JUGUN

Featuring works by Taz Clay, Danza Deacon, Loren Del Signore, Jo-Anne Driessens, Laila Duroux, Peter Faulkner, Danielle Gorogo, Oral Laurie, Val Smith, Kyra Togo and Penina Welch

January 17 – February 14, 2026

Jugun

Oral Laurie

Wiian-Wiian (Whian-Whian)  2025

acrylic on canvas,

70 x 100cm,

$2,500

 

"The word Wiian means clever-man or medicine-man to the Bundjalung nation of Northern NSW Wiian-Wiian (whian-whian) is a place of mysterious powers and spiritual beliefs. It is a CLEVER-MEN place where they'd go for specific knowledge of how to become a WIIAN (clever-man). Also, in this piece is the BUUN-BUUN (OWL), which represents spiritual guidance and serves as a protector and messenger to many tribes. As well as the GIBAM (MOON), which is very connected with Manifestation, Transformation, and is very significant for ceremonial purposes to a lot of tribes as well. "."

Jugun

Oral Laurie

Nimbuinji-Wiian (Nimbin-Clever-Man)  2025

acrylic on canvas,

$3,500

 

"The nimbuinji is a little hairy man who is very significant to the clan of the Widjabal Wia-bal people. The name Nimbin comes from NIMBUINJI. He represents deep knowledge and great power of the Nimbin rocks and the surrounding area. We believe he holds all knowledge of the Universe and only shares it with the clever men who pass certain initiations to become a Wiian."

Jugun

Taz Clay

Webster Creek  2025,

digital photograph. 

Jugun

Taz Clay

Walking on Widjabal Wia-bal early in the morning  2025,

digital photograph. 

Jugun

Jo-Anne Driessens

Guwa Kungku  2025,

Cotton textured rag and digital media,

60 x 90cm,

$1800

 

This photograph was captured while visiting Koa country.

 

"When I think about family, it is hard not to seperate the notion of ‘Jugun’ Country. Living over 1400km away from my Country, my role when I do have the privilege to visit, is to always be aware of how I am seeing and capturing ‘Jugun’ as a visual record before the ongoing colonial impacts alter the long co-existence of my ancestors have had with the land.

 

These selected photographs depict two very different notions of ‘Jugun’ (Country,) highlighting ways I record and stay connected to my family and ‘Jugun’ when living away from my family.

 

This photograph Guwa-Kungku presents a small insight into the ‘Jugun’ where my Great Grandmother was removed as a young woman. Having been impacted by the Aboriginal removal policies in Queensland and enduring several locations including Bogimbah Mission (K’Gari), Yarrabah Mission/ Community and finally ending up at (Barambah Mission) Cherbourg Aboriginal Community. When I visit Guwa-Koa Country now, I am in awe of the beauty, and strength of ‘Jugun’ and feel a sense of continuing responsibility to photograph and capture my own ways in seeing ‘Jugun’."

Jugun

Jo-Anne Driessens

Out on a Bunya limb  2024,

digital photograph on silver swiss Q metal mirror finish with matte varnish,

45 x 85cm,

$1800 (limited edition, 3/6 plus ap)

 

This photograph was taken at Musgrave Park in Brisbane, and was exhibited in ‘New Light: Photography Now + Then’ exhibition at the Museum of Brisbane.

 

"When I think about family, it is hard not to seperate the notion of ‘Jugun’ Country. Living over 1400km away from my Country, my role when I do have the privilege to visit, is to always be aware of how I am seeing and capturing ‘Jugun’ as a visual record before the ongoing colonial impacts alter the long co-existence of my ancestors have had with the land.

 

These selected photographs depict two very different notions of ‘Jugun’ (Country,) highlighting ways I record and stay connected to my family and ‘Jugun’ when living away from my family.

