Regina Wilson Deme Ngayi Kinyi - Michael Reid

Deme ngagurr apirri nimbi kunikuni yedityerrmusye werrme wurity wadi kanbi yawul. Wani pek ngugnuni syaw palamundi adawayiir wuyse warrgadi walipan. Awapurrpurrk ngagurr kana ngarimbirr fi me tyat deme ngangi nginin deme apirri nimbi. Awa mabud filmi yedi asa purrpurrk werrme wurity.

Our hands long ago; old people used to make painting, bark painting, fish net, clapping sticks, headbands, dillybags; we teach our younger generations what our old people taught us. Many hands we join as one community. - Regina Pilawuk Wilson

Ever since Regina Pilawuk Wilson’s golden yellow Syaw (fishnet) won the General Painting Award at the National Aboriginal and Torres Strait Islander Art Awards in 2003, her elegantly structured paintings have quietly but unequivocally fixed her name on the contemporary art map.

Regina Pilawuk Wilson is now Australia’s most senior contemporary female Aboriginal artist, and is one at the height of her creative powers. Wilson is the matriarch of her community and is a softly spoken, major force in the Australian art world today. Her relevance and the power of her work only continue to grow; influence that is affirmed by the artists participation in two major art museum exhibitions in the next 12 months.

Michael Reid Sydney + Berlin is honoured to work with Regina Wilson and her Community, which has for two decades produced significant and bright creative outcomes. Deme Ngayi Kinyi is Regina Pilawuk Wilson’s largest solo exhibition with Michael Reid Sydney, and is the first to exhibit on our new gallery premises.

There is a potent sense of mystery surrounding the work of Petrina Hicks. Polished, tense and cool to the touch; with each photograph we are invited to comprehend a profound sense of curiosity as we gaze into narratives that are equal parts bemusing and beautiful. There is a discerning barrier between the viewer and the subjects of a Petrina Hicks photograph, a foundational device that threads the artists entire eighteen-year career. This barrier is well controlled, quite intentional and has driven a roster of global exhibitions that have attracted critical praise for their visual ingenuity and un-compromised pursuit of technical excellence. Petrina Hicks is a perfectionist, and every part of her scrupulous sensitivity is present in her work.

The mechanics of Petrina Hicks’ studio practice has only ever been known to the artist and her models. Each shoot session can take as long as seven hours to complete, an exercise in precision and patience for everybody involved.  To this day, Hicks prefers analogue methods to capture the images she presents to us, by way of wishing to preserve the traditional film discipline. Petrina Hicks does not even have an Instagram account, which is why the presentation of Polaroids at Michael Reid Sydney could be considered the artists most courageous project to date.  

Petrina Hicks shoots all her work on either her medium format Hasselblad camera or large format Linhof Technika, instruments that have been paramount in directing photographic history. These cameras are equipped with polaroid mechanisms that enable an ability to gauge colour, lighting, and composition before committing to film. Since the year 2000, Hicks has amassed and archived a considerable number of polaroid test prints, a collection that now narrates a life’s work in ways that only pictures can.  

Containing over 400 individual images, Polaroids is an illustrative survey of Petrina Hicks’ studio methods, from her steady beginnings as a commercial photographer, through to experimental test prints of Fly Through The Candles Mouth Like A Singeless Moth, 2021. In this documentary exhibition audiences will witness the collision of ideas, the artist’s failures and successes, the funny, beautiful, bizarre and the bewildering. Also on view are a selection of the very first test prints of Lauren Dawes, Hicks’ most prominent model, creative muse and friend.

In Polaroids, the artists heightened imagination, technical mastery and sensitive understanding of her subject matter is present in every image on display, meticulously installed and culminating in a truly authentic conversation.

The mechanics of Petrina Hicks’ studio practice has only ever been known to the artist and her models. Each shoot session can take as long as seven hours to complete, an exercise in precision and patience for everybody involved. To this day, Hicks prefers analogue methods to capture the images she presents to us, by way of wishing to preserve the traditional film discipline. Petrina Hicks does not even have an Instagram account, which is why the presentation of Polaroids at Michael Reid Sydney could be considered the artists most courageous project to date.

Petrina Hicks shoots all her work on either her medium format Hasselblad camera or large format Linhof Technika, instruments that have been paramount in directing photographic history. These cameras are equipped with polaroid mechanisms that enable an ability to gauge colour, lighting, and composition before committing to film. Since the year 2000, Hicks has amassed and archived a considerable number of polaroid test prints, a collection that now narrates a life’s work in ways that only pictures can.

Containing over 400 individual images, Polaroids is an illustrative survey of Petrina Hicks’ studio methods, from her steady beginnings as a commercial photographer, through to experimental test prints of Fly Through The Candles Mouth Like A Singeless Moth, 2021. In this documentary exhibition audiences will witness the collision of ideas, the artist’s failures and successes, the funny, beautiful, bizarre and the bewildering. Also on view are a selection of the very first test prints of Lauren Dawes, Hicks’ most prominent model, creative muse and friend.

In Polaroids, the artists heightened imagination, technical mastery and sensitive understanding of her subject matter is present in every image on display, meticulously installed and culminating in a truly authentic conversation.

Deme ngagurr apirri nimbi kunikuni yedityerrmusye werrme wurity wadi kanbi yawul. Wani pek ngugnuni syaw palamundi adawayiir wuyse warrgadi walipan. Awapurrpurrk ngagurr kana ngarimbirr fi me tyat deme ngangi nginin deme apirri nimbi. Awa mabud filmi yedi asa purrpurrk werrme wurity.

Our hands long ago; old people used to make painting, bark painting, fish net, clapping sticks, headbands, dillybags; we teach our younger generations what our old people taught us. Many hands we join as one community. - Regina Pilawuk Wilson

Ever since Regina Pilawuk Wilson’s golden yellow Syaw (fishnet) won the General Painting Award at the National Aboriginal and Torres Strait Islander Art Awards in 2003, her elegantly structured paintings have quietly but unequivocally fixed her name on the contemporary art map.

Regina Pilawuk Wilson is now Australia’s most senior contemporary female Aboriginal artist, and is one at the height of her creative powers. Wilson is the matriarch of her community and is a softly spoken, major force in the Australian art world today. Her relevance and the power of her work only continue to grow; influence that is affirmed by the artist's participation in two major art museum exhibitions in the next 12 months.

Michael Reid Sydney + Berlin is honoured to work with Regina Wilson and her Community, which has for two decades produced significant and bright creative outcomes. Deme Ngayi Kinyi is Regina Pilawuk Wilson’s largest solo exhibition with Michael Reid Sydney, and is the first to exhibit on our new gallery premises.

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    200 × 200 cm
    $30,000
  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    200 × 200 cm

    SOLD

  • Regina Pilawuk Wilson
    Syaw (Fish-net), 2022

    150 × 150 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    200 × 200 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    120 × 150 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    120 × 150 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    120 × 150 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    120 × 150 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    200 × 200 cm

    SOLD

  • Regina Pilawuk Wilson
    Wupun (Sun Mat), 2022

    200 × 200 cm

    SOLD