Gary Philip Lee b. 1952

Also known as Gurrulan, Gary Lee
  • Artist (Cartoonist / Illustrator),
  • Artist (Textile Artist / Fashion Designer),
  • Artist (Photographer)
Gary Lee is a Larrakia artist who has worked as a designer in a range of media, a curator and now works primarily as a photographer.
Tags: photographer, textile artist, cartoonist
creator of
Darwin Lad
Date

From Lee’s Nymgololo series, this was his first work selected for the Telstra National Aboriginal and Torres Strait Islander Art Award.

 
creator of
Mei Kim and Minnie
Date

Mei Kim and Minnie, exhibited in the inaugural “TogArt NT Contemporary Art” exhibition,also exhibited in Territorial, 2006, an exhibition of NT and ACT artists. This work has been purchased by the Museum and Art Gallery NT. Self-portrait with Manish I, exhibited in “More than my skin” (2008) at Campbelltown Art Centre. The artist refers to this work as 'the NATSIAA-reject’ work, as he believes the fact of its Indian/Hindu reference disqualified in the eyes of the pre-selectors for the 2003 National Aboriginal and Torres Strait Islander Art Award for which it was entered.

 
creator of
Shannon as Billiamook
Date

This work, a diptych, came about through the deliberate placement of a photo of Billiamook by Paul Foelsche next to a photo of Shannon (Lee’s nephew, the work 'Shaba’, 2004) in the exhibition “Billiamook”, CDU Gallery, Darwin. This was exhibited (along with Mei Kim and Minnie) in the exhibition “Territorial”, 2006 (a pairing of NT and ACT artists, curated by Andy Ewing and David Broker).

 
creator of
Shaba
Date

A portrait of Gary Lee’s nephew, Shannon Lee (aka Shaba), initially shown in the exhibition “Billiamook” which Lee co-curated with Sylvia Kleinert at the Charles Darwin University Gallery, Darwin. This photo was reproduced on the cover of Artlink, Vol 25, No. 2, an issue guest edited by Cath Bowdler on the theme of 'Remote’.

 
creator of
Self-portrait with Manish 1
Date

Exhibited in “More Than My Skin” (2008) at Campbelltown Art Centre. The artist refers to this work as 'the NATSIAA-reject’ work, as he believes the fact of its Indian/Hindu reference disqualified in the eyes of the pre-selectors for the 2003 National Aboriginal and Torres Strait Islander Art Award for which it was entered.