For artist Vanghoua Anthony Vue, the things a family keeps, repairs or rescues from the kerb can tell a story about building a life in a new country.
Growing up in a Hmong-Australian migrant family, he saw those habits woven into everyday life.
“These practices weren’t simply about saving money, but also about resourcefulness, adaptation and making a home in a new country,” he said.
Now, the visual artist and educator is encouraging others to recognise the value of their own ideas and experiences, as Logan Art Gallery seeks proposals for its 2028 exhibition program.
“I would encourage artists, particularly those who are just starting out, to put themselves forward and apply,” Mr Vue said.
“You don’t necessarily need an extensive exhibition history or a long list of achievements to begin developing a professional arts practice.
“What’s important is having ideas that you’re passionate about, being willing to develop them, and taking opportunities to share your work.”
His own connection with the gallery began in 2014, when he applied for a Regional Arts Development Fund grant through Logan City Council.
That opportunity led to projects involving local residents, a community exhibition in 2016 and his solo exhibition, Fading Marks, in 2017.
A decade after that solo show, he will return in April 2027 with Things That Might Come in Handy, a sculpture exhibition exploring everyday objects, cultural identity and the stories behind what people keep and discard.
Works in the series include Garden Spirit II (Pressure Washer) and Domestic God I (Vacuum).
The connection between ordinary possessions and deeply personal histories also runs through Kerbside Nation, his exhibition at the Living Museum of Logan.
What began with an interest in kerbside collections grew into an exploration of residents’ memories, families and sense of belonging.
“But just as importantly, I wanted to explore the objects people choose to keep, and why they hold onto them,” Mr Vue said.
Working with residents through interviews, photography and storytelling reinforced the meaning those possessions could carry.
“It reinforced how even the most ordinary household objects can carry extraordinary stories about family, identity, displacement and cultural memory,” Mr Vue said.
He sees local galleries as places where those experiences can reach people who might otherwise never encounter them.
“Logan is such a culturally diverse place, and there are so many stories here that deserve to be explored and represented through contemporary art,” he said.
“For emerging artists, having the opportunity to exhibit in a professional gallery environment can also build confidence, develop their practice and create pathways towards future opportunities.”
His advice for prospective applicants is practical: read the criteria, explain the proposal clearly and provide strong photographs of the work.
“I would also encourage artists to think beyond simply presenting a collection of artworks,” he said.
“Consider what connects the works, what ideas or conversations you’re exploring, and why they might be relevant to an audience.”
Mr Vue would like to see more collaboration between established and emerging artists, and stronger connections with communities that may not see themselves represented in galleries.
“I think Logan has the potential to develop a really distinctive contemporary arts identity, one that embraces its cultural diversity, suburban character and the everyday creativity of its residents.”
Applications for the gallery’s 2028 exhibition program close on 8 February 2027.
Details and application guidance are available through LoganARTS.
For those who would rather visit than exhibit, Mr Vue’s invitation is just as clear.
“Galleries aren’t just places to look at artworks. They’re also spaces where we can learn about one another, exchange ideas and develop a better understanding of the communities we live in.
“Having these opportunities available locally is something worth supporting and celebrating.”
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