KRAR TUD

KRAR TUD - Brian Robinson -  Plate aluminium 5083 grade, two-pack automotive paint 

Brian Robinson

KRAR TUD

Plate aluminium 5083 grade, two-pack automotive paint

400 x 200 cm

Price on Application

Image courtesy of the Artist

About the Work

Krar Tud are Kala Lagaw Ya words from the Western Islands of Torres Strait. They translate into English as turtle shell fish-hooks.  Aboriginal and Torres Strait Islanders’ knowledge of the habits of many forms of marine life and their highly developed skills of hunting and fishing ensured them of a ready supply of seafood.

In Torres Strait, fishing from the canoe, shore or around the reefs was done either by the use of fishing lines made from vine, vegetable fibres or coconut fibres with hooks fashioned from turtle shell and sinkers made from stone. In the Western Islands, the bamboo-pronged fishing spear was used for reef spearing.

This work highlights the significance of Townsville’s Aboriginal and Torres Strait Islander history, both past and present through the exhibition of this work that is bound to the seascape of the North Queensland region from the Torres Straits southward.

Many stories have been unearthed and provided as stimulus for this work from the artists family, extended kinship, and close friends. This theme was chosen because it references historical and cultural accounts of the local indigenous people’s connection to the environment surrounding them.

About the Artist

Robinson is recognised as an artist of significant merit, who steps outside existing preconceptions of the role of the Indigenous artist. His work is driven by an innovative and solo career, which also promotes his unique cultural aesthetic. He provides a strong role model with his ability to meld contemporary influences and cultural knowledge, and has developed a dynamic aesthetic that broadens the popular understanding of Indigenous art.

Robinson is respectful of cultural traditions, observant of protocol and acknowledges local practices. He has brought awareness of Indigenous culture and heritage to the broader Australian population through his many public art commissions. He is an important leader for artists and Gallery professionals, both Indigenous and non-indigenous, working in his field. Since 1999 he has been extremely active with visual arts development and promotion across the country with appointments to Arts Boards from the Queensland Art Gallery, Australia Council, ATSIC, Umi Arts, TAFE Queensland, Art + Place (Arts Queensland), National Portrait Gallery, CIAF’s Indigenous Reference Panel and recently NorthSite Contemporary Art.

In the delivery of public art commissions, Brian and his team have extensive experience in the development and delivery of large, complex public art projects.