For the first time ever, in 2024 UQ Art Museum have been able to offer a curatorial internship for Aboriginal and Torres Strait Islander students studying at UQ, thanks to the generous support of First Nations studio, Blaklash, directed by Troy Casey and Amanda Hayman. This internship provides mentorship from curators and arts professionals across Blaklash and UQ Art Museum and represents an exciting step in fostering young and emerging First Nations art professionals in Queensland.
Following her successful appointment in February 2024, we are delighted to profile the Inaugural Blaklash Curatorial intern, Braelyn Rolf-Chase. Braelyn is a proud Ngugi woman from the Quandamooka Peoples’ of Mulgumpin (Moreton Island) and Minjerribah/Terangerri (North Stradbroke Island). Braelyn is in her second year at UQ, studying a Bachelor of Arts, majoring in Aboriginal Studies and Journalism.
According to Braelyn, her entry into the art world has been through her family; witnessing their thinkings, teachings and makings, as strong Saltwater peoples intervening in colonial discourses, and creating with the generational beauty of their Ancestors. Braelyn has also been guided throughout the art world by her Aunty, Libby Harward, and the space and community that is fostered by Munimba-Ja Arts Centre on Jinibara Country.
It was through this community and familial mentorship that Braelyn, “re-witnessed the power, love and excellence so entrenched in First Nations creating”. Braelyn is deeply grateful to her Aunty Libby Harward for the knowledge that has and continues to guide her.
We chatted with Braelyn one-on-one about her love of art and her experiences so far as the first ever Blaklash Curatorial Intern:
What do you love about connecting people with art?
I love the Storying and layered meanings in all the artworks. I love seeing and hearing all the different ways people connect and process what has been physically created by an artist, and with what the artist is saying. I especially love connecting Community with art that we haven’t yet seen, or had access to, and how these artworks can profoundly impact us because they tell our stories and speak on concepts and meanings that are our lives. I think that’s a really powerful thing because our stories are contributing to the artworks, and we also get to learn about our histories from other First Nations artists.
What have been your favourite aspects of your internship so far?
Some of my favorite aspects so far have been the knowledge and learnings that I have gained from research into renowned First Nations Artists and their works in the UQ Collection. I’ve loved the people and friends that I have connected with as well, but I think most of all I’ve loved the learnings, teachings and time spent with Aunty Freja Carmichael (Curator at UQ Art Museum). I feel unbelievably privileged to be mentored by a strong Ngugi Aunty, especially in an institutional space. I really love this because the curatorial knowledge that I am learning is also strengthened by the cultural epistemologies that are passed and storied to me by Aunty Freja in our shared belongings as Ngugi Women.
What have you been working on in your internship so far?
I’ve been working on a couple of things so far in the internship. From expanding my knowledge on First Nations artists and works, experiencing and learning install procedures, working with registration and gaining in depth knowledge about the UQ collection, to curatorial insight, and mentorship from some pretty cool people. I’ve loved every minute of it, and how I’ve been able to experience all the different aspects of curating. At the moment, I’m working on the next Collection Study Room display. It’s been really fulfilling, and the thinking behind the themes, relationality and specific works that I’ve pulled from the collection, have all been guided by the knowledge and love that my family and community have been instilled in me. In this display, I really wanted to centre Blak love and Community. I wanted to highlight the centrality of Kin and Community to First Nations artistic practice, and how important it is to return, and continue relationships with the people and places that raised us, and helped teach us who we are. I’ve loved being able to write and honour both artist and artwork throughout this display, and extended labels. This is important to me, because radical writing that returns autonomy to the works and the creator is how we dismantle colonial discourse, especially when discussing First Nations artworks. It’s been incredible to see this thinking come to life, and special because the concepts of this hang are personal to my life, and the lives of First Peoples that can see themselves within our stories.
What are you hoping to learn in this role?
I am hoping to strengthen my knowledge as an emerging curator and deepen my knowledge surrounding First Nations Artists and artworks. I would also like to learn how we can use art as a tool for self-determination in Community. I am hoping to strengthen my writing and critical thinking through witnessing, connecting and being mentored by renowned people’s who have inspired my thinkings.
Explore Braelyn’s latest intern project Wira to Djara, a display of artworks from the UQ Art Collection in the Alumni Friends of UQ Collection Study Room. Open to the public 1.30pm-3.00pm Fridays from Friday 11 October – Friday 13 December 2024.
