Colour of Sound

BBC radio documentary programme on the relationship between sound and colour explores Isaac Newton’s “optickal” theories...

"Music in the 17th and 18th centuries and long before wasn’t just the sound we heard, it was a bigger binding idea of a universal system of proportions, and ratios that connected the cosmos together".

Kadinsky later in the 20th century wrote

"Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul".

Pictured is Composition V11, 1913 by Wassily Kandinsky. 






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Reflecting on the Our City Our Culture 2008-2018 Cultural Plan for Redlands...

Memorably, I visited the tiny library at the back of the Point Lookout hall 10 years ago with my small baby to find butchers paper and fat marker pens on a table beckoning responses to questions about arts, culture and community. My opinion was being sort!

The consultative process for the Redland CIty Council Our City Our Culture 2008-2018 was second to none.

Life long friendships were developed and extraordinary collaborations enabled.

On the strength of that consultative process I curated public art in the University of Queensland's Moreton Bay Research Station (showcasing Quandamooka woman Belinda Close's work), I built festivals, as multi media artist I collaborated with island people from the sciences and education to rangers, and attracted Arts Queensland, Australia Council for the Arts, philanthropic monies and artists from around the country to the Redlands.

This cultural policy legitimated my earlier arts and cultural practice of several decades spanning Australia and Europe. I was inspired. It was chaperone and I witness to native title determinations on the island in 2011 and the emergence of the Quandamooka Festival, 2015.

The phenomena of 'artists in residencies' was mentioned in this document. I made artists' residencies the seeding and back ground of my work on Minjerriba (North Stradbroke ISland) 2009-2014, in particular with the Lines in the Sand ephemeral arts Festivals.

We respected 'indigenous protocols and practices' of caring for Country and embedded it into the fibre of our organisation concerned.

'Enterprise' (another noun from the policy) was activated during the Lines in the Sand Festivals with Craig Tapp's Mulung Art and sand ochre art launching in 2011.

This same year Lines in the Sand ran an event Quandamooka Celebrating and Sharing Culture which gave rise to a renaissance of traditional reed harvesting and weaving on the island and ensuing gallery exhibitions and workshops.

Having laid early ground work in events concerned with culture, country and community, Lines in the Sand deferred to the inaugural Quandamooka Festival in 2015.

The Mudlines artists' residencies on the Southern Moreton Bay islands are legacy of Lines in the Sand as is Migaloo Press with exhibition proposals current at the Redland Gallery. is a highly credible archive of this ongoing process; curating dynamic and responsive art making committed to local ecology and social change on the small islands of Moreton Bay. This website is a meaty asset to the Redlands filled with  film, galleries, resources and interviews laden with meaning. We created stories of local significance relevant to global audiences and are recognised in the global ephemeral or nature art movement. In 2013 we received good practice recognition from Creative Partnerships Australia and with endorsement from dozens of island businesses effected the typically quiet winter tourism market on the island.

Much of this work is included in scholarly writing by way of my most recent research work with QUT and at international Small Islands of the World Conference in 2017.

I can only hope that the next RCC cultural policy lends itself to inspiring a new generation of artists and cultural workers, seeding and nourishing ideas and building ecologies of creative possibility across its diverse geographic and cultural scapes.

Jo-Anne Fay Duncan


Two Island Tribute exhibition was staged at the Frank Moran Gallery July 17-22, 2017. An event celebration was held Friday July 21, 6pm.

Visiting exhibition participants/collaborators/patrons were welcomed, watered and fed. They conversed, listened, were entertained, educated, enthralled and activated. Women, children, elders, young people and men were present. All basic criteria of a micro utopia present and accounted for.

A story was beget with an invitation from Elisabeth Gondwe musarian of the North Stradbroke Island Historical Museum to host the exhibition on island. So to for the Mudlines Artists’ Residency, September 25 to October 1 on Canaipa (Russell Island).

There are ancient geologies and futures at stake with this development. The exhibition moves from the micro to aerial perspectives, with spoken, visual and written language communicating many voices and testament to the many values associated with the Bay. Vested interest should not take precedence over any or all of these.

Black Light Installation


3 DEC 2016 – 17 APR 2017

Rotation 1: 11 June – 30 October 2016
Rotation 2: 3 December 2016 – 17 April 2017

'A World View: The Tim Fairfax Gift' celebrates a decade of artworks acquired through the support of a single generous benefactor. Tim Fairfax's extraordinary commitment has brought major works by leading international artists into Queensland's Collection, for visitors to enjoy now and into the future.

Movement is at the centre of this exhibition: the movement of our own bodies dramatically framed by Tomás Saraceno's majestic webbed spheres, or reflected in the sublime geometry of Timo Nasseri's refracted universe or be mesmerised by Julian Opie's passing parade of humanity. 

'A World View' includes a new captivating light work by leading international artist Anthony McCall. Visitors step into shafts of intersecting light and are encompassed by the sound of breaking waves — an incredible sensory experience".

(Retrieved from January 30, 2017). 

Curating Art and Activism

The National Association for Visual Arts published this article on Infrastructural Activism. In my reading of it, I understood it to be addressed to galleries and those curating within buildings. A useful quote Prof Terry Smith states one must “change colour, shift shape, and start up again, differently, nearby, and across longer distances. These days, connectivity is a big part of making a place for art”.

Urban Gallery Curating

Urban Gallery Curating

My participation in the Flying Arts Alliance Curator Development Program resulted in the Shift exhibition at the Judith Wright Centre of Contemporary Art, Fortitude Valley December 8, 2016 - January 20, 2017.

Terry Smith (p.9) states there are many “challenges facing those for whom art remains the main avenue through which to understand our contemporaneity” and that at it’s best curating is grounded in processes of “conceptualisation, and is committed to the production of new knowledge”.

This exhibition was hosted within the infrastructure of Flying Arts Alliance, housed within Shopfront Gallery of the Judith Wright Centre of Contemporary Art - a facility of Arts Queensland.

If one is to be an arts infrastrusture advocate, as Prof Terry Smith states one must “change colour, shift shape, and start up again, differently, nearby, and across longer distances. These days, connectivity is a big part of making a place for art”.

Flying Arts Alliance is the new breed of arts organistion chaperoned by the hearts and minds of many through a decade of shrinking dollar for the arts and a disrespect afforded a vast ecology of arts across the nation.

Highlights of this exhibition for me were the hang of Jude Roberts work on paper, and Chris Bennie's digital visuals.

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