Business of Design: Sorrento Contemporary and the legacy of Indigenous creativity
Lilli Murphy
December 2024Australian Indigenous art captivates audiences with its beauty and storytelling, weaving heritage, landscapes, and ancestral wisdom into each brushstroke and pattern. In this article, we talk to Adam Knight, a distinguished Australian art curator, whose career has been instrumental in bringing Indigenous art to the forefront. As the visionary behind seven art galleries, including Mitchelton, Gallery of Aboriginal Art, and the recently opened Sorrento Contemporary, Knight is committed to showcasing the richness and diversity of Aboriginal Art to both local and international audiences.
Sorrento Contemporary located on Victoria’s scenic Mornington Peninsula, offers an impressive permanent collection that champions both emerging talents and acclaimed Indigenous artists from across Australia.
What inspired you to open Sorrento Contemporary, and how does it reflect your vision for showcasing Indigenous art in Australia?
Our family were regular visitors to Sorrento and surrounds for many years. I love the feel of the area and the Peninsula in general. We purchased a home in Blairgowrie 2 years ago and I was keeping a constant eye out for vacant suitable spaces. I was delighted when our current location became available as the space offers great presentation to the street and allows us to present a large number of works to the public even if they choose not to physically enter the gallery.
How would you describe the role of Sorrento Contemporary compared to your other galleries and the broader Victorian art scene?
Most galleries are destination galleries with established clientele however Sorrento Contemporary, like our other galleries, are all located in tourist orientated locations as we have found this to be an exceptional way of introducing Indigenous art to a broader market. Based on the locations we exist, we have created many passionate collectors who may never have started collecting through traditional approaches.
You have dedicated your career to Indigenous art. What considerations go into selecting the works and the artists represented in your galleries?
As we have been in the industry for over 30 years, most of the artists we deal directly with, we have been dealing with either themselves or their family members for 20-30 years. This is a privileged position and one we take very seriously. We also work with 15 - 20 Government Art Centres, some of which support 100’s of artists. These relationships with art centres are long standing and highly valued. Selecting works is complicated as there are several considerations in doing so. Like many things in life, the longer you do something - the better you get. My eye for art has matured over my career and seems to serve me well.
How does Sorrento Contemporary connect with the local community and engage visitors from the Peninsula and beyond?
As we are a relatively new space we are continuing to engage with the local community and the region. We recently donated a painting to the Sorrento Sailing Couta Boat Club 2024/25 Fundraising Campaign and we are also an enthusiastic partner of the newly formed Sorrento Galleries Campaign, whereby the 9 galleries intend to work together to promote Sorrento as an art precinct. We will continue to forge new relationships and support local causes when opportunities present.
What’s on the horizon for Sorrento Contemporary?
We intend on conducting specific exhibitions representing high profile artists who we feel suit the gallery and location. One such artist is Kate Constantine, whose works have been very popular at Sorrento Contemporary since our opening. Kate is a proud Gadigal woman of the Eora nation and a neo-contemporary Indigenous artist. She is re-imagining the traditions of her peoples’ dot painters and providing a modern narrative for all Australians to better understand First Nations People as part of the fabric of Australia.
Our gallery changes views and starts conversations, and that is a wonderful outcome for all Australians.
Your gallery has gained a reputation for promoting Australian Indigenous artists and voices from the across the country. How do you see the role of these ar tists evolving in the global art market?
We have been fortunate enough to have worked with the identified founding artists of our movement. Artists such as Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri, and Rover Thomas; their individual styles have been elevated to a serious level internationally, and deservedly so.
Artists who essentially came slightly later but exercised a style in the most artistically gifted and beautiful way such as Sally Gabori, Warlimpirrnga Tjapaltjarri, Yukultji Napangati, Daniel Walbidi, and Vincent Namatjira have also risen to international acclaim. With the recent exhibitions and promotions by the likes of Steve Martin, and with support by industry leaders such as Larry Gagosian, the market appears very potent. The late Emily Kame Kngwarreye has a solo exhibition at the Tate Modern next year.
Can you share a memorable experience that’s reinforced your passion for the art business?
In general, the genuine enthusiasm received from the constant gallery visitors is a highlight. Visitors often comment that they didn't realise Aboriginal artwork was so beautiful and contemporary. Many people had the view that Aboriginal artwork was just dots or earthy colours, with many purchasers often saying they never thought they would
have bought a piece of Indigenous art for that reason. Our gallery changes views and starts conversations, and that is a wonderful outcome for all Australians.
Are there any emerging trends or movements within Indigenous art that you’re particularly excited about or believe will shape the future of the industry?
As art movements go, Aboriginal Art could be considered still in its infancy as it has been running for a relatively short period of time. It is the only art movement in our history to completely evolve out of itself, i.e. most other art movements are an evolution or adaption of a previous movement. Whilst the works are generated with cultural knowledge and wisdom, their outstanding visual cannot be ignored. The number of Aboriginal artists creating new, inventive, beautiful yet contemporary works derived from their cultural knowledge and ancestors is extraordinary, with new stars arising all the time. The second or third generation of artists is a very exciting progression to observe, with the collision of cultures from all over the world having an impact on Aboriginal Art. Aboriginal artists are now being considered amongst the most important contemporary artists - not just protectors and promoters of cultural knowledge.
Sorrento Contemporary | 85-99 Ocean Beach Road, Sorrento | sorrentocontemporary.com.au
