Last Supper – Please sir, I want some more, 2026

Artist Statement – Nathanael Edwards (Jigirrjigirr – Skin Name)


My practice explores the intersections of truth-telling, cultural memory, identity, and the enduring resilience of First Nations peoples. Working across photography, sculpture, installation, mixed media, film, and writing, I draw upon archival research, oral histories, cultural knowledge, and lived experience to investigate the ongoing impacts of colonisation and the silences embedded within Australia's historical narrative.

My work challenges dominant perspectives by reclaiming overlooked histories and exposing the lasting effects of policies and events that continue to shape Aboriginal communities today. Through symbolism, layered imagery, and immersive installations, I seek to create spaces for reflection, dialogue, and accountability while honouring the strength, survival, and continuity of First Nations culture.

Rather than offering definitive answers, my work invites audiences to confront uncomfortable truths, question inherited narratives, and consider how remembrance, justice, and reconciliation can be shaped through shared understanding and collective responsibility.

Nathanael Edwards

Artist Biography

Nathanael Edwards is a proud Dyirribarra, Bagirbarra, and Dulgabara man of the MaMu Nation. Born in Innisfail in Far North Queensland, he continues to live and work on MaMu Country as a contemporary First Nations artist and cultural practitioner. A self-taught multidisciplinary artist, Edwards has been practicing professionally for three years. His contemporary practice is deeply informed by First Nations cultural knowledge, extensive historical research, community engagement, and personal lived experience. Beyond his studio work, he brings a strong professional background in education, cultural leadership, and community development, currently serving as the Principal of Radiant Life College.

Working across photography, sculpture, installation, mixed media, film, and writing, Edwards investigates truth-telling, historical injustice, cultural memory, and the enduring resilience of First Nations peoples. Drawing upon archival research, oral histories, and personal experience, he creates conceptually driven works that challenge dominant historical narratives while honouring the strength, survival, and continuity of Aboriginal culture. Through symbolism, layered imagery, and immersive installations, his work invites audiences into vital conversations about identity, justice, reconciliation, and collective memory.