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Arts writer Louise Martin-Chew sits with Judy Watson’s a preponderance of aboriginal blood, 2019. This book was originally a limited-edition artist’s book (2005), with the republished edition launched at the State Library of Queensland in February 2020. It takes real documents from the archive that relate to the life of Watson’s grandmother, Grace Isaacson. They are splashed with red and poetically treated, drawing into recent memory the restrictions imposed on Aboriginal people from 1897. Watson is represented by Tolarno Galleries in Melbourne and Milani Galleries in Brisbane.
Louise’s office: “A small collection of Stephen Hart @museum_of_spent_time sculptures in the foreground, with Fiona Foley’s @fiona_foleyartist White Trash (Signpost II), 2005. Foley represented by Andrew Baker Art Dealer. Above the desk is a small canvas that captures the patterns in water by Judy Watson (2008) and to the left and a drawing by Michael Zavros. Zavros is represented by Philip Bacon in Brisbane, Starkwhite in Auckland and Sullivan+Strumpf in Sydney.
Bird wall: “this is a collection of mainly small works featuring birds. The large crow painting Michael Hetherington Birds (2005) came from Ray Hughes Sydney gallery a few years ago. It is a darkly destructive depiction of a favourite bird. The two little Karen Barnes plates are from the Darwin Aboriginal Art Fair (2017), the tile at left is Yellow Tail Black Cockatoo (1997) by Noel McKenna (from Bruce Heiser), then Plains Wanderers (2013) by Emma Lindsay (also Heiser), and the framed white work is Birds of a Feather by Dyan Burgess and Andrea Higgins (from a Woolloongabba Art Gallery fundraiser to Save Toondah Harbour, Queensland).”