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	<title>Dean Ansell</title>
	<link>https://dean-ansell.com</link>
	<description>Dean Ansell</description>
	<pubDate>Mon, 06 Apr 2026 05:28:49 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://dean-ansell.com/Home</link>

		<pubDate>Fri, 30 Aug 2024 04:06:56 +0000</pubDate>

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		<title>Ash in the Ancestral Mouth</title>
				
		<link>https://dean-ansell.com/Ash-in-the-Ancestral-Mouth</link>

		<pubDate>Mon, 06 Apr 2026 05:28:49 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

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Ash in the Ancestral Mouth
20 March 2026 - 02 May 2026 
Sawtooth ARI
Ash in the Ancestral Mouth is an installation that translates the artist’s native language of Balawaian into physical vibration and material presence. A shallow vessel of water resonates with recorded speech, producing ripples that render language as movement; felt, unstable, and ephemeral. The water becomes a resonant surface where voice exceeds the mouth and enters the body of the space. Across the gallery floor, charred copper fragments pressed into boulder fissures near a creek form a darkened ground, carrying traces of heat, pressure, and displacement. From the artist’s diasporic position in Australia, the work acts as a portal, an attempt to communicate across distance and time with his ancestors. 

Exhibition Soundscape ︎︎︎Metal dish, water, charred copper, bass shaker, electronics, looped audio, dimensions vary



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		<title>Ḡatu Ḡatu: Tidal Bloodlines</title>
				
		<link>https://dean-ansell.com/atu-atu-Tidal-Bloodlines</link>

		<pubDate>Mon, 06 Apr 2026 03:54:46 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

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Gatu Gatu: Tidal Bloodlines
24 January 2026 - 29 March 2026&#38;nbsp;

Institute of Modern Art
Ḡatu ḡatu (meaning tattoo) are traditionally inscribed on the skin of the Balawaian people of Rigo, Papua Niugini to signify status. The symbols act as physical and metaphoric channels on the surface of the installation—a conduit and archive for cultural knowledge to flow.Through the sculpture’s cyclical flow of water, the work draws parallels between tidal systems and the intergenerational transmission of cultural knowledge; emerging, shifting, and diluting over time. Remaining in constant flux, the work cannot be experienced the same way twice.Over the course of the exhibition, three live performances will activate the installation through sound, ritual, and technology. Created separately in collaboration with Nadeem Tiafau Eshraghi and Oscar Keating, the performances reinterpret oceanic sounds, stories, and mythologies through embodied and sonic practice.


A part of group exhibition, Platform, with artists Spencer Harvie and Seren Wagstaff.Performance Video Documentation&#38;nbsp;︎︎︎Exhibition Soundscape&#38;nbsp;︎︎︎Corten steel, mild steel, water, rust, water pump, looped audio, 7.5 x 3.64 x 2.55m, photo credits: Josef Ruckli and Katy Bedford





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		<title>ḡaumaḡauma (act of taming, recognition of the bloodline)</title>
				
		<link>https://dean-ansell.com/auma-auma-act-of-taming-recognition-of-the-bloodline</link>

		<pubDate>Wed, 11 Jun 2025 01:53:15 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/auma-auma-act-of-taming-recognition-of-the-bloodline</guid>

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gaumagauma (act of taming, recognition of the bloodline)
21 May 2025 - 28 June 2025


Bus Projects

Ḡaumaḡauma (pronounced ow-ma-ow-ma), meaning ‘the act of taming’ or ‘recognition of the bloodline’ in the Balawaian language, refers to both a spoken mantra and a ritual enacted when passing through sacred sites. Through this practice, ancestral spirits are alerted to the presence of kin, ensuring protection for those who pass.


Functioning as a transitional space, a threshold or portal, the gallery space is reimagined as a sacred site through which one moves from one state or realm to another. At both entryways to the gallery, a leaf with a hole hollowed out of its centre hangs in the doorframes. 
Traditionally, these magical leaves are used to ward off a great serpent, a mystical being invisible to the naked eye. In the ritual of ‘ḡaumaḡauma’, a protective rite, the leaf is ceremonially waved twice to the right and twice to the left, a gesture that prepares the body for passage and shields it from unseen forces.

