Aboriginal Art Co proudly presents EPISTEMICIDE + EPIPHANY = EXODUS, a culturally rich solo exhibition by Bingkin / Dean Tyson.

Proudly identifying as a ‘Brisbane Black,’ Bingkin is of the Meerooni tribe of the Gurang Nation and the Ngugi tribe of the Quandamooka Nation, with ancestral ties to the Gungalu and Gunggari peoples. The event drew a strong community turnout, with over 100 people attending. A special cultural performance by Bingkin and his uncle, Josh Walker, engaged and moved the audience, with the gathering overflowing into the street.

The exhibition opened on 30 May 2025 and we held an opening event that brought together family, community and the wider community. Everyone could appreciate the deep cultural significance, grounded in ancestral memory and lived experience. Through story, material, and form, Bingkin explores themes of survival, sovereignty, and the enduring strength of First Nations knowledge systems.

The works on display were developed during Bingkin’s participation in the 8-week Safe Space Artist Residency at Aboriginal Art Co. During this residency, he received mentorship from renowned artists Gordon Hookey and Darren Blackman, took part in a studio site visit at Rick Roser’s studio, and participated in a behind-the-scenes tour of the museum’s collection and facilities. These experiences enriched his practice and deepened his engagement with both contemporary and historical Indigenous art contexts.

Created using organic, found natural materials from his Country- such as shells and shellfish- his artworks also feature wooden artefacts including nulla nullas, boomerangs, and shadow boxes. Each piece is embedded with cultural stories passed down to Bingkin by his Elders, ensuring the continuity of knowledge, connection, and belonging across generations.

Image credit: Lewis Bin Doraho

The Vault Gallery- a remnant of an old bank originally designed to secure precious items- provides a powerful and fitting setting for this exhibition. This history is mirrored in the artefacts on display, which take up space to reflect on how Aboriginal cultural objects have been wrongly taken and kept inside institutional vaults such as museums. At the same time, the exhibition highlights the sacredness and living cultural value of these objects as carriers of identity, knowledge, and spirit.

At the centre of the Vault Gallery, Bingkin's signature hand stencils envelop a large bailer shell installation, which emits a soundscape created by Sachem Parkin-Owens. The sonic composition echoes the gentle sounds of Quandamooka Country throughout the space. Paired with the earthy tones and textures of Bingkin’s work, it creates a grounding, immersive experience rooted in place, memory, and cultural presence.

Staying true to the stories of his Country, Bingkin uses traditional pigment colours- applied with contemporary synthetic polymers- to honour his ancestors and embed cultural continuity into every artefact. His artistic practice- rich with symbolism, layered narratives, and spiritual depth- is both a celebration of cultural resilience and an assertion of sovereignty. Through painting and making, Bingkin shares the stories of his people, land, and legacy.

EPISTEMICIDE + EPIPHANY = EXODUS is a culturally grounded and politically resonant exploration of continuity and reconnection. It confronts the ongoing impact of epistemicide- the erasure of Indigenous knowledge systems- while uplifting the moments of epiphany that inspire cultural resurgence. These tensions reveal a collective exodus from colonial frameworks toward self-determination, cultural pride, and spiritual healing.

Blog written by Rachel Bywaters, 2 July, 2025.