ARTISTS
Jasmine Togo-Brisby: It Is Not a Place
Through an iconography of tall ships, decorative ceilings, and crow feathers, Jasmine Togo-Brisby examines the Pacific slave trade and its impact on those who trace their roots to Australia through its practices.
Togo-Brisby's ships remind us of the dangerous vessels that transported tens of thousands of South Sea Islanders to Australia; her plaster sculptures recall the pressed-tin ceilings made by the Wunderlich family in Sydney, to whom her ancestors were indentured; and her use of crow feathers allude to 鈥榖lackbirding鈥�, the nineteenth-century practice of coercing or kidnapping Pacific islanders into slavery.
It Is Not a Place features two major new commissions鈥攁 sculpture and a video鈥攅xploring her Australian South Sea Islander identity, and making visible a distinct diasporic history and culture.
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Through an iconography of tall ships, decorative ceilings, and crow feathers, Jasmine Togo-Brisby examines the Pacific slave trade and its impact on those who trace their roots to Australia through its practices.
Togo-Brisby's ships remind us of the dangerous vessels that transported tens of thousands of South Sea Islanders to Australia; her plaster sculptures recall the pressed-tin ceilings made by the Wunderlich family in Sydney, to whom her ancestors were indentured; and her use of crow feathers allude to 鈥榖lackbirding鈥�, the nineteenth-century practice of coercing or kidnapping Pacific islanders into slavery.
It Is Not a Place features two major new commissions鈥攁 sculpture and a video鈥攅xploring her Australian South Sea Islander identity, and making visible a distinct diasporic history and culture.
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