives me strength to fly above my shadows as I walk this life searching for connection and meaning." A small placard at the bottom right provides additional information and a smaller image of artworks. The exhibition conveys a powerful commentary on urgent global and environmental issues.
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