Dingkarri 2006

Editor: Here we have Sally Gabori’s “Dingkarri” from 2006, crafted with acrylic paint. It's a burst of strong colors; the forms feel elemental, almost geological in their boldness. What's your interpretation of this work? Curator: As a materialist, I focus on Gabori's process. Note the sheer physicality of the acrylic on canvas. How does the layering of the paint affect the texture? The stark color contrasts disrupt any sense of naturalism. Gabori wasn’t just depicting; she was *making*. We also have to examine her status as an Indigenous artist working in a contemporary Western medium, challenging notions of ‘high art’. The production and use of acrylic paint itself becomes a part of the conversation, don't you think? Editor: That's fascinating! I hadn't considered the inherent qualities of acrylics being part of the meaning, how the global market touches even very remote regions and affects artistic choices. The colors do feel deliberate, pushing against any expected representation. It is interesting to wonder if working in this style might have influenced the commodification of the work too. Curator: Precisely. And it speaks to the legacy of colonialism, in how resources are used, traded and distributed on a global scale, thus influencing what artists have to work with. Think of the labor and materials involved, all the way from manufacturing to sale! How does considering the material realities impact your experience of this piece? Editor: I see now that Gabori’s choice of materials actively reshapes the viewer’s experience of the artwork, especially the role that materiality, production, and distribution play. I find it deeply rewarding to start there and interpret how the process plays a role in the narrative of Indigenous art-making. Curator: And through understanding the materiality and methods, we can develop a more holistic vision, connecting both maker and consumer of the work.