Thea Anamara Perkins

Gadigal Country, Sydney

2023

Lhere

(installation view) 2020–23
Image © Art Gallery of New South Wales
Photograph: Mim Stirling

Lhere

(installation view) 2020–23
Image © Art Gallery of New South Wales
Photograph: Mim Stirling

Lhere

(installation view) 2020–23
Image © Art Gallery of New South Wales
Photograph: Mim Stirling

The Bungalow

2023
acrylic on clayboard
40.5 × 30.5 cm
Image courtesy the artist and N.Smith Gallery © the artist

Bondi Beach

2023
acrylic on clayboard
40.5 × 30.5 cm
Image courtesy the artist and N.Smith Gallery © the artist

Warren Ball Avenue

2023
acrylic on clayboard
40.5 × 30.5 cm
Image courtesy the artist and N.Smith Gallery © the artist

Shimmer 1

2021
acrylic and gold leaf on board
40.5 × 30.5 cm
Image courtesy the artist and N.Smith Gallery © the artist

Azlan

2021
acrylic on gessobord
30.5 × 40.5 cm
Image courtesy the artist and N.Smith Gallery © the artist

Bloomfield Street 

2021
acrylic on gessobord
30.5 × 40.5 cm
Collection of Bella and Tim Church, Sydney
Image courtesy the artist and N.Smith Gallery © the artist

Hetti

2021
acrylic on gessobord
30.5 × 40.5 cm
Private collection, Sydney
Image courtesy the artist and N.Smith Gallery © the artist

Thea Anamara Perkins

Arrernte/Kalkadoon peoples.
Born 1992, Gadigal Country, Sydney.
Lives and works Gadigal Country, Sydney.

Thea Anamara Perkins is an Arrernte and Kalkadoon artist whose practice incorporates portraiture and landscape painting to depict authentic representations of First Nations peoples and Country. With a delicate hand, she answers heavy questions about what it means to be Indigenous in contemporary Australia, and how Aboriginal people can and should be portrayed. TheaArrernte name, Anamara, describes a river and an Ancestral creation story that runs north of Mparntwe/Alice Springs – the place that keeps calling her back and has been the wellspring of art and activism for her family, and, by extension, the nation.

Photograph: Jacquie Manning

Artist text

by Rachel Perkins

Twenty-five single frames of image, run together, makes a second of a movie. It takes millions of frames to tell a story contained in a movie. A painter has just one frame to tell their story. Everything they wish to convey must be contained in that single image. As a filmmaker, I am in awe of the creative power of the painter – who can express, in a single frame, a feeling within the viewer of the work which can resonate across time and generations.

Thea’s process in creating that single image, like all artists, is very personal to her. Being a close family member, I have the special privilege of witnessing and at times playing a part in her process. Her approach to portraiture often begins by sifting through hundreds of family photographs, spread across a kitchen table or the floor. She searches for that particular moment, usually captured unwittingly, that has a certain feeling or power to it: a sleeping father with his firstborn son also asleep on his chest, or in my case, a ten-year-old girl confiding to her father at a land rights demonstration. Their power is in the intimacy of family photographs, the very private nature of the moments. They are images not intended for the outsider.

But the images come to life, becoming vivid in Thea’s careful selection and interpretation. She brings them literally out of the closet, into the public eye, sharing their meaning and widening their context in their reflection of our society. One of my favourites among Thea’s portraits is one of Thea herself, as a toddler, wearing the Aboriginal flag on her T-shirt and wandering among her mother’s friends, in this case a gathering of Aboriginal art curators. The image reflects the legacy she was born into and now carries forth in her own practice as an artist, reflecting the continuing but evolving tradition of Aboriginal artists representing their community, their culture in their country, Australia. Thea’s work is like a river – ‘lhere,’ in our Arrernte language. It draws together the many lives of her extended clan into its flow, a sweep of humanity and history.

Artist's acknowledgements

Thea Anamara Perkins is represented by N.Smith Gallery, Sydney.