������

Maree Clarke (Boon Wurrung, Mutti Mutti, Wamba Wamba, Yorta Yorta First Nations people of southeast Australia) lives in Melbourne (Australia). Clarke is an acclaimed contemporary artist and a pivotal figure in the reclamation of south-east Australian Indigenous art practices. Her continuing desire to affirm and reconnect with her cultural heritage has seen her regenerate cultural knowledge though both referencing customary practice, research in museum collections and forging a new and contemporary approach to unifying the past and the present. Multidisciplinary in her practice, Clarkes work references ceremonies, rituals and language of her Ancestors and reveal her long held ambitions to facilitate cross-cultural and transnational dialogues about the ongoing effects of colonisation. Maree Clarke has exhibited widely both nationally and internationally, and in 2021 she was the subject of a major survey exhibition Maree Clarke – Ancestral Memories at the National Gallery of Victoria. Other recent exhibitions include Future River: When the past flows, Counihan Gallery Melbourne, Tarnanthi, Art Gallery of South Australia, Adelaide (2021), The N���پ��DzԲ���, Museum of Contemporary Art Sydney (2021), Reversible Destiny, Tokyo Photographic Museum, Tokyo Japan (2021).

Kimberley Moulton is a Yorta Yorta woman who lives and works on Wurundjeri/ Boonwurrung lands, Melbourne, and London, England. She is Adjunct Curator, First Nations and Indigenous Art at ������ and Senior Curator at RISING, Melbourne’s international arts festival. Moulton was previously Senior Curator, First Peoples Collection at Museums Victoria (2016-2023). She works with knowledge, histories and futures at the intersection of historical collections and contemporary art. Her practice works to rethink global art histories and extend what exhibitions and research in and out of institutions can be for First Peoples communities and artists more broadly. She is currently a PhD candidate in curatorial practice with the Wominjeka Djeembana Indigeneous Research Lab Monash University. Her board roles include Deputy Chair of the Board Shepparton Art Museum and member of the Board for the Adam Briggs Foundation. In 2025 Kimberley is curating the Tarrawarra Biennale

Outi Pieski is a Sámi visual artist based in Ohcejohka (Utsjoki), Finnish side of Sápmi. Her paintings and installations delve with the Arctic region and the interdependence of nature and culture practicing radical softness. Her work combines craft traditions as somatic and familial vocabularies called duodji to reopen conversations about the Sámi people within transnational discourses in the region of Sápmi, which now includes the northern part of Scandinavia and Kola peninsula in Russia. Pieski opens intergenerational dialogues around knowledge of the handmade as a feminist articulation—toward a transfer of consciousness of Land as a legal person, and an act against forgetting the protocols of dialogue with land. Pieski raises questions around revitalisation, rematriation and actualisation of the larger biocultural reality of the Sámi people. Since graduating from the Finnish Academy of Fine Arts in Helsinki (2000), Pieski has exhibited internationally for over two decades, most recently at Tate St Ives (2024); Gothenburg Biennial (2023); Gropius Bau, Berlin (2022); Bonniers Konsthall, Stockholm (2022); the Biennale of Sydney (2022); Gwangju Biennale (2021) and the Venice Biennale (2019) and Outi Pieski is represented in many collections, among others National Museum Collection in Norway, Moderna Museet, Museum of Contemporary Art Kiasma and the Sámi Dáiddamagasiidna – Sámi Art Collections in Norway. Pieski has received several awards, including the Finnish Academy of Fine Arts Award (2017), and the Finnish Cultural Foundation’s Grand Prize (2020).