2016 Work

Gallows Gallery

53 Glyde Street, Mosman Park, WA 6012
Phone +61 (08) 9286 4730

November 24th to December 11th, 2016.
Perth, Western Australia.

Medium: Acrylic on canvas and BFK paper.
Size : Paper: Small: 10 x 30cm; Large: 60 x 90cm, Canvas: 90cm x 135cm




PRINCIPAL ARTISTS: Tania Ferrier, Les Morgan, Laura Mitchell
WITH: Alan Thompson, James Kerr, Yulissa Morales, Mirla Jackson, Abe Dunovits.
TO BE OPENED BY: Tene Moore, Tutor at Clontarf Aboriginal College.

TALKBACK is a hybrid arts installation that aims to explore the intersections of race and identity. The main exhibit is a video collage titled TALKBACK that features interviews with sixty-six Americans and Australians, including prominent artists, who duscuss aspects of their histories and aspirations. The project seeks to encourage dialogue about belonging, blackness, whiteness and intergenerational continuity and change.

2-5pm Saturday 6th June, 2015.
Australian Catholic University Gallery.
26 Brunswick St. Fitzroy, Melbourne, Australia.
7th June – 28 June, 10 – 5pm daily.

6 – 8pm Friday 7th August 2015
Academy of Fine Arts
600 Main St. Lynchburg, Virginia
8th – 28th August, 10 – 5pm

Thank you to sponsors in Melbourne: Little Creatures, Halifax Vogel Group, Wise Wine, Australian Catholic University.



Principal Artists: Tania Ferrier, Laura Mitchell and Leslie Morgan
With: Alan Thompson, James Kerr, Yulissa Morales and Mirla Jackson

Heathcote Museum & Gallery 23 August to 21 September 2014

Heathcote Museum & Gallery • Heathcote Cultural Centre • Swan House • 58 Duncraig Rd, Applecross Gallery hours: Tuesday to Friday 10am – 3pm • Saturday & Sunday 12 noon – 4pm • T: 9364 5666

Talkback shows at Heathcote Museum & Gallery, Perth, WA from 22 August to 21 September, and at the Academy of Fine Arts, Lynchburg, Virginia, USA in 2015.

American writer William Faulkner’s oft quoted line from Requiem for a Nun (1950) ‘the past is never dead, it is not even past’ has been used by many, including the then Senator Barack Obama, in his speech ‘A More Perfect Union’ (2008). In it he calibrated the history of racism and disadvantage in the USA. America’s racial history, along with Australia’s Indigenous, colonial and migrant past, are threads taken up by Talkback.

Talkback is a hybrid arts installation that aims to explore the intersections of race and identity. It features interviews with sixty-six Americans and Australians, including prominent artists, who discuss aspects of their histories and aspirations. The project seeks to encourage dialogue about belonging, blackness, whiteness and intergenerational continuity and change. The exhibition features the work of Tania Ferrier, Laura Mitchell and Leslie Morgan supported by technician Alan Thompson. Collaborators in photography include James Kerr, Yulissa Morales and Mirla Jackson.

Talkback is designed as two main spaces: a gallery reception area, and a larger exhibition space, separated by a curtain. The anterior space is a lit area that greets the viewer on arrival. It consists of a ‘research room’ by Morgan, comprising collages that provide the viewer with contextual information for the exhibition together with additional light-box works by Kerr, Morales, Jackson, Mitchell and Ferrier. Housed next door is a studio where artists and the public can collaborate for the duration of the residency. The main part of the exhibition comprises Ferrier’s video projections enhanced by Mitchell’s typography and rope lights that play on, and extend, meaning to the multi-media installation.

The American interviews in Talkback were conducted towards the end of President Obama’s first term in office in 2013; in these, aspiration emerged as a dominant theme. The Australian participants reveal a similar preoccupation with race and identity, albeit one that is shaped by our history of colonialism and the White Australia Policy. In both sets of interviews the notion of belonging is highlighted, as it is performed on a daily basis by many who considered themselves ‘othered’ in an often hostile terrain of bigotry and exclusion.

Within the video collage, Ferrier includes still photographs of her interview subjects framed in an oval shaped, moulded picture frame. This literal frame is emblematic of Ferrier’s recognition of her subjects as active participants who insist on their right to belong. It also plays on the discourses of early anthropological photography, the positionality of the ethnographer and her subjects, thereby challenging the colonial gaze.

The collaboration of artists with different histories working on the same story to articulate different perspectives in various media is integral to the vision of the work. The artists share an interest in social justice and their critical approach is shaped by the discourses of race, class, gender and disability, and the ways in which palimpsests of the past and its residues remain. Ferrier’s recent video practice has been concerned with Western Australian Indigenous history and her multi-media work has been enhanced through the collaboration of Mitchell, an American born artist and designer, who brings an awareness of the multidimensional ways in which exclusion works. Morgan, an Anglo-Indian migrant in Australia with an interest in diaspora and migration, contributes a series of paper collages that reflect and inform the installation.

A consistent thread in the creative methods used is that of collage, a method which allows the viewer entry and exit points that serve to extend and elaborate ideas. Once used by modernist artists as a destabilising force to decentre reality, collage operates here in the semiotic play between typographic forms that zoom in and out, from the image, which is masked then revealed. Significantly, the gaps and ruptures of collage, in the form of video, text, light and paper, act as a productive metaphor to centre and construct new meaning. In this, Talkback speaks through its form as much as its content; it insists that the gaps and absences in representation are as important as the threads of narratives because they allow the viewer entry points that can suggest new questions and further possibilities for the visual representation of the struggle to belong and assert identity, through stories wrought from trauma and resilience.


Dr Leslie Morgan’s trans-disciplinary painting and writing concerns race, diaspora, migration and whiteness. His paintings are held in public collections and he is author of two books Illegal Action (2005) and The Significance of Diaspora Politics in the Visual Arts (2008).

Tania Ferrier’s painting practice has expanded into the use of video to explore race relations in installations that transgress the boundaries between the art gallery and museum. Her work is held in many public collections including the Art Gallery of Western Australia.

Laura Mitchell is a visual artist, designer and musician. Her art practice spans painting, sculpture, digital media and public art and is currently exploring civil rights and migration. Her work is held in public collections in the USA and Australia and she is artist and co-author of The Elephant of Eastbury (2011).

Alan Thompson is a filmmaker and founder of Warped Time Productions. He is the technician and sound co-editor for the Talkback video collage.

James Kerr is a photographer and has published three books of black and white photography and has collaborated with Tania Ferrier as stills photographer on her most recent projects.

Yulissa Morales and Mirla Jackson are two young photographers who collaborated with Tania Ferrier in the USA in 2012 on photography and research for Talkback.