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Left image: black and white headshot of a slim, clean-shaven man with dark hair. Middle image: Color film still of someone's hand spreading clay into a circle that's been cut into a tree. Right image: color film still of a person with their face and clothes covered in clay.

In L ving Memory: Dean Cross, Artist-in-Residence

Open Nov. 6, 2025 Ellis Gallery

“What stories do our bodies hold? Am I the living archive of everyone who came before me? How do I access these stories to learn, to remember?”

—Dean Cross, Artist-in-Residence

 

In 2024, the National WWI Museum and Memorial began its first Artist-in-Residence program featuring the works of Indigenous artists from around the globe. The exploