Some of the best, most profound works of art are intricately tied to an artist’s personal life, and the same can be said about the latest project from Tarryn Love. The multi-talented artist, curator and producer is set to premiere her new artwork, ngaka - look here, as part of Rising festival’s collaboration with Fed Square, The Blak Infinite – a site for large-scale installations, new commissions and conversations by leading First Nations artists and writers. Love’s large-scale work will see her incredible illustrations of the night sky projected all over Fed Square, creating an immersive, astral experience.

“It’s going to be wrapping around the faces of the buildings on Fed Square,” she says. “I hope when people are walking in [and] stand in the middle that this artwork wraps around and you feel really immersed in the story. I hope this artwork brings in that sense of awe – of just how big the sky is.”

A proud Gunditjmara Keerray Woorroong woman, Love was born and raised on Wadawurrung Country. Central to her personal identity are her family roles as a koorroyarr, teenyeen ngapang, tyeentyeeyt ngapangyarr and wanoong ngeerrang – granddaughter, youngest daughter, youngest sister and proud aunty. Growing up, she learnt from her family to view her work as not only art-making, but also creative cultural expression.

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“I feel really lucky that through an arts practice and sharing my work through different projects and commissions, I get to really learn about who I am, and my family,” she says.

She’s since created impressive works across a wide range of media, including wood burning, painted possum skins, and digital illustrations. Last year, her illustrations of the night sky were transformed into approximately 500 custom-made panels that wrapped around the walls of the newly developed Geelong Arts Centre.

When commissioned to create a new work for The Blak Infinite, Love found the history of the location a major inspiration. “I really wanted to honour somewhere that is a place of connection and gathering for people,” she says. “You think about a lot of these places and where they’re built – they’re not built there for no reason. That would have already been a place, and has been a place, of connection and bringing mobs together for generations. I really wanted to honour it as a storytelling place.”

That sense of storytelling is an essential part of not only Love’s work, but the entire The Blak Infinite program. Taking over Fed Square for the duration of the festival, from June 1 to 16, it brings together seven artists, three new commissions, over 28 speakers and an array of events, all run for free. Curated by Kimberley Moulton (Yorta Yorta) and Kate ten Buuren (Taungurung), it features everything from major installations to intimate artist conversations, daily film screenings and children’s workshops. The important and illuminating works will explore a wide range of topics, from sovereign political and environmental movements, to connections to the cosmos and the endless possibilities of First Peoples’ futures.

Anchoring the works in Fed Square will be Kamilaroi, Kooma, Jiman and Gurang Gurang artist Richard Bell’s installation EMBASSY, inspired by the original Aboriginal Tent Embassy pitched on the grounds of Canberra’s Parliament House in 1972. EMBASSY has travelled across the world – most recently to the Turbine Hall of London’s Tate Modern, and to Documenta Fifteen in Kassel, Germany – addressing local differences in race and politics through talks and screenings. Visitors can listen to conversations in this free First Nations-led space that forges alternate futures and hosts dialogue in support of First Peoples rights.

Visitors will also see Girramay, Yidinji and Kuku Yalanji artist Tony Albert’s large-scale artwork BEAM ME UP The Art of Abduction, made in collaboration with ENOKi (Yorta Yorta/Dja Dja Wurrung), which explores themes of alienation and belonging through colourful installations, as well as a dedicated program for kids.

Also on the line-up is acclaimed Mununjali Yugambeh and Dutch writer Ellen van Neerven, and artists Kait James (Wadawurrung) and Michael Cook (Bidjara), whose artworks reclaim dominant narratives and present alternate realities. A supersized artwork by the late artist Josh Muir (Gunditjmara, Yorta Yorta, Barkindji), Bellow With Pride, Don’t Hide (2012), invites us to be bold and imagine our wildest dreams coming true.

“I’m really honoured to be showing alongside the other First Nations artists,” says Love. “A lot of the artists included in The Blak Infinite are people who I really look up to, and [I] just find their artwork incredible.”

And while each individual work is worth catching, the beauty of The Blak Infinite is how they all come together to weave a tapestry of First Nations stories.

“Seeing our works together, and seeing my projection, I hope people understand the infinite possibility of Blackfulla futures – how many different narratives and ways that we see the world and, as [co-curators] Kate and Kim say, our unlimited sovereign connections,” Love says. “Hopefully that comes through strongly – not just in my artwork but as a whole, as we show our work together.”

Broadsheet is a proud media partner of Fed Square.