Transits and Returns is a collective of Indigenous arts workers which asserts complex, wide-ranging, contemporary Indigenous experiences including deep ancestral knowledges and global connections.
Transits and Returns is lead by Indigenous curators Sarah Biscarra Dilley (yak tityu tityu yak tiłhini Northern Chumash, Chicana), Freja Carmichael (Quandamooka), Léuli Lunaʻi Eshraghi (Sāmoa), Tarah Hogue (Métis, Dutch Canadian), Lana Lopesi (Sāmoa).
Sarah Biscarra Dilley is an artist, curator, and writer currently residing in the unceded homeland of the Chochenyo Ohlone people. A member of the yak tityu tityu yak tiłhini Northern Chumash tribe with relation to the sea at tsɨtxala in coastal California, she uses cut paper, archival material, handwork, language, and thread to illustrate place-making, displacement, and home.
Freja Carmichael is a Ngugi woman belonging to the Quandamooka People of Moreton Bay. She is a curator working alongside Aboriginal and Torres Strait Islander artists and communities on diverse exhibition projects. Her work is dedicated to the preservation and promotion of traditional fibre knowledge and collaborative curatorial approaches. Currently, Freja is the inaugural Macquarie Group collection First Nations emerging curator and a member of Blaklash Collective.
Léuli Eshraghi is an artist and curator visiting Kulin Nation lands and waters of Sāmoan, Persian, and other ancestries. His work centres on ceremonial-political practices, language renewal, and Indigenous futures throughout the Great Ocean. He exhibits and publishes regularly in Australia and abroad, and serves on the board of the Aboriginal Curatorial Collective (Canada), editorial advisory committee for un Magazine, and the Pacific advisory group to Melbourne Museum.
Tarah Hogue is a curator and writer of Métis and Dutch Canadian ancestry based in unceded Coast Salish territories in Vancouver, Canada. She is the inaugural Senior Curatorial Fellow, Indigenous Art at the Vancouver Art Gallery and co-organizer of the touring project, #callresponse. Her curatorial practice engages collaborative methodologies and a careful attentiveness to place in order to decentre colonial modes of perception within institutional spaces.
Lana Lopesi is a Sāmoan art critic based in Tāmaki Makaurau, Aotearoa New Zealand. Lana is the Editor-in-Chief for The Pantograph Punch, Editor for Design Assembly and founding editor of #500words. Lana’s writing has featured in a number of local and international publications in print and online.