Indiah Money – A Sight for Sore Eyes

A Sight For Sore Eyes at Blak Dot Gallery 23 January—9 February 2020. Co-curated by Kulin country-based artists, Pibbulman NOONGAR visual artist Pierra Van Sparkes, and Wiradjuri writer and visual Artist Indiah Money. Artists exhibiting included: Isabella Whāwhai Waru, Caleb Thaiday, Charlotte Allingham, Jazz Money, Neika Lehman, and Yvette Holt.

Wiradjuri writer and visual artist Indiah Money (l) with Pibbulman Noongar visual artist Pierra Van Sparkes

It feels surreal that the show Pierra and I put on was only in late January of 2020. It’s been a year of natural disasters. At the time of us putting together our exhibition, many people across the continent had been devastated by bush fires that consumed so much. While the show wasn’t directly paying homage to this, the fires that burnt rapidly were very present in our minds.

Our eyes are sore but in a good way. While smoke has been getting in and making them tight with ash and death; were able to make sight of what good is to come. We have our eyes set on a future that we can create. For us. By us.

What do you see? Is it a place, person, a story? Is it coming, has it been? Tell us what youre longing for, sib. Share your sight as we share this sanctuary.

For Midsumma 2020, Pierra Van Sparkes and I co-curated an exhibition that took place on the stolen lands of the Woi Wurrung people at Blak Dot gallery, Brunswick, Melbourne. We are both Aboriginal, queer artists that love our communities and wanted to create an exhibition for space to be held by queer

(Top left) Neika Lehman—Heartbreak Hotel; (Top and bottom right) Isabella Whāwhai Waru—The capacity for growth; (bottom left) Caleb Thaiday—When the Music Fades

First Nation artists, for other queer First Nation artists. It was important for the exhibition to be intergenerational in paying respects to queer mob who paved the way for us to exist in the capacity we can today. These artists brought different aspects to the show such as digital print work, installations, poetry, video and sound work.

Queer mob have always existed. The gender binary as we know it today is a colonial weapon. Heteronormativity is supremacist tool that doesn’t exist. We are queer and we are deadly.

Water Song

welcome to the waters
old friend welcome me
back into your loving
embrace that I’ve met
but before wasn’t the
right time
it was in a public
puddle and the light
shone in ways that
were more predictable
small body kissing tiles
big colours
then big arms stole
you away from me
sweet water
welcome me into the
numbing state of
a reliable constant
and we can dance slow
whispering shivers on my skin
now we can
nourish together
feed one another
flourish in ways that
change and grow
just us and all our
we can become one
after all these years
of being birthed by you
cared for by you
just your stones
caressing softened flesh
now back home
in a place of comfort
stones smooth
from the running water
fast pace
wearing them away
almost soft             — Indiah Money


Jazz Money—This Healing Land


Indiah Money is a queer Wiradjuri non-binary person who was raised on Kulin Nations and continues to reside there. Indiah’s practice includes visual art, written work, installations, performance art and more. These are done with strong recurring themes of colonialism, assimilation, skin colour, gender, mental illness, sexuality, climate change, stolen generations, identity as well as critiquing the Eurocentric western idealised structure that each person in Australia is forced to maintain.

Charlotte Allingham – Here to Stay

Back to Bent Street 4.2