Steven Scotty_Floorplan

Main Gallery:

1. Steven Rhall, Approx. 45º, 2021. Wall painting. Dimensions variable.

2. Steven Rhall, Satellite Screen, 2021. Black and white monitor sculpture. Dimensions variable.

3. Steven Rhall, Element 3, 2021. Wall cable sculpture. Dimensions variable.

4. Steven Rhall, House speakers, 2021. Two speakers on floor, audio. Dimensions variable.

5. Steven Rhall, Deconstructed Aboriginal Flag, 2021. Fabric, flag poles, finials. Dimensions variable.

6. Steven Rhall, Video on East Wall, 2021. Video. Dimensions variable.

7. Steven Rhall, Solid Rock – speaker as sculpture, 2021. Outdoor Jamo speaker. Dimensions variable.

8. Steven Rhall, Video on North Wall, 2021. Video. Dimensions variable.

9. Steven Rhall, Theatre Blak, 2021. Black velvet curtain. Dimensions variable.

10. Steven Rhall, Deconstructed vitrine, 2021. Repurposed glass, Tasmanian timber. Dimensions variable.

11. Steven Rhall, Display assortment, 1985-2021. Possum pelt, fired ceramic with glaze (1985), black and white monitor, video camera, text books, various years. Dimensions variable.

12. Steven Rhall, Cultural Capital and Labour exchange, 2021. Participatory collaboration Dimensions variable.


West Space Window:

12. Yasbelle Kerkow, Cyclone Food, 2018. Cotton Cord, shells, Pacific Corned Beef Can. Dimensions variable.




Big Pharmakon is a transdisciplinary project exploring the relationship between First Nations artists and the institution, in their various physical, bureaucratic and political forms. Physically bound by the West Space gallery, Big Pharmakon employs ‘exhibition as form’ in response to the presentation of art by First Nations people, positing the exhibition as a slippery site of colonial power. Through multichannel video, performance and installation, Big Pharmakon unpacks inherited colonial power that continues to influence how First Nations people produce and present creative outcomes and the ways these practices are located within artistic and museological histories. This project builds upon Rhall’s recent projects that respond to the positioning, politics and experiences of the First Nations artist working within the colonised space.

"Cyclone Food"

“Cyclone Food” Series is a comment on food security as a consequence of climate-change related extreme weather occurrences. My mother colloquially calls tinned food “Cyclone Food”, as these non-perishables are eaten during and immediately post cyclones. Crop destruction as a consequence of extreme weather activity subsequently leads to increased food prices making these cheaper and unhealthier options more economical staples.

FMF Breakfast Crackers and Pacific Corned Beef are easily recognisable foods in the Islands. Leftover corned beef tins are turned into building blocks for children’s toys, FMF Breakfast Crackers tins are turned into drum kits. Fijian in-jokes, if you know, you know.

Steven Rhall is a post-conceptual artist operating from a First Nation, white-passing, cis male, positionality. Rhall’s interdisciplinary practice responds to the intersectionality of First Nation art practice and the Western art canon. He interrogates modes of representation, classification and hierarchy using installation, performance, process lead methodologies, ‘curatorial’ projects, sculpture, and via public & private interventions. Rhall exhibits internationally, lectures at the Victorian College of the Arts, is a PhD candidate at Monash University on Birrarung-ga land (Melbourne, Australia).


Yasbelle Kerkow is an Australian-born, Fijian (vasu Batiki, Lomaiviti) artist. Her work focuses on promoting Pacific communities and their stories in Australia. She is a community arts facilitator and leader of the Kulin Nations (Melbourne) based art collective New Wayfinders. Yasbelle has recently exhibited at IMA Brisbane in the 2020 Churchie Emerging Art Prize, and is a participant in 2021’s Makeshift Publics at Arts House. In 2019 she participated in Next Wave’s Kickstart Program, and in 2018 Footscray Community Art Centre’s Emerging Cultural Leaders program.