ARKAN & IRBELA
Gabi Briggs
7 Sept → 10 Nov 2024

Seven people weaving in a dimly lit room around a green table. Two standing and five sitting with a basket and four candles on the table.
Gabi Briggs, 'ARKAN & IRBELA', 2024, still from moving image.

West Space is proud to present the first major filmic work by Gabi Briggs, as part of our Commission series.

Nurturing the legacy of her late nan Patsy Cohen’s research – formalised in Patsy’s 1990 book Ingelba and the Five Black Matriarchs – ARKAN & IRBELA sees the gallery transformed into a location for the two women to dialogue across time and space, film and print publishing.

ARKAN & IRBELA presents coded knowledge and stories from their family's history on Anaiwan Country, Northern New South Wales. Central to this is the Anaiwan Skinship System – a network of complex relations that define an individual’s responsibilities and relationships to Community and Country, and from which Blak, Anaiwan femininity emerges. The work honours the manifestations of reality, identity and ethics in the Skinship System, that are inherently derived from Country and the relations it sustains.

Structured along conversations and relational moments with family members, ARKAN & IRBELA materialises Anaiwan knowledge within a Story of resurgence, demonstrating the power of cultivating an inter-generational code of ethics within an ongoing relationship to Place. Patsy Cohen generated the research for her book by walking Country with family and Community, revitalising cultural knowledge and story through Place-based memory.

ARKAN & IRBELA engages in a non-linear dialogue with her methodology and intention, by articulating how their family is embedded within the matrix of Anaiwan Country.

Both Briggs’ and Cohen’s research constitute a continued connection to Country, family and culture. By anchoring her practice of Anaiwan cultural revitalisation through that of her nan’s, ARKAN & IRBELA embodies the sentiment expressed by Wakka Wakka and Kombumerri Professor Aunty Mary Graham, ‘I am located, therefore I am’.

Read Lorna Munro's A Blak Matriarchal Lens, and Sebastian Henry-Jones' On ARKAN & IRBELA.

Three large projection screens displaying scenes of people sitting around a table weaving, with a shadowy black silhouette running horizontally across the wall. The room has wooden flooring and several black bean bags positioned in front of the projections.
Gabi Briggs, 'ARKAN & IRBELA', 2024, installation view, West Space, Collingwood Yards. Photography by Janelle Low.

Film credits

Ārkan: Kristy Faulkner, Gabi Briggs, Breanna Gordon-Briggs, Caity Briggs, Michaela Gordon-Briggs
Iāna: Lee Hughes, Susan Briggs, Carolyn Briggs, Nicola Briggs, Winnie Widders
Irakēna: Wendy Strong, Angela Cohen, Kaeilyha Smith
Patyang: Krissa Daley, Mariah Cohen-Ahoy

Director: Gabi Briggs (Anaiwan Gedyura)
Executive Producer: Genevieve Grieves (Worimi)
Production Manager: Amy Hammond (Gamilaroi Yinarr)

ARKAN & IRBELA is a West Space Commission supported by Creative Australia, Creative Victoria, GARUWA, and Yinarr Maramali.

Programs

Gabi Briggs framed ARKAN & IRBELA within a broader project, grounded in her familial connection to Anaiwan Country and formalised by her PhD research.

Programs comprised both in-person and online discussions, some open to all audiences, with others closed for mob only.

  1. Opening, introduction by Gabi Briggs and Stacie Piper (Wurundjeri, Dja Dja Wurrung, Ngurai Illum Wurrung), 29 Sept, 3 → 5pm
  2. Gabi Briggs conversation with Julie Gough (Trawlwoolway), 28 Sept, 11am → 12pm
  3. KARA workshop for Anaiwan Community, 2 Nov, 11am → 12pm
  4. Reflection with Gabi Briggs for mob only, 10 Nov, 11am

Hosted by Gabi Briggs, KARA explored the Anaiwan Skinship System, manifesting Anaiwan reality, identity and ethics derived from Country and the relationships it sustains. It offered Anaiwan people the opportunity to foster a deeper understanding of Anaiwan identity and connection to Place, while navigating the complexities of cultural revitalisation.

Building on the legacy of Anaiwan Matriarch Patsy Cohen’s research, and guided by Anaiwan researcher Callum Clayton-Dixon, KARA explored the way cultural knowledge persists in family structures and relationships, even when not explicitly passed down. Gabi demonstrates that knowledge is ingrained in the structure of Anaiwan families. As the saying goes, 'when a pattern is well established, it can’t help but repeat itself'.

A series of maroon stick figure drawings arranged in horizontal rows, with some figures appearing to be in motion against a white wall.
An art installation featuring three large projection screens displaying scenes of people in the bush, with a shadowy black silhouette running horizontally across the wall. The room has wooden flooring and several black bean bags positioned in front of the projections.
Three square projections on the wall of people walking through the bush. Soft green light illuminating the ceiling and wooden floor.
Three square video panels projected onto a wall showing seven people standing straight on, holding wooden objects.
Three people watching video installation, three square projections. Video of people sitting and standing at table weaving in dressing gowns.
Three square video panels projected of people walking through green bush, with abstract painting in-between. Gallery space with wood floor boards and people sitting on bean bags watching the video.
People sitting on bean bags in gallery space watching video installation. Three square projections on wall of people sitting and standing in a dimly lit room wearing dressing gowns and weaving at a table.
A person speaking in a dimly lit room, holding a microphone, with an abstract dark red painting behind them.
A wall has a paragraph of text titled Arkan and Irbela in cursive text with a cascading wall drawing in maroon depicting turtles, fish, a snake, footprints and markings. The text reads: "Arkan and Irbela is the first filmic work by Melbourne-based, Anaiwan Gedyura artist Gabi Briggs. Nurturing the legacy of her late nan Patsy Cohen's research-formalised in Patsy's 1990 book Ingelbah and the Five Black Matriarchs - the work sees the gallery transformed into a location for the two women to dialogue across time and space, film and print publishing. This exhibition presents coded knowledge and stories from their family's history on Anaiwan Country, Northern New South Wales. Central to this is the Anaiwan Skinship System - a network of complex relations that define an individual's responsibilities and relationships to Community and Country, and from which Blak, Anaiwan femininity emerges. Structured along conversations and relational moments with family members, Arkan and Irbela materialises Anaiwan knowledge within a Story of resurgence, demonstrating the power of cultivating an inter-generational code of ethics within an ongoing relationship to Place. By anchoring Briggs' practice of Anaiwan cultural revitalisation through that of her nan's, Arkan and Irbela embodies the sentiment expressed by Wakka Wakka and Kombumerri Professor Aunty Mary Graham: I am located therefore I am'.  Arkan and Irbela is a 2024 West Space Commission, supported by Creative Australia, Creative Victoria and GARUWA."
A person holding a book open in front of exhibition text on the gallery wall, small maroon painted drawings surrounding the wall text.
A book leans up on a acrylic stand against a white wall, its shadow casting behind and below it. The book sit at an angle, and is titled "Ingelba and the Five Black Matriarchs"

Gabi Briggs is an Anaiwan Gedyura artist, researcher, weaver, and community organiser. Briggs engages with the complexities of race, power, and truth-telling, seeking to restore Indigenous sovereignty and enact self-determination. Her practice reflects a commitment to returning back to Indigenous knowledges and addresses pressing issues like the climate crisis.

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