Performance Video Documentation&#38;nbsp;︎︎︎Exhibition Soundscape&#38;nbsp;︎︎︎Floor tiles, soil, charcoal, salt, coconut shells, water, fishing line, embossed tracing paper, silver ink, pricked leaves, flint, needle, glass, acrylic, microphone, card, theremin, contact microphones, looped audio, dimensions vary, photo credits: Sebastian Kainey &#38;amp; Minh An Pham




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	<item>
		<title>A Narrow Strip Along A Steep Edge</title>
				
		<link>https://dean-ansell.com/A-Narrow-Strip-Along-A-Steep-Edge</link>

		<pubDate>Fri, 06 Jun 2025 00:41:59 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/A-Narrow-Strip-Along-A-Steep-Edge</guid>

		<description>
	&#60;img width="2362" height="2953" width_o="2362" height_o="2953" data-src="https://freight.cargo.site/t/original/i/e71bd36e6e2e21ebcfad5fd29a5ae7a4e1d07ba3876e38803e42b800aea3a776/INSTAGRAM-RATIO-ANSAASE-POSTER.png" data-mid="234234276" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/e71bd36e6e2e21ebcfad5fd29a5ae7a4e1d07ba3876e38803e42b800aea3a776/INSTAGRAM-RATIO-ANSAASE-POSTER.png" /&#62;


A Narrow Strip Along a Steep Edge

10.5.25 - 18.5.25


Fort Lytton National Park



A Narrow Strip Along a Steep Edge explores Fort Lytton as a paradoxical space—both a site of protection and exclusion, past and present, presence and absence. Haunted by unrealized futures, its casemates hold echoes of past violence, yet obsolescence offers the possibility of transformation. While the fort no longer guards against invasion, it continues to demarcate, to exclude, to tell stories of power. This exhibition invites eight contemporary artists to inhabit these lingering structures, reconsider inherited borders, and explore what emerges in borderlands when boundaries dissolve.

Rigirigi, a word from Ansell’s native tongue of Balawaian, means ‘animal trap’ or ‘at the edge’. It refers to an animal being hunted, at the edge of a cliff, a spear, a pit, or ultimately at the edge of death. Ansell’s work Rigirigi operates as a living, breathing trap, a machine-formed structure activated through live ritual performance. From this, a fractured soundscape emerges from where the collision of organic and industrial forces become palpable.Curated by Holly Eddington
Exhibition text by Holly EddingtonExhibition catalogue&#38;nbsp;︎︎︎

Roomsheet&#38;nbsp;︎︎︎Performance Video Documentation&#38;nbsp;︎︎︎

Poem interpreted as audio&#38;nbsp;︎︎︎


Machine, ball and chain, rock, magnifying glass, photograph on card, radio, looped audio, dimensions vary, photo credit: Mayukha Wijesooriya


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	<item>
		<title>The Rigorabana The Balawaia</title>
				
		<link>https://dean-ansell.com/The-Rigorabana-The-Balawaia</link>

		<pubDate>Sun, 01 Jun 2025 00:31:34 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/The-Rigorabana-The-Balawaia</guid>

		<description>
	&#60;img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/57b69b88440180862b5caf5978a9f3b0908ab12fa2eacfd49e07a99e9b1a2529/Promotional-Image-17-Poster.png" data-mid="233972698" border="0" data-scale="86" src="https://freight.cargo.site/w/1000/i/57b69b88440180862b5caf5978a9f3b0908ab12fa2eacfd49e07a99e9b1a2529/Promotional-Image-17-Poster.png" /&#62;



The Rigorabana, The Balawaia
25 April 2025 - 24 May 2025Outer Space Gallery

‬The Riḡorabana, The Balawaia is an immersive exhibition that explores Melanesian heritage, environmental processes, and the transmission of Indigenous knowledge through the lens of both ancestral and diasporic experiences. Weaving together familial storytelling, fieldwork, and cultural practices from Papua Niugini, the project interprets local mythologies surrounding the caves and boulders deep within the sacred mountain of Lamana Golo, where sorcerers are initiated. Centred on these sacred sites, where Ansell’s ancestors evolved, the project also connects local beliefs to natural weathering processes that mirror cultural transformation over time. Through soundscape and embodied performance, the story of the Riḡorabana and the Balawaia is told.In a recent visit to his ancestral homelands, Ansell observed the profound relationship between land, culture, and community. The exhibition examines material change as a metaphor for learning, where knowledge is gained through interaction with the land. Just as clay cracks, metals rust, and salt crystals form—signs of adaptation and continuity—so too does wisdom pass down through generations. Nature, in this way, is not merely a resource, but a partner in life, shaping and preserving indigenous wisdom. By weaving together natural weathering processes with traditional knowledge, the exhibition suggests that indigenous wisdom is etched into the land itself, reinforcing the idea that stories and the environment are intrinsically intertwined.
Artefacts of Pacifika labour found in Papua Niugini have been reimagined as sculptures and playable instruments. Spanning soundscape and embodied performance, this constructed natural environment will be the grounds for a story of the Riḡorabana and the Balawaia to be told.

