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Danie MELLOR

Mamu/Ngagen/Ngajan peoples

Mackay, Queensland, Australia born 1971

From rite to ritual 2009 Place made: Canberra, Australian Capital Territory, Australia
Materials & Technique: drawings, watercolour, painting in oil paint, wax crayon, black pencil with collage of glitter and Swarovski crystal

Dimensions: image 178.0 h x 133.5 w cm framed (overall) 2062 h x 1525 w x 45 d mm
Acknowledgement: Purchased 2009
Accession No: NGA 2009.1042
Subject: Australia, Animal: Kangaroo

MORE DETAIL

  • The incongruity of Aboriginal people and indigenous animals placed in a temple setting that is clearly western speaks of an uneasy co-existence, an interaction that is evident but unsuited. The temple, a continental Freemasonic lodge (a ‘blue’ lodge), shows the emblematic strength of European culture through architectural elements that are the tools of civilisation, colonisation, settlement and deprivation. These elements are used to instigate empire-building strategies, conquer territories, establish boundaries and create culture. Ironically, they are also beautiful symbols that idealise harmony and artistic achievement, and serve a human purpose in the art of architecture and the craft of building. 

    The ceremony of initiation plays a role in all religious institutions, and affirms a connection to self, humanity, the world and above all to spirit and the divine. The rite and ritual of this symbolic interaction with the spiritual indicates a desire to arrive at a macrocosmic understanding of our place in the world, and even reaffirms it. Indigenous ceremony is similar—life is affirmed, seasons marked, initiations provide transition, and our place in relation to the past, present and future is revealed.

    The domination of these interactions between the ancestral world and country by settler culture was inherently criminal. The deprivation and banishment of mother tongues in colonial Australia saw disconnection between people, family, culture and land, and were the means by which the fabric of spirit, communicated between generations, was rent to pieces. From rite to ritual 2009 explores a moment of contact between two cultures; it speaks of the challenges of settlement, and the differences in spirituality. 

    Danie Mellor 2009


    Text © National Gallery of Australia, Canberra 2010
    From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

  • 梅勒·丹尼 (MELLOR, Danie)
    《从仪式到祭祀》(From rite to ritual)
    2009年
    纸质,以油笔、蜡笔绘成,点缀亮片和施华洛世奇晶钻
    178.00(高) x 133.50(宽)厘米(图)
    2009年购买
    2009.1042

    土著人和本土动物与明显西方特色教堂环境之间的格格不入显示了一种令人不安的共存,一种明显但不适宜的相互作用。通过作为文明、殖民、定居、剥夺工具的建筑元素,教堂,欧洲人的共济会集会处(‘蓝色’旅馆),象征了欧洲文化的力量。这些元素用于鼓动扩张策略、攻占领土、建立边界和缔造文化。具有讽刺意味的是,它们也是将和谐与艺术成就理想化的美丽象征,满足了人类建筑艺术和建筑工艺目的。

    所有宗教体系里,成人礼仪式都发挥作用,确认了与自己、人类、世界尤其是神灵之间的联系。这种与神灵之间象征性交流的仪式与祭祀标志着对我们的世界角色达成宏观理解的愿望,甚至是再次确认这一愿望。土著人仪式差不多一样——生命得到肯定,四季得以分明,成人礼实现过渡,我们过去、现在与未来的角色得到昭示。

    这些先祖世界与殖民者文化国家之间相互作用的冲突天生就是罪恶的。澳大利亚殖民地时期对母语的剥夺和消除见证了人、家庭、文化和土地之间的断裂,并成为了将世代相传的心灵构筑撕得粉碎的手段。创作于2009年的《从仪式到祭祀》探索了两种文化的接触瞬间;涉及到了殖民挑战和精神性差异。

    Danie Mellor 2009
    丹尼·梅洛


    Text © National Gallery of Australia, Canberra 2010