Thea Anamara 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...

Thea Anamara Perkins has long used her practice to question the way First Nations peoples are portrayed in contemporary Australia. Covering the walls of Carriageworks’ public space, Stockwoman is Thea's...

This series depicts the reflection of the full moon on water, and the delicate abstracted forms it traces. It is a continuation of my exploration of shimmer, which has become...

That Which Endures seeks to examine the storied layers within records, the confluence of the personal and political, and the indeterminate nature of memory. To illuminate the many connections that...

‘Martin Connelly’ is based on one of our only photographs of our Kalkadoon ancestor. This painting continues my love of working with archives. ⁠ ⁠ It examines the history of...

This painting is of a site in the Old Telegraph Station in Mparntwe (Alice Springs), and takes the Western figurative landscape tradition and imbues it with the personal and spiritual...

Institutional art collections can be an archive of their past attitudes and future aspirations as well as a constellation of knowledges and times. As records of evolving tastes and values,...

Substratum examines contemporary practices of working in layers, where systems of representation remerge by peeling back impressions left from places, people, events and memories. Locating itself between foundational marks and...

Thea Anarama Perkins is a finalist in the 2021 Brett Whiteley Travelling Art Scholarship. The Brett Whiteley Studio, administered by the Art Gallery of New South Wales, awards an annual...

With a delicate hand, Thea Anamara Perkins answers heavy questions about what it means to be Indigenous in contemporary Australia, and how Aboriginal people and Country can and should be...

Thea is a finalist with her work A Bastard Like Me. Kyra won the Emerging Artist Category with her work Moongalba II. The Telstra National Aboriginal & Torres Strait Islander...

Shimmer seeks to explore the contemporary experience of being a First Nations person. The title is inspired by a public Arrernte women’s ceremony shared by very senior knowledge-holder MK Turner...

Thea Anamara Perkins is a finalist in the The Archibald Prize with her work Rachel – a portrait of her aunt Rachel Perkins. The exhibition will tour to the following...

N.Smith Gallery is proud and super excited to introduce you to the work of the gallery's represented artists: Jordan Azcune, Tom Blake, Casey Chen, Neva Hosking, Kyra Mancktelow, Dylan Mooney,...

Since 2017, Sydney Festival’s artwork has focused on the faces of the Festival: the artists, the volunteers, the people behind the scenes, and the fans in the seats at the...

Thea Anamara Perkins painted her grandfather, Charles Madden, for her 2020 Archibald Prize entry. ‘I painted my pop as I wanted to pay homage to him as a prominent and...

Glimmer is a term used in psychology to describe something that is the opposite of trigger. It is an instance of safety, tolerance and hope. In times of great turbulence...

The name Tarnanthi (pronounced tar-nan-dee) comes from the language of the Kaurna people, the traditional owners of the Adelaide Plains. It means to come forth or appear – like the...

Thea Anamara Perkins’ subject is contemporary Aboriginal artist Christian Thompson. ‘I met Christian when I was nine and he has been part of our family ever since. I have always...

“Pointed in the wrong direction, trapped outside their own history and unable to retrace their steps because their footprints had been swept away. He explained that history was like an...