 

This photograph highlights the ‘bonyi’ or bunya which extends its original presence from the Bunya Mountains (Qld), down through Bundjalung ‘Jugun’ highlighting the important role of social gatherings for many language groups. Ensuring the exchange of cultural knowledge, marriage, ceremonies and centered on the harvest of ‘bonyi’ nuts. This particular photograph of the ‘bonyi' limb, was taken at Musgrave Park, Brisbane, which also holds another significant gathering place where many families have gathered since precolonisation and continues to this day for the ongoing cultural events activated amongst the urban and city infrastructure of South Brisbane."

Jugun

Danielle Gorogo

Skyworld  2025
acrylic on canvas,

60 x 50cm,
$2,500


"Much like the billions of stars that come together to form a galaxy, each one of us contributes to a larger network of energy that stretches across the cosmos. This interconnectedness highlights the concept of cosmic consciousness, which speaks to the spiritual notion that we are part of something much greater than ourselves.


Our individual actions and intentions have the power to resonate beyond our immediate surroundings, reaching out and influencing the universe in ways we might not always recognise. Embracing this idea can help us cultivate deeper connections not only with ourselves but also with those around us."

Jugun

Danielle Gorogo

Inner Earth  2025
acrylic on canvas,
150 x 30cm,
$5,000

 

"Inner Earth invites the viewer to experience the gravitational pull of depth – to comprehend that our connection to Country is not superficial; it is profound and eternal. Each stratum reveals not merely geology, but connection itself. These are the layers of Inner Earth, and simultaneously the layers of First Nations peoples whose relationship with Country extends deep into time, into spirit, where ancestral Knowledge is embedded.

 

This work constitutes a reflection of cultural and spiritual connection to Mother Earth. As a proud First Nations artist, I perceive the stories of Country not only surrounding me but residing within me. This painting explores the manifold layers that lie beneath the surface – both the physical strata of the earth and the cultural layers of knowledge, memory, and responsibility. We are the custodians, storytellers, and descendants of this land – a living archive. We are born from it, return to it, and are guided by it. The deeper we venture, the more we remember who we are."
 

Jugun

Danielle Gorogo

Inner Earth (detail)  2025
acrylic on canvas,
150 x 30cm,
$5,000

 

"Inner Earth invites the viewer to experience the gravitational pull of depth – to comprehend that our connection to Country is not superficial; it is profound and eternal. Each stratum reveals not merely geology, but connection itself. These are the layers of Inner Earth, and simultaneously the layers of First Nations peoples whose relationship with Country extends deep into time, into spirit, where ancestral Knowledge is embedded.

 

This work constitutes a reflection of cultural and spiritual connection to Mother Earth. As a proud First Nations artist, I perceive the stories of Country not only surrounding me but residing within me. This painting explores the manifold layers that lie beneath the surface – both the physical strata of the earth and the cultural layers of knowledge, memory, and responsibility. We are the custodians, storytellers, and descendants of this land – a living archive. We are born from it, return to it, and are guided by it. The deeper we venture, the more we remember who we are."

Jugun

Danielle Gorogo

Inner Earth (detail)  2025
acrylic on canvas,
150 x 30cm,
$5,000

 

"Inner Earth invites the viewer to experience the gravitational pull of depth – to comprehend that our connection to Country is not superficial; it is profound and eternal. Each stratum reveals not merely geology, but connection itself. These are the layers of Inner Earth, and simultaneously the layers of First Nations peoples whose relationship with Country extends deep into time, into spirit, where ancestral Knowledge is embedded.

 

This work constitutes a reflection of cultural and spiritual connection to Mother Earth. As a proud First Nations artist, I perceive the stories of Country not only surrounding me but residing within me. This painting explores the manifold layers that lie beneath the surface – both the physical strata of the earth and the cultural layers of knowledge, memory, and responsibility. We are the custodians, storytellers, and descendants of this land – a living archive. We are born from it, return to it, and are guided by it. The deeper we venture, the more we remember who we are."

