Kent Morris

Barkindji artist Kent Morris, who lives and works on Yalukit Willam Country in Naarm/Melbourne, offers a unique perspective on the environment through a First Peoples lens. His artwork highlights First Peoples histories, knowledge systems, and cultural narratives that are woven into Country. Recently, our team collaborated with Tourism North East and Morris on an installation titled 'Bogong Moth' at Eurobin in Victorias Alpine region, guided by the curatorial vision known as “True Horizons.” This project serves as a platform for truth-telling and reflection, encouraging visitors to contemplate the significance of the horizon today had First Nations peoples been able to thrive uninterrupted for millennia.

The Bogong Moth installation pays homage to one of Australia's most extraordinary migrations and the vital cultural connections it has fostered over thousands of years. For at least 65 generations, First Nations communities have harmoniously engaged with the arrival of the bogong moth in the Alpine region, creating opportunities for ceremony, trade, knowledge sharing, and cultural continuity. Morris draws from his own ties to the Barka (Darling River) to illustrate the moth as a potent emblem of movement and interconnectedness, showcasing the continuous presence of First Peoples' culture and knowledge in contemporary society.

Morris’s artwork comprises three major elements positioned on the site: the Bogong sculpture, the animals, and the coolamons.

The Bogong Sculpture features a cast-aluminium moth suspended above sweeping aluminium arcs that represent its migration pathways. These migration lines, constructed from rolled aluminium and finished with automotive paint, evoke a sense of movement, while a granite plinth anchors the piece, adorned with a subtle diamond. The animals are depicted in four sculptural panels that portray local species, crafted from layered aluminium plates, allowing for interaction from multiple perspectives.

This sculpture honours the cultural and ecological significance of the bogong moth, while asking a powerful question: will this work become a remembrance of a species now vanished – or a celebration of its continued survival?

The installation also includes three sculptural coolamons, hand-sculpted in pattern-making and cast in bronze, enhancing the cultural significance of these vessels. Each coolamon features textured surfaces and a bronze patina, imbuing them with warmth and depth. Skillfully anchored to granite boulders, these sculptures appear to have naturally emerged from the landscape, further reinforcing the themes of interconnectedness and the importance of caring for Country, while creating space for the often-overlooked stories and perspectives of First Peoples.

Their etched designs on the Coolamons represent generations of continuous knowledge and connection. Though empty, they hold deep meaning and prompt us to reflect on what has been passed down and what remains.