James Tylor, Pardu (2025)

Artist Statement

Pardu is a daguerreotype photographic series of Kaurna animals. Most animals documented in the Kaurna language were recorded in the colonial period of the 1830s and 1840s by European colonists. Most names were documented in word lists with simple written descriptions, making identifying the exact species difficult for the contemporary Kaurna language community. In only one instance, bird specimens were collected along with their Kaurna names, but unfortunately, the list of names and the bird specimens were separated, and the bird’s current location are unknown. Technologies such as drawing, painting, and daguerreotype photography were available to European colonists in Adelaide on the Kaurna nation; however, these technologies were not used to document Kaurna animal names. This series explores the hypothetical idea of what if the European colonists used the new Daguerreotype technology to catalogue Kaurna animals. If the colonists had used this technology and recorded the names, we would better understand Kaurna animal naming today.

Educational Information

A special selection of only Kaurna birds from the Pardu daguerreotypes series was made for The Neighbour at the Gate exhibition at the National Art School. Here is some interesting educational information about Kaurna bird naming. There are over 330 endemic species of birds in the Kaurna region on the Adelaide Plains of South Australia. Around 80 Kaurna names for bird species were recorded in the 19th century by German and British colonists in Adelaide. 76 of Kaurna names for birds are onomatopoeic and are based on the sound of bird calls. There are only 6 historical descriptive bird names: Warltu-arri Australian Ringneck, Mingkipina Kookaburra & Tutha-ipiti robin, Murta-ana-itya Chicken, Manimaninya Welcome Swallow & Warrukiti Barking owl. Below is a translation of historical descriptive.

Warrukiti (Barking owl): The Kaurna name refers to the barking sound of the owl’s call, which is similar to the “Warru” dog bark.

Warltu-arri (Australian ringneck parrot): The name translates “Warltu” line on the nape of the neck combined with the onomatopoeic name “(Ng)arri” of the purple crowned lorikeet.

Manimaninya (Welcome Swallow): The name translates roughly to “small brown goshawk”

Mingkipina (Kookaburra): The name means “happy person who laughs a lot”.

Tutha-ipiti (Red robin): The name means “grass orphan” and refers to a Kaurna cultural story about the bird.

Murta-ana-itya (Introduced Chicken): The name translates to “Very large amount of animal faeces”.

In contrast to the Kaurna naming system, which uses a majority of onomatopoeic naming for birds with a few descriptive names. The English common naming system of Australian bird species is largely made up of descriptive names with only a limited amount of onomatopoeic names of bird calls. It is important to note that onomatopoeic names of bird calls in English were generally adopted from Indigenous names, such as Kookaburra from the Wiradjuri language.

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Due to the overwhelming interest in The Neighbour at the Gate, we are excited to announce that the NAS Gallery is now open on Sunday, for the duration of the exhibition. 

Head to the link in bio to plan your visit.
Ever wondered what it’s like studying at the National Art School?

Find out at our Open Day on Saturday 6 September, 10am to 4pm.

Considering art as a career or simply curious about what happens behind the school’s historic sandstone walls? Save the date on Eventbrite (link in bio) to see what life is like for students at NAS by participating in studio demonstrations, chatting to our academic staff and visiting the NAS Gallery and student exhibition spaces across our campus.
The National Art School was saddened to hear of the recent death of artist and NAS alumnus Bruce Goold (1948-2025).

Born in Newcastle in 1948, from 1961- 65 Bruce attended Sydney Grammar School, where he studied art with ceramicist and potter Gordon McCausland. This was followed by a year at the National Art School, Newcastle. Here he experimented with various mediums and made his first linocut. He then studied at the National Art School, c. 1967-68. 

Bruce was a member of the artist collective Yellow House between 1970-72. The former Clune Gallery in Kings Cross was transformed by Martin Sharp and a group of fellow artists, who painted the exterior bright yellow and covered its internal walls with murals, portraits and decoration. Artists such as Brett Whiteley, Peter Wright, Bruce Goold, Greg Weight and Peter Kingston turned the building into an artwork, while visiting bands and celebrities made it a regular fixture of the Sydney scene.

Known principally as a printmaker, Goold created coloured linocuts and woodblocks including many images of Australian flora and fauna, as well as South Pacific inspired esoteric and symbolic subjects. He held solo exhibitions in Sydney, Melbourne and internationally in London and Ireland. He received major commissions for poster, logo and interior design and worked as a designer for Mambo from 1992. 

A retrospective exhibition, Bruce Goold, Artist, Designer, Printmaker, curated by Therese Kenyon, was held at Manly Art Gallery & Museum in 2008.
The National Art School extends its sympathies to Bruce’s family and many friends.
—
Greg Weight, 'Bruce Goold', 1998, NAS Collection
Got a young artist at home?

Art Club Term 3 is now open for enrolment — and we’ve got an exciting painting program lined up. This term, kids will explore styles like Expressive Acrylics and Contemporary Watercolour, all while building their confidence and creativity.

Monday afternoons, led by artist and educator Grant Bellamy. 

Visit the link in bio to learn more and enrol.
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