Jugun

Danielle Gorogo

Cellular Dreaming  2025,

acrylic on canvas,

51x 61cm,

$3,500

 

"This work represents the sacred waters of the womb, where life first begins. Water cradles us in our earliest form, flowing through our cells and carrying the memory of our Ancestors. It is both the beginning of life and the beginning of connection – reminding us that water lives within us. 
For First Nations People, water is more than a resource – it is life itself.

 

From the time we are held in the sacred waters of the womb, water carries us, surrounds us, and sustains us. When we emerge into the world, water continues to guide our journey—through Ceremony, healing, and throughout our daily lives." 

Jugun

The Returning ‘Bulaan Dalang Galii Naa Gan Ngaa Leen Duu’ artists in residence camp workshop, Byron Bay, 2025.

OPENING 5:30 – 7:30PM SATURDAY 17 JANUARY 2026

Welcome to Country by Danza Deacon

Performance by Madi King

Following the group exhibition NYAA at the Boomalli Aboriginal Artists Cooperative in Sydney and group mural at Bay Leaf Cafe, the 2025 cohort of 'Bulaan Dalang Galii Naa Gan Ngaa Leen Duu' artists in residence will have their final exhibition at Lone Goat Gallery, Byron Bay.

The exhibition Jugun features works from 11 emerging artists Taz Clay, Danza Deacon, Loren Del, Jo-Anne Driessens, Laila Duroux, Peter Faulkner, Danielle Gorogo, Oral Laurie, Val Smith, Kyra Togo and Penina Welch. Each of these artists are connected to or living on Bundjalung Country and the exhibition was curated by residency artist mentor Kylie Caldwell. 

Jugun - Country 

Jugun (Country) is a long-lived bond that shapes our identity. Jugun (Country) is more than land and a place to live; it is a powerful spirit that embodies both the ancient and the new. As timeless as the eons yet as fresh as tomorrow, Jugun invites us to explore the connections that bind us to Country and to each other. Jugun yearns for deep relatedness and respectful mutualities, urging us to honour the interconnectedness of our co-existence.

Artists, through their visual stories, call us to look, connect, converse, and grow a deeper understanding of our reliance, experience and relationships with Jugun. 

'Bulaan Dalang Galii Naa Gan Ngaa Leen Duu' is a 12-month residency for First Nations creatives on Bundjalung Country, developed by The Returning Indigenous Corporation. It supports emerging artists by providing opportunities to connect, explore various art forms, and enhance their skills in the arts business. The program name was translated by Roy Gordon.

The Regional Arts Fund is an Australian Government initiative that supports sustainable cultural development in regional, remote and very remote Australia.

The 2025 Artist Residency program was made possible by the Australian Government’s Regional Arts Fund, provided through Regional Arts Australia and Regional Arts NSW. 

ARTIST BIOS

Taz Clay is a Kalkatunga Bwgcolman artist currently residing on Bundjalung in Lismore, on Widjabul Wiabal Lands. He began his art practice in 2013, motivated by a desire to tell stories that evoke emotional responses and reflect his cultural heritage. Taz's work primarily focuses on drawing, painting, and contemporary Indigenous line work. In 2024, he showcased his talent at the AARI Gallery in Lismore as part of an all-Indigenous group show. That same year, he was commissioned to collaborate with a group to create artwork for the Lismore Regional Gallery footpath as part of the Safer Cities program. In 2025, Taz was selected to participate in The Returnings Art and Culture residency.

Danza Kay Deacon is a Bundjalung artist with over 25 years of experience in vibrant paintings and wall hangings. Returning to art for therapy, she draws inspiration from her homelands and their spiritual essence. Her work explores themes of nature and culture, reflecting her heritage and inviting others to connect with the relationship between art and the natural world.

