b. 1973, Australia

Yhonnie Scarce Biography

Yhonnie Scarce is an Australian artist and descendent of the Kokatha and Nukunu peoples, known for her glass-based sculptures and installations that address the lingering effects of colonisation on modern-day Australia.

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Combining research, archival material, and family history, Scarce brings attention to the historical displacement and exploitation of Aboriginal peoples as well as the discrimination that continues to affect Indigenous communities in contemporary Australian society.

Thunder Raining Poison

Yhonnie Scarce's hand-blown glass sculptures often assume the shape of bush food, serving as a conduit through which the artist addresses the lesser-known aspects of Australian history. The large-scale installation Thunder Raining Poison (2015), for example, references the British nuclear tests at Maralinga in the 1950s through a cascade of more than 2,000 glass yams suspended from the ceiling. In Strontium — 90: Fallout Babies (2016), presented at Sydney Contemporary, Scarce places glass bush fruits in cribs to demonstrate the generational impact of the nuclear tests on Aboriginal communities, including her grandfather's and her own Kokatha Country.

National Gallery of Victoria Architecture Commission

In 2019, Yhonnie Scarce and the architecture studio Edition Office were awarded the National Gallery of Victoria Architecture Commission to present their collaboration In Absence at the NGV, Melbourne. Measuring 9 metres in height, the installation is a black wooden tower with an opening in the middle and reflective, black glass yams on its inside walls. The structure of In Absence evokes the traditional built structures and eel traps long employed by Indigenous communities, while its complex, glittering interior critiques the imperialist claim of terra nullius that served to justify the British colonisation of Australia.

Adelaide Biennial of Australian Art

In the dead house, conceived for the 2020 Adelaide Biennial of Australian Art: Monster Theatres, is an installation of 30 glass bush bananas staged at the Adelaide Botanic Gardens inside the Dead House, a stone structure that once acted as a mortuary. The bananas, rendered in semi-opaque white with fissures on their sides, were lined along tables and carts as if they were scientific specimens or organs on display. The artwork invokes the history of the Dead House, where the Scottish coroner William Ramsay Smith allegedly misused human remains in the mortuary, including those of Aboriginal peoples.

Curation

In 2019, Yhonnie Scarce and Claire Watson co-curated Violent Salt, a group exhibition that examines the prejudice and discrimination experienced by First Nation peoples and marginalised communities in Australia. Launched at Artspace Mackay, Queensland, Violent Salt is scheduled to tour Australia throughout 2021.

Solo and Group Exhibitions

Yhonnie Scarce has presented her work in Sydney Contemporary (2018), Sydney Biennale (2014), and the Venice Biennale (2013). Yhonnie Scarce: Missile Park, a major survey of her work, opened at the Australian Centre for Contemporary Art (ACCA), Melbourne, in March 2021. Jointly organised by ACCA and Brisbane's Institute of Modern Art, it considers the past fifteen years of Scarce's practice.

Past group exhibitions include Looking Glass: Judy Watson and Yhonnie Scarce, TarraWarra Museum of Art, Melbourne (2020); Ways of Being, Museum London, Ontario (2019); A Lightness of Spirit is the Measure of Happiness, ACCA, Melbourne (2018); Indigenous Australia: Masterworks from the National Gallery of Australia, National Gallery of Modern Art, New Delhi (2018); Colony: Frontier Wars, National Gallery of Victoria, Melbourne (2018); The National 2017: New Australian Art, Art Gallery of New South Wales, Sydney (2017); Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia (2015).

Sherry Paik | Ocula | 2021

Yhonnie Scarce Featured Artworks

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Working Class Man (Andamooka Opal Fields) by Yhonnie Scarce contemporary artwork painting, works on paper, drawing
Yhonnie Scarce Working Class Man (Andamooka Opal Fields), 2017 Inkjet print on cotton rag + frame. Installed with vintage metal bucket and hand blown glass yams
150 x 107 cm
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THIS IS NO FANTASY
In the dead house by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce In the dead house, 2020 Hand blown glass bush bananas and vintage mortuary trolley. Dimensions for trolley 650 wide 1740 long and 850 high. 30 pieces, blown glass dimensions variable
THIS IS NO FANTASY Contact Gallery
Family Portrait by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce Family Portrait, 2008 Found alcohol bottles, twine and wood, dimenions variable
THIS IS NO FANTASY Contact Gallery
Nucleus by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce Nucleus, 2021 Hand blown glass bush plums, dimensions variable
THIS IS NO FANTASY Contact Gallery
Barwell and Beverly - Andamooka Opal Fields by Yhonnie Scarce contemporary artwork print
Yhonnie Scarce Barwell and Beverly - Andamooka Opal Fields, 2019 Water based ink screen print, vintage tent, hand blown glass
250 x 172 cm
THIS IS NO FANTASY Contact Gallery
Hollowing Earth by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce Hollowing Earth, 2016–2017 Blown and hot formed Uranium glass
THIS IS NO FANTASY Contact Gallery
Fallout Babies by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce Fallout Babies, 2016 Blown glass, acrylic and found hospital cribs
THIS IS NO FANTASY Contact Gallery
Only a Mother Could Love Them by Yhonnie Scarce contemporary artwork sculpture
Yhonnie Scarce Only a Mother Could Love Them, 2016 Blown glass and mortuary table
THIS IS NO FANTASY Contact Gallery

Yhonnie Scarce Recent Exhibitions

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Yhonnie Scarce Represented By

Yhonnie Scarce In Ocula Magazine

Yhonnie Scarce In Related Press

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