Ansell has consulted with members of his family and Elders in the Balawaia community about this project and they have advised [him] that the cultural practices and ceremonies that have been documented and will be displayed are permitted and can be experienced by all.
Exhibition catalogue&#38;nbsp;︎︎︎
Performance Video Documentation&#38;nbsp;︎︎︎Performance at Fish Lane Video Documentation
︎︎︎The Rigorabana, The Balawaia Soundscape
︎︎︎
Plaster, hessian, charcoal, soil, chicken wire, wire, aluminium, plastic, water, kaolin clay, corten steel, rust, salts, fishing net, family photograph on aluminium, stone, contact microphones, looped audio, dimensions vary, photo credits: Louis Lim, Sara Szubek &#38;amp; Nick Cavendish





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	<item>
		<title>Hell is full of good meanings but heaven is full of good works</title>
				
		<link>https://dean-ansell.com/Hell-is-full-of-good-meanings-but-heaven-is-full-of-good-works-2</link>

		<pubDate>Wed, 28 May 2025 00:57:01 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/Hell-is-full-of-good-meanings-but-heaven-is-full-of-good-works-2</guid>

		<description>
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Hell is full of good meanings but heaven is full of good works

30 January 2025 - 28 February 2025Blindside Gallery

‬Hell is full of good meanings but heaven is full of good works‬‭ is an alternate proverb to‬‭ the road to hell is paved with good‬ intentions‬‭, both referencing the necessity for not only having or speaking positive intentions but enacting them. This exhibition is‬ a continuation of the presentation‬‭ The road to hell is paved with good intentions,‬‭ a group exhibition shown at Carpark Gallery,‬ Magandjin in August of 2024. While the original exhibition highlighted more the inevitability of the promise of eternal‬ damnation despite the best of intentions,‬‭ Hell is full of good meanings but heaven is full of good works‬‭ rather aims to discover‬ and aim towards a sense of freedom and‬‭ utopia‬‭ outside of the restrictions of a prevalent narrative, found through the perseverance‬ and ingenuity of f*gs (...and associates).‬

There are two key iterative works in this exhibition by‬‭ Dean Ansell‬‭ and‬‭ Tiana Jefferies.‬‭ These works create a thread that‬ connects the varying localities of thinking, making, and showing.‬‭ Eric Della Bosca, Stefa Panoschi, and Amy-Jean Mitchell‬‭ further‬ the investigations into‬‭ queer‬‭ extensions of yearning, empathy, desperation for connection, and divinity through creating‬ immersive installations, sculptures, and paintings - allowing a suspension into a‬‭ heaven that is full of good works‬‭ .‬
Artist Dean Ansell will be engaging in performance, Rubu Naka (II), that activates their work utilising unique musical instruments, ritual embodied practice, and traditional songs and spells passed down from their family in Papua Niugini. In its previous showing as a platform, Ansell performed atop the work, symbolically connecting it to a trembling ground. This original recording has been playing throughout the current exhibition leading up to Ansell’s second awakening of the work. The next performance will again introduce a new soundscape which will continue to play for the remainder of the exhibition at Blindside Gallery.&#38;nbsp;Curated by Kyle McIntyre
Exhibition Text by Kyle McIntyre

Exhibition catalogue&#38;nbsp;︎︎︎
Performance Video Documentation&#38;nbsp;︎︎︎



Medium density fibreboard, soil, charcoal, talismans,  inkjet print on parchment paper, coconut shells, water, teapot, kundu, weavings, bamboo comb, paper, instruments, lime pick, microphones, bass shakers, electronics, looped audio, dimensions vary, photo credit: Sebastian Kainey



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	</item>
		
		
	<item>
		<title>Tectonic Noise</title>
				
		<link>https://dean-ansell.com/Tectonic-Noise</link>

		<pubDate>Sun, 08 Sep 2024 00:58:11 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/Tectonic-Noise</guid>

		<description>&#60;img width="3840" height="2026" width_o="3840" height_o="2026" data-src="https://freight.cargo.site/t/original/i/f676997f7493b3196c205121f7476a36b34ad74490743add4ad2969d363daedb/Instagram-Post-V1-1-FULL.png" data-mid="217686864" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f676997f7493b3196c205121f7476a36b34ad74490743add4ad2969d363daedb/Instagram-Post-V1-1-FULL.png" /&#62;




	

Tectonic Noise
12 September 2024
Outer Space Gallery


Tectonic Noise is a sound response to Hannah Hallam-Eames’ exhibition Time Tunnels at Outer Space, Brisbane. Working collaboratively with dear friend and fellow sound artist Connor Andree-Evarts, we will sonically re-imagine Hannah’s field research regarding unstable terrain across glaciers, volcanoes, and the microorganism, radiolarian. Incorporating field recordings, live ritual performance, and unique instruments, an intimate soundscape will resonate through the Outer Space gallery, vibrating its interior.Video Documentation&#38;nbsp;︎︎︎plastic sheet, charcoal, ice, concrete shards, glass vessels, mortar and pestle, microphones, electronics, dimensions vary, 20:19 minutes, photo credit: Isabella Rose Cort