Loren Del Signore is a proud Bundjalung, Yaegl, and Italian artist from Ballina, where her stunning country inspires her artwork. She creates contemporary Aboriginal art known for its vibrant color palettes that vividly capture the essence of the land and its stories. Her work is informed by a unique feminine perspective and profoundly reflects her heritage. Each piece is more than just art; it is a vibrant celebration of culture and identity, featuring a rich visual display infused with saltwater and sunset hues. @ginibidesigns

Jo-Anne Driessens is a Guwa-Koa, Gungarri, Kuku Yalanji photographer, curator, and cultural advisor with over two decades of experience. Her work explores First Nations storytelling through photography, archives, and community engagement. Recent projects include New Light: Photography Now + Then (2024), Carbon_Dating (2024–25), and Viewpoints (2021–22). Jo-Anne has contributed extensively to cultural preservation and exhibition development across Australia, bringing a strong visual and curatorial voice to Indigenous histories, representation, and knowledge systems in both traditional and contemporary contexts. @driessensjoanne

Laila Duroux is an emerging Bundjalung-Gumbaynggirr artist recognised for her innovative use of materials and creative expression. She excels in drawing and has a passion for creating detailed small sculptures. Laila's artwork explores her imagination and plans to incorporate clay and wood in her future projects. Her art invites viewers to engage with a world of imaginative play, showcasing her ability to infuse life into her creations and foster a dialogue that transcends traditional artistic boundaries.

Peter Faulkner is a Bundjalung man from the Widjabul clan who has lived around Lismore his entire life. He listens deeply to Country, recognising the signs and messages it offers through nature—patterns that reveal what’s to come. Listening to the ancestors that communicate through these signs and shifts in energy; their presence is sometimes felt in the dance and song carried by the land. @peter.faulkner.3914

Danielle Gorogo is a multidisciplinary artist living in the Northern Rivers of New South Wales, close to her matriarchal Ancestors’ Country of Djanbun (Platypus) clan in the Washpool River area on Bundjalung Country. Her art weaves the rich threads of her First Nations, Papua New Guinean, Māori and Micronesian heritage into a vibrant tapestry of story and spirit.@daniellegorogo

Oral Laurie is a talented Yaegl - Widjabul Wiabal artist known for his vibrant artwork that reflects his rich cultural heritage. Raised in Lismore, Nimbin, Evans Head, and Yamba, Oral draws inspiration from his homelands and family stories. With over 20 years of experience, he specialises in acrylics, creating detailed depictions of tribal men and animal totems. Oral honors his father's and uncles' legacy by infusing his work with cultural significance, ensuring that their stories and traditions continue to thrive. @orallaurie

Val Smith is a Widjabul Wiabul woman, born and raised and currently living in Lismore. She uses various art forms to share her experiences from childhood through to Motherhood. Val’s art practice deepens and strengthens her connection to culture. She offers an array of prints and textiles adorned with original artwork, alongside ceramic and woven pieces, with a deep commitment to accessibility, crafting works that honour all bodies and creating artworks that are inclusive across the spectrum of socio-economic backgrounds. Val has exhibited alongside her daughter Nunja at Lismore based gallery Amarina AARI and has aspirations to exhibit more in her home town. @val_smith_art

Kyra Togo is a proud Minyungbal, Tagalaka and South Sea Island woman. Her primary medium of expression is weaving, favouring the most available fibres in her surroundings, such as Pandanus, Lomandra, and Raffia. Preserving cultural fibre knowledge, Kyra creates woven pieces that embody the beauty in functional artworks. She carries the continuation of weaving craft passed down by her ancestors and can now pass that on to her three children while living on Country. On her journey of reclaiming ancestral knowledge and traditional ways of being through song, dance and story, weaving is an essential practice that helps her to realign her spirit, remember the stories of her old people and honour and respect Country – never harming or taking more than is needed to create art and woven works. @minyunbalgal

Penina Welch is an emerging multi-disciplinary artist whose matriarchal land is Yaegl and patriarchal land is Widjabul Wiabul, part of the Bundjalung nation. Inspired by Country and the intrinsic memory of her long standing culture, Penina creates art that is heart focused and expresses the stories of Bundjalung life and community, her practice includes painting and weaving. Penina first exhibited in the group show “This Place” with Serpentine Gallery in Lismore. @ninaw_84