While Kumantje (Michael Nelson) Jagamara AM and Imants Tillers have worked on panel paintings collaboratively since 2001, creating 24 works, Metafisica Australe 2017 (illustrated) holds special meaning: it reflects on the origins of their collaboration, which developed following Tillers’s use of elements of Jagamara’s Five Stories 1984 in his 1985 work titled The Nine Shots. His conscious copying of Jagamara’s cultural motifs is an example of the controversial practice of engaging with other artists’ imagery – a ‘postmodernist gesture’, typically done without the artist’s permission. However, while Tillers’s actions inspired an intense art-world debate, they also initiated a dialogue that became the foundation for a remarkable chapter in Australian art history and a 17 year friendship and collaboration, one that continues to flourish today. Metafisica Australe is the most recent creation resulting from this extraordinary collaboration. The central motif of this work, and a pivotal element in their ongoing collaborative conversations, is Jagamara’s landmark painting, Five Stories, which quickly became an icon of contemporary Indigenous art of the late 1980s. More recently, in 2016, the painting was sold at auction in England, where it established a record price for a work by a living Aboriginal artist. In March 2017, Jagamara painted a larger, more highly detailed version of Five Stories across 36 canvas boards. The following month, Tillers went to Papunya to visit Jagamara at his home, and later completed the collaborative work by adding a further 36 boards, which contain Warlpiri placenames and dreaming sites, and selected metaphysical and poetic references. Metafisica Australe is a rich, contemporary symbiosis of the personal, professional and cultural reflections of two great Australian artists. Their story Listen to Michael Eather in conversation with Kumantje (Michael Nelson) Jagamara AM and Imants Tillers as they expand on the incredible story which brought them together. Watch as the 72 canvas boards of ‘Metafisica Australe’ are installed The Queensland Art Gallery | Gallery of Modern Art acknowledges the Traditional Owners of the land on which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution First Australians make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name of the deceased. All such mentions are with permission, however, care and discretion should be exercised. Featured image detail: Kumantje (Michael Nelson) Jagamara and Imants Tillers with Metafisica Australe 2017

Metafisica Australe 2017 (illustrated) is a rich, contemporary symbiosis of the personal, professional and cultural reflections of two great Australian artists. Metafisica Australe is a significant 72-panel painting that is the latest artwork resulting from the collaborative efforts of Kumantje (Michael Nelson) Jagamara AM and Imants Tillers. Simon Wright was present when this important working relationship began nearly two decades ago. Kumantje Jagamara and Imants Tillers ‘Metafisica Australe’ In 2016, when Five Stories 1984 set the highest price ever paid for a painting by a living Aboriginal artist, Michael Nelson Jagamara — a Warlpiri man from remote country near Papunya — became lauded as the new holder of an auction world record. While the record is one measure of success, it does not adequately account for his 40 years of dedication to painting, or to his record of innovation within tradition to evolve new visual forms. Since his emergence in the second wave of Papunya painters, Michael Nelson’s groundbreaking practice has been punctuated by early cross‑cultural collaborations (with Tim Johnson) in the mid 1980s; and by his later adoption of new styles — explosive, gestural expressionism, and bold moves away from the traditional ‘Papunya palette’. Michael Nelson has always held true to jukurrpa, while managing his obligations as an elder in his community. He had no idea who Imants Tillers was in 1985, when their paths crossed because of the now infamous Five Stories. Imants Tillers, who was born in Sydney to Latvian parents, is also internationally renowned as an Australian artist. He emerged during the heyday of conceptual art in the 1970s, the same decade in which the Papunya painting movement was gaining attention; and in the 1980s, when he represented Australia at the Venice Biennale, just as his practice became synonymous with appropriation. From one perspective, often associated with global currents in postmodernism, appropriation relates to borrowing and sampling from other works. In other cultural knowledge systems, appropriation equates to the theft of ancestral intellectual property. When, without permission, Tillers ‘quoted’ from Five Stories, in his 1985 painting titled The Nine Shots, it raised not only the distant ire of Michael Nelson, but also the whole temperature of a debate in Australian art that is still relevant today. Responses to Tillers by artists (such as Gordon Bennett), art critics and scholars, and the raft of issues that accompanied the work, further added to the currency accrued by Five Stories when it set the auction record 21 years later. By then, it had become one of the most frequently reproduced and highly profiled images in Australian art. Kumantje (Michael Nelson) Jagamara AM and Imants Tillers collaborate on Metafisica Australe In person and in public, these two artists appear modest and reserved, storytellers through their art alone. Each is motivated to paint ideas of ‘self’ and ‘place’, in terms of ancestral lineage and origin, as well as being concerned with the selection and placement of signs and signifiers, often borrowed or reproduced, in order to allude to wider narratives. They are also astutely aware of cultural traditions and authorial power. Although they are now highly renowned artists in their own right, the story of ‘their place’ in Australian art is only just beginning to flourish. It is a story borne of a unique set of circumstances that once had them at odds — art worlds apart — but which has since made them counterparts and collaborators. In keeping with the improbability of their cross‑cultural exchange was the unlikelihood of it happening in Brisbane, which, so it turned out, played a defining role in this meeting of minds. Despite knowing of each other since 1985, it took until 2001 for the artists to meet, when Michael Eather of Brisbane’s Fireworks Gallery began to facilitate an ongoing dialogue between them. Over the ensuing 17 years, their conversations have raked over old ground, generated mutual understanding, and formed new common ground. Their collaboration, and growing friendship, has allowed a faith to emerge between them that has changed their practices and wider perspectives. In moving together, these two elders of the Australian art world personify a fraught but meaningful relationship, characterised initially by trespass, then by an understanding of past misgivings, and finally, by a commitment to future meetings of the mindful. In Metafisica Australe 2017, the two artists riff off the record-breaking Five Stories painting, bringing myriad layers into focus, including their own tale of entangled trajectories, and with that, another great story of Australian art. In this work, they consider some of Australian art’s many ‘intractables’: the ethical dimensions of non-Indigenous artists referencing Indigenous art; the evolution of protocols and permissions in an age where sampling and repurposing is ‘normalised’; and even the potential for art to ‘sing’ in a postcolonial moment. It is, perhaps, a leading example of practical, as well as symbolic, reconciliation. Simon Wright is Assistant Director, Learning and Public Engagement, QAGOMA. In a previous role, he documented the first meeting of Kumantje (Michael Nelson) Jagamara AM and Imants Tillers in 2001, and has since developed exhibitions and collections featuring both artists. Watch as the 72 canvas boards of ‘Metafisica Australe‘ are installed Their story The Queensland Art Gallery | Gallery of Modern Art acknowledges the Traditional Owners of the land on which the Gallery stands in Brisbane. We pay respect to Aboriginal and Torres Strait Islander Elders past and present and, in the spirit of reconciliation, acknowledge the immense creative contribution First Australians make to the art and culture of this country. It is customary in many Indigenous communities not to mention the name or reproduce photographs of the deceased. All such mentions and photographs on the QAGOMA Blog are with permission, however, care and discretion should be exercised. Featured image: Kumantje (Michael Nelson) Jagamara AM with Metafisica Australe, from ‘Thrown Into This World’ 2017 by Antra Cilinska / © Juris Podnieks Studio, Latvia