Message and meaning

‘Seeds and Sovereignty’

The artists in this display employ plants as a symbolic device to convey complex layers of meaning. Christian Thompson combines eucalyptus blossoms with a black hoodie in his ‘Australian Graffiti’ self-portraits, Black Gum 1–3, to comment on high rates of Indigenous incarceration, destruction of sacred land and ideologies that correlate Aboriginal people with flora and fauna. Fiona Foley uses poppy imagery to examine connections between addiction, control, assimilation and exploitation in her continued artistic commentary on Queensland’s Aboriginals Protection and Restriction of the Sale of Opium Act 1897.

Artwork Black Gum 1 (from 'Australian Graffiti' series) this artwork made of Type C photograph on paper, created in 2008-01-01

Feature image: Christian Thompson’s Black Gum 2 (from 'Australian Graffiti' series) (detail) 2008 / Type C photograph on paper / Purchased 2008. The Queensland Art Gallery Foundation Grant / © Christian Thompson

Brian Robinson and Tamika Grant-Iramu’s collaborative Carving Country depicts an iconic sprawling jacaranda tree swarming with diverse motifs of Zenadth Kes (Torres Strait Islands) heritage and culture alongside pop culture symbols, which speak simultaneously to culture, consumerism, place and identity.

In Urapun Kai Buai (One big kin), Billy Missi uses radiating leaves of native Wongai fruit in a rhythmic abstract pattern to represent Torres Strait culture, which connects all Islanders, irrespective of geographical location.

Naomi Hobson’s photographic series ‘A Warrior without a Weapon’ is an ode to self-determination and agency in representation of Aboriginal men in mainstream media. The subjects’ native flower adornments signify prosperity, life and beauty, and referentially acknowledge local Coen stories and legendary figures.