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	</item>
		
		
	<item>
		<title>The road to hell is paved with good intentions</title>
				
		<link>https://dean-ansell.com/The-road-to-hell-is-paved-with-good-intentions</link>

		<pubDate>Wed, 28 May 2025 05:21:12 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/The-road-to-hell-is-paved-with-good-intentions</guid>

		<description>
	&#60;img width="852" height="852" width_o="852" height_o="852" data-src="https://freight.cargo.site/t/original/i/a7e416d863617db94b6e2fe4e9677609ff3954cc61bf30b4a712d62e91fd8d2a/Rubu-Naka-Instagram-Poster-V5.png" data-mid="233815127" border="0" data-scale="58" src="https://freight.cargo.site/w/852/i/a7e416d863617db94b6e2fe4e9677609ff3954cc61bf30b4a712d62e91fd8d2a/Rubu-Naka-Instagram-Poster-V5.png" /&#62;



The road to hell is paved with good intentions

3 August 2024 - 31 August 2024Milani Carpark Gallery

The road to hell is paved with good intentions&#38;nbsp;is a group exhibition with artists Tiarna Jeffries, Brian Foong, and James Lemon that explores queerness through its entanglement with nature, inherited knowledge, and ancestry.Rubu Naka, meaning gathering place, is a wooden structure built in the Balawaian community in Rigo, Papua Niugini. Clansmen, elders, and tribal leaders would gather to discuss matters concerning the welfare and security of the community. Women and children were not allowed on or within its vicinity. Departing from these forms of ceremony within the Rubu Naka government, by performing atop a re-imagined Rubu Naka structure with my Queer non-binary body aims to circumvent these gender boundaries. Objects indicative of Melanesian gendered labour — a kundu (drum), a bilum, and soil for gardening — have been reinterpreted into musical instruments and will be played in a live performance.Audio residue from the performance will play alongside traditional magic spells and chants recorded in my motherland by my aunty and bubu. These oral traditions are passed down the Rigorabana bloodline and repeated for hunting, fighting, planting, and fishing.Curated by Kyle McIntyrePerformance Video Documentation&#38;nbsp;︎︎︎Exhibition catalogue&#38;nbsp;︎︎︎Medium density fibreboard, cardboard frame, terracotta, soil, metal lamp, banana plant, coconut shell, ceramic, talismans, instruments, parchment, microphones, contact speakers, bass shakers, electronics, looped audio, inkjet print on parchment paper, dimensions vary, photo credit: Carl Warner



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		<title>Second Nature, Third Space</title>
				
		<link>https://dean-ansell.com/Second-Nature-Third-Space</link>

		<pubDate>Tue, 03 Sep 2024 00:52:19 +0000</pubDate>

		<dc:creator>Dean Ansell</dc:creator>

		<guid isPermaLink="true">https://dean-ansell.com/Second-Nature-Third-Space</guid>

		<description>&#60;img width="2059" height="2059" width_o="2059" height_o="2059" data-src="https://freight.cargo.site/t/original/i/064f14585937ef8b3ff0a533924f9922ff48935d7d028fe15b57de723e7f6c1a/Poster-Square.png" data-mid="217686020" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/064f14585937ef8b3ff0a533924f9922ff48935d7d028fe15b57de723e7f6c1a/Poster-Square.png" /&#62;


	Second Nature, Third Space

8 March 2024 - 14 March 2024
Wreckers Artspace


When history isn’t recorded, it is kept in the earth.


Second Nature, Third Space is Dean Ansell’s first solo exhibition, an exploration into his ancestral bloodline, the Riḡorabana and the Balawaia, whose land reside in the Rigo area of Papua Niugini. He materialises his experience with geographic displacement by imprinting impressions of his familiar landscape and intertwining them with sound recordings sent from his motherland. Copper that bears scars of the environment, of creek boulder fissures located at his home alongside sounds recorded from Balawaian ancestral lands serve as a touch point to navigate his Melanesian diasporic position.

Through experimentation with earth materials such as water, copper, and wood, alongside the channelling of ancient Balawaian legend, lamentation, and ritual, this body of work poses the question of whether the gallery space can serve as a conduit for new land-scapes and cultural ‘third spaces’. Utilising contact microphones, audiences are invited to awaken the space, causing sounds to reverberate through its interior and resonate within materials from the natural environment.


Exhibition catalogue&#38;nbsp;︎︎︎
Copper anodized aluminium, stones, steel bowl, water, rust, hydrophone, instruments, vessel, pebbles, fiddlesticks, timber log, contact speakers, bass shaker, looped audio, dimensions vary


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