Makarrki 2008

Curator: Here we have Sally Gabori's "Makarrki," painted in 2008 using acrylic on canvas. The work is an interesting example of abstract expressionism. Editor: It strikes me immediately with its bold use of colour. The fuchsia sky clashes vibrantly against the crimson and white ground. The large, dominant column in monochrome draws my eyes into a swirling landscape of tension. Curator: Exactly. Gabori uses colour not just descriptively, but structurally. Notice how the application of each shade creates its own distinct plane? There’s a palpable push and pull. We could analyze the brushwork to understand her method, it has very rhythmic dynamism, pushing us toward interpreting this work gesturally. Editor: That gestural energy is definitely evident, but I can’t help but also think of the social history tied to Indigenous Australian art and its sudden recognition within a Western framework. I am drawn to understand how this abstract visual language operates both within and against the ethnographic gaze. Gabori didn't start painting until she was in her 80's! Curator: Absolutely, the history is crucial, especially when discussing any First Nations art; however, it’s vital not to limit it to only that discourse. Let's analyze the formal elements: the composition avoids any central focal point. It invites the eye to wander, constantly finding new relational connections across its entire surface. Editor: And consider the role of institutions. It would be interesting to investigate how, through the establishment of art centres and increased museum acquisitions, Indigenous art moved from anthropological artefact to celebrated contemporary art in Australia. Did that re-contextualization then influence art making? Curator: I'm more inclined to think her intrinsic vision came first. In conclusion, viewing Gabori’s work is quite rewarding because its chromatic strategies work together, in tension, allowing our eyes to participate dynamically with the image. Editor: It is remarkable how viewing a piece such as “Makarrki” brings forward the intricate relationship between place, person, and paint. Art becomes this space, for us, where memory and history begin.