EDITOR’S NOTE
Throughout this issue of Artist Profile, inner and outer conversations that are searching for the proper order of these opposites are very noticeable.

On 14 October Australians were asked to look inward and vote in a referendum on whether to alter the Constitution to acknowledge the First Peoples of Australia by establishing a body called the Aboriginal and Torres Strait Islander Voice. Kuku Yalanji and Waanyi woman, Lydia Miller has reflected on the referendum decision.

Khaled Sabsabi has, for many years, turned inwards to his Sufi faith to find the inspiration and innovation for his work, whether in video, painting, sculpture or other media. His Sufism is neither above nor below any system of knowledge. Khaled has said, “With spirituality, it is really important for individuals to find their own way. And their own path.” Farid Farid’s cover essay on Khaled delves further into his Sufi beliefs to examine two of his latest works: Buraq, to be exhibited at Jakarta’s Museum MACAN in November, and Knowing Beyond, which will be seen in the 18th Adelaide Biennial of Australian Art next year. These exhibitions add to the celebrations this year of his extraordinary achievements. Our publisher, Bandicoot, launched his monograph at Campbelltown Arts Centre, Sydney, in May. In September he was awarded the inaugural Creative Australia Award for Visual Arts. And he is about to launch his largest public artwork at Barangaroo, Sydney.

As Lilian Cameron’s essay shows, the Adelaide Biennial will offer many approaches to conversations about contemplation and expression.

Effy Alexakis’ photograph of Kirtika Kain sorting through her paintings includes a portrait of Dr. Bhimrao Ramji Ambedkar. Dr. Ambedkar was a lifelong social justice and civil rights activist for the “untouchable” Dalit caste in India. Kirtika speaks to Nikita Holcombe about her Dalit heritage, her inspiration for the paintings in Blue Bloods, her exhibition at Roslyn Oxley9 Gallery in Sydney.

Ipswich based artist Leonard Brown travelled, courtesy of Mona, to Hobart, to review their Heavenly Beings: Icons of the Christian Orthodox World exhibition. Read why Leonard is overwhelmed by the exhibition’s brilliance. And why Leonard prioritises the inner philosophy of the Holy Ikon and dismisses academic, superficial consideration of these material objects as cultural products.

In October the visual arts community lost a national leader with the death of Prof. Ted Snell AM, CitWA. I had the pleasure of working with Ted in 2008-11 when he was the Chair of the Visual Arts Board of the Australia Council for the Arts. Ted’s passion for the visual arts was founded in professionalism. He was always on the lookout for new ways to elevate artists and their work. Among Ted’s many achievements and roles he managed to be a regular writer for Artist Profile. Ted will be deeply missed.

Thank you to all who have supported and contributed to this issue of Artist Profile. This is just a small selection of the inner and outer conversations that will intrigue you in this issue.

Kon Gouriotis
Editor

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