• ‘My work attempts to highlight the mistakes, mistranslations and loss of knowledge in the social documentation of Kaurna culture by...

    My work attempts to highlight the mistakes, mistranslations and loss of knowledge in the social documentation of Kaurna culture by European colonists.'

    N.Smith Gallery is delighted to present The Darkness of Enlightenment – an exhibition of daguerreotype photographs and bronze objects by James Tylor.

    The series explores 19th century European recordings of Kaurna language and culture during the British colonisation of the Kaurna nation in South Australia. The daguerreotypes are accompanied by cast bronze Kaurna artefacts and colonial objects that represent the poorly documented interactions with Kaurna people, language and culture on the coastal colonial frontier of South Australia.

    The daguerreotypes in this series are sold separately and can be figured into groupings alongside the bronze objects, or presented in leather, velvet, and kangaroo fur cases.

     

    Please contact the gallery for a list of available works.

  • James Tylor Darkness of Enlightenment II, 2023 6 Daguerreotypes (10 x 12.5 cm each) 5 cast bronze objects (various sizes)...
    James Tylor
    Darkness of Enlightenment II, 2023
    6 Daguerreotypes (10 x 12.5 cm each)
    5 cast bronze objects (various sizes)
    dimensions variable
    • James Tylor Kauwayarlungga Myponga Beach 1, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Kauwayarlungga Myponga Beach 1, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Karrakarlingga Carrackalinga 1, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Karrakarlingga Carrackalinga 1, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Karrkunga Ochre Cove, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Karrkunga Ochre Cove, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Pangkarla Normanville, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Pangkarla Normanville, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Tarniyandingga Moana, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Tarniyandingga Moana, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Karrakarlingga Carrackalinga 2, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Karrakarlingga Carrackalinga 2, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Wangkunthila Washpool 2, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Wangkunthila Washpool 2, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Kauwayarlungga Myponga Beach 2, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Kauwayarlungga Myponga Beach 2, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Wangkunthila Washpool, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Wangkunthila Washpool, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Witawardli Selleck Beach, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Witawardli Selleck Beach, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yaityakauwingga Second Valley 1, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yaityakauwingga Second Valley 1, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yaityakauwingga Second Valley 3, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yaityakauwingga Second Valley 3, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yaitakauwingga Second Valley 4, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yaitakauwingga Second Valley 4, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yaityakauwingga Second Valley 2, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yaityakauwingga Second Valley 2, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yartakurlangga Rapid Bay 1, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yartakurlangga Rapid Bay 1, 2022
      Becquerel Daguerreotype
      10 x 12 cm
    • James Tylor Yartakurlangga Rapid Bay 2, 2022 Becquerel Daguerreotype 10 x 12 cm
      James Tylor
      Yartakurlangga Rapid Bay 2, 2022
      Becquerel Daguerreotype
      10 x 12 cm
  • Recent Museum acquisitions.

  • The Darkness of Enlightenment.

    By James Tylor

    ​​The Darkness of Enlightenment is a daguerreotype series that explores 19th century European recordings of Kaurna language and culture during the British colonisation of the Kaurna nation in South Australia. This daguerreotype series presents images of the places that were sites of the first contact between European Whalers, British Colonists and Kaurna people. It attempts to highlight the mistakes, mistranslations and loss of knowledge in the social documentation of Kaurna culture by European colonists. Kaurna language and culture has been dramatically impacted over the past 185 years since the British colonisation of South Australia. The speaking of Kaurna language and cultural practices rapidly declined during the 19th century due to the loss of Kaurna lives from the smallpox epidemic, colonial conflict, segregation and assimilation strategies on Christian missions by the British Government in South Australia. 

    Kaurna language wasn’t spoken since the 1930s, becoming a sleeping language and culture until it was reawakened in 1989 by the contemporary Kaurna community. It continues to be spoken and practiced to the present day. European recordings by British, German and French colonists of Kaurna language and observations of culture during the 19th century played a vital role in reawakening Kaurna language and culture in the last 30 years. However, the written records created their own challenges in reviving the language and cultural practices. European observers were extremely limited in their understandings of Kaurna knowledge and subsequently their records are full of misrepresentations and mistranslations.

    This series highlights the limitations of colonist understandings of Kaurna knowledge, presenting landscapes from the area of the Southern Kaurna region of the Patpangga Fleurieu Peninsula & Karta Pintingga Kangaroo Island where there was first contact between Kaurna people and European whalers and colonial settlers. The daguerreotypes are accompanied by cast bronze Kaurna artefacts and colonial objects that represent the poorly documented interactions with Kaurna people, language and culture on the coastal colonial frontier of South Australia.

  • Bio.

    Bio.

    'The removal of Aboriginal cultures due to colonisation has left the appearance that Australia was ‘Untouched’ before European arrival.'

    James Tylor is a multi-disciplinary visual artist whose practice explores Australian environment, culture and social history through photography, video, painting, drawing, sculpture, installation, sound, scent and food.

     

    James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.

     

    James explores Australian cultural representations through the perspectives of his multicultural heritage that comprises Nunga (Kaurna), Māori (Te Arawa) and European (English, Scottish, Irish, Dutch and Norwegian) ancestry. Tylor’s work focuses largely on the history of 19th century Australia and its continual effect on present day issues surrounding cultural identity and the environment. His research, writing and artistic practice has focused most specifically on Kaurna indigenous culture from the Adelaide Plains region of South Australia and more broadly European colonial history in Southern Australia. His practice also explores Australian indigenous plants and the environmental landscape of Southern Australia.

     

    Request available works / Join James' preview list.