Moorina Bonini is a proud descendant of the Yorta Yorta Dhulunyagen family clan of Ulupna and the Yorta Yorta, Wurundjeri and Wiradjuri Briggs/McCrae family. Moorina is an artist whose works are informed by her experiences as an Aboriginal and Italian woman. Her practice attempts to disrupt and critique the Eurocentric foundations that centralise Indigenous categorisation within Western institutions. By unsettling the narrative placed upon Aboriginal people as a result of the colonisation of Aboriginal Australia, Moorina’s practice is based within Indigenous Knowledge systems and brings this to the fore. Her work has been exhibited at ACMI, The Shed (NY), Sydney Festival, Museum of Contemporary Art , Centre for Contemporary Photography, and the National Gallery of Victoria (NGV). Recent major commissions include Primavera: Young Australian Artists and her PhD exhibition across Bunjilaka Aboriginal Culture Centre, Melbourne Museum and MADA Gallery. She is currently a studio artist at Gertrude Contemporary (2024-2026).

D Harding works in a wide variety of media to explore the visual and social languages of their communities as a cultural continuum. Harding identifies as a descendant of the Bidjara, Ghungalu and Garingbal peoples of central Queensland and their work is informed by this heritage, in terms of both an oral history tradition and the artistic techniques they have inherited. Stencilling, for example, forms a core part of their practice in allowing them to perform the same techniques undertaken by their ancestors. Harding’s multi-layered practice gives visual expression to the complex and often painful hidden histories of violence and discrimination enacted against Aboriginal communities. Their work also addresses the wider legacies of colonialism and globalisation. Harding’s work has been the subject of solo and group exhibitions at Lisson Gallery, London; at the Bergen Kunsthall, Norway; Monash University Museum of Art, Melbourne; Govett-Brewster Art Gallery, New Plymouth; Gertrude Contemporary, Melbourne; Institute of Modern Art, Brisbane; and Milani Gallery, Brisbane.

Delhi-born, Sydney-based artist practising on Darug Country, Kirtika Kain, examines how oppressive social hierarchies and power structures have been enforced upon and embodied by generations before her from the perspective of an outsider. Kain incorporates a myriad of humble materials that relate to themes of valuation, corporeality, ritual and the manual labour of the lower classes including iron filings, gold, vermillion and bitumen. Through diverse alchemical and experimental printmaking processes, Kain attempts to transform these everyday materials into aesthetic objects of value; thus, re-defining and re-imagining a personal and collective narrative. Kain recently exhibited in the projects Wake Up Call for my Ancestors, Oyoun, Berlin (2022) and Plea to the Foreigner, African Biennale of Photography, Mali, (2022) collaborating with Dalit artists and thinkers within India and the diaspora. In 2024, she was commissioned to produce a new work for the 24th Biennale of Sydney and held a solo exhibition of works titled Blue Bloods at Roslyn Oxley9 Gallery in 2023. 

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Shivanjani Lal is a Fijian-Australian artist and curator whose work uses personal grief to account for ancestral loss. Recent works have used storytelling, objects and video to account for lost stories of Girmitiya (Indenture) from the Indian and Pacific oceans. Truth-telling and monument-making have become a focal point of her current research in an attempt to decipher what is lost and the possibilities of futures. Between 2017-18, Lal sought to globalise her practice with a prolonged stay in India, which led to periods of research in Nepal, Bangladesh and Fiji. She was the 2019 Create New South Wales Visual Arts Emerging Fellow, and the 2020 Georges Mora Fellow. In 2021 she graduated with distinction from Goldsmiths, University of London with a Masters in Artists Film and Moving Image. In 2023 she received the QAGOMA Vida Lahey Scholarship. Lal’s work has been exhibited across Australia and internationally.

Cameron Robbins is an artist living and working on Dja Dja Wurrung Country. His work makes tangible the underlying structures and rhythms of natural forces. He has produced site-specific installations and exhibitions in art centres, disused buildings and outdoor sites in Australia, Switzerland, Japan, Norway, China, Denmark, Germany and the UK, both self-funded and commissioned. These inquiries employ structural devices, including kinetic wind or water-powered mechanical systems. Their aesthetic is the result of both careful engineering and resourcefulness. The outputs of these site-specific installations include wind drawings and sound compositions. These interpretations of the dynamics and scale of the physical world suggest the complexities of the unknown. His major 50-year wind drawing project, Wind Section Instrumental, is installed permanently at the Museum of Old and New Art (MONA) in Hobart, where he held a major solo presentation, Field Lines, in 2016.

Monica Rani Rudhar is an artist working on Gadigal Land across video, performance, and sculpture. Born to Indian and Romanian migrant parents, her work speaks to longing and loss as she navigates the cultural disconnection that stems from the complexities of her multi-racial ethnicity. Her work is delicately personal and takes the shape of a restorative autobiographical archive that seeks to record her own histories where these stories can exist permanently, unlike those that have been passed down orally from her family which remain fragmented. Her practice attempts to restore familial histories, traditions, and rituals that have been dispersed by migration and draws on the labour required to move past the barriers that stand in the way of reforging these connections. Rudhar has exhibited extensively in NSW, has been commissioned by Casula Powerhouse Arts Centre and The Powerhouse Museum, and recently won the 2023 Gosford Emerging Art Prize.

Dr Abdullah M. I. Syed is a Pakistani-born contemporary artist and designer working between Sydney, Karachi, and New York. His art practice weaves real and fictional narratives of East and West, seamlessly knitting together cultural and art historical references and concerns from each. Syed utilises a variety of mediums and techniques, including drawing, sculpture, textile, video installation, text, and body performance, to examine economies, structures, and theatrics of power and gender (masculinity) in their myriad forms. As a researcher, he is predominantly interested in exploring historical and cultural connections between art as a concept and art as a craft-trained skill — a dynamic relationship that remains central to the diversity of contemporary art practice in Asia. In a career spanning three decades, Syed has exhibited and performed nationally and internationally in venues such as the Art Gallery of New South Wales, Sydney; Asia Society Museum, New York; TIFF Bell Lightbox, Toronto; Devi Art Foundation, New Delhi; the National Art Gallery, Islamabad and the Mohatta Palace Museum, Karachi. His public artworks can be found throughout Sydney, with a new public artwork at the new Australian Embassy in Washington DC, USA.

Jayanto Tan is a visual artist who was born and raised in a small village in North Sumatra, Indonesia to a Sumatran Christian mother and Guandong, Chinese Taoist father. As an immigrant artist living in between the Gadigal and Wangal Country in Sydney, Australia, and North Sumatra and Bali in Indonesia, his practice blends Eastern and Western mythologies with the reality of current events. He draws on the identity politics of his diaspora to express personal experiences of ‘otherness’ through ceramic sculptures, found objects, authentic recipes, performances and workshops. His practice shares autobiographical experiences of loss, displacement, and hope and offers a sentiment of mixed spirituality and sharing, demonstrating a diverse culture and bringing the timeless wisdom of meditation to our contemporary world. Tan’s work has been shown nationally and internationally and he won the Georges River Sculpture Art Prize in 2021.