Jaz Corr
“ My practice works with land, material and tutelage to examine how art is held, sold and returned. Artworks sit between object, process and structure. It uses repetition, erosion, casting and collective participation to hold the impact of time, intervention, and displacement.”
Isolated Ruins Middens
Drawing on the cultural and material logic of middens as sites of gathering and record, the work assembles fragments, residue, and discarded matter. These materials are not treated as waste, but as evidence holding memory, use, and presence over time.
Through processes of collecting, layering, and re-forming, Middens examines how value is assigned and how histories are carried within material. What is left behind becomes the work.
The practice resists clean resolution. Instead, it holds accumulation as a living structure, where fragments remain visible and meaning is built through repetition and return. Extending an ongoing investigation into land, material, and systems of value. It asks what is kept, what is discarded, and how these decisions shape cultural and economic memory.
Material is not removed from its context without consideration. The work remains accountable to its origin, even as it is re-formed. It operates under an NFS PTR (Not For Sale / Pay The Rent) protocol, maintaining economic value while refusing conventional modes of extraction.
Exhibiting at Shoalhaven Regional Gallery 25th July 2026 alongside the Koori Kids Program, where students explore cultural storytelling through midden-inspired sculpture, symbol-making, and communal painting, culminating in a collaborative curated exhibition expressing identity, connection, and community.
Isolated Ruins Middens, 2025, 564 Blackened Abalone Shells
Land Wounds Series
Each iteration carries the trace of land as wound formed through repetition, material process, and collective presence. Surfaces register pressure, erosion, and intervention, where time and action remain visible rather than resolved.
The works circulate in accessible ways, but do not operate as discrete objects. They remain connected within a single, evolving structure, ensuring that cultural and economic value is not dispersed, but returned.
Participation is embedded within the work. Engagements generate traces, marks, fragments, and processes that enter and inform the ongoing body. In this way, the work expands without severing its origin. Land Wounds moves through systems of exchange while resisting full extraction, asking how a work might circulate while remaining accountable to land, family, and community.
Selected iterations are available for exhibition upon request.
Land Wounds Series, 2025, 150 Seagrass, Lime Secco of 450
Uncle Richard Campbell Minnamurra Spear, 2025
Wood, Orange Ochre. Spears remain in the artist’s collection.
Replicas are for sale for all inquiries, please contact Richard at Gumaraa.
Education Engagements
“Participation is not separate from my art practice; it is one of its forms.” These engagements extend both the material and conceptual concerns of the work through shared process, cultural knowledge, and connection. Working across schools, universities, communities, and sites, Corr brings together:
Aboriginal art and contemporary material processes
Land-based observation and response
Collective mark-making and transformation
Each engagement follows a structured approach, moving from observation to material translation. These processes generate marks, fragments, and documentation that feed back into practice.
Participants are not positioned as an audience, but as students of process. The work is held collectively, even as it moves between people, places, and forms.
Experienced engagements with Dept of Education, NESA, Arts Unit, Bundanon, UOW, UNSW, TAFE, NSW Health, Museums & Galleries NSW.