British Museum blog

London, a world city in 20 objects: Ilkurlka by Simon Hogan

Ilkurlka by Simon HoganPolly Bence, British Museum

This painting is one of almost 6,000 objects from Australia and the Torres Strait Islands in the British Museum. This is a growing collection; the Museum continues to acquire contemporary Indigenous Australian objects, including contemporary art works.

Ilkurlka by Simon Hogan

Ilkurlka by Simon Hogan

Ilkurlka was painted by Simon Hogan, a senior custodian of Linka, the place where he was born and raised in Western Australia, known as Spinifex country. The Spinifex people or Pila Nguru live in the Great Victoria Desert of Western Australia, adjoining the border with South Australia.

Hogan’s paintings tell stories from his land, depicting specific places within Spinifex country. As is often characteristic of this genre, the painting collapses time: it shows several successive events on top of each other. The large U-shape in the painting is a rockhole with water in it known as Ilkurlka and the trees are mulga trees (wanarii). When describing this painting Hogan explained: ‘those trees belong to that place’.

The painting tells the story of a man who was camping at this rockhole. He woke up and travelled to another place where there was a very powerful watersnake that he was trying to capture.

In describing the painting the artist explained that in it the man is trying to eat the snake and at the same time he has eaten it – he is both a man and a snake. The oval shape depicts the man lying down, feeling sick having eaten the snake – but the man now has a great deal of power.

During the atomic tests at Maralinga in western South Australia during the mid-1950s, the Spinifex people were driven from their homelands. Many found themselves dispersed and others were forcibly relocated to mission stations hundreds of miles away. In the 1980s people returned to their land to find that specific settlement areas had been designated for them and some areas had been selected for mining.

The 1990s saw an arduous and lengthy period of negotiations over land rights and native title claims, and it was during this period that the Spinifex Arts Project was developed to help the group document and illustrate their Native Title claims. This decade of discussion culminated in 2000 with ground-breaking legislation and a new understanding: Spinifex people were finally recognised as the traditional owners of 55,000 square kilometres of land in Western Australia. Spinifex artists produce work to demonstrate and share their complex history and traditions.

The British Museum is working towards a major Indigenous Australian exhibition which will open in 2015, which will include Spinifex paintings.

This was first published in the London Evening Standard on 7 February 2013.

Ilkurlka by Simon Hogan is on display in Room 37

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  1. Very interesting. I hope to be able to see the upcomming exhibition of Indigenous Australian artwork.


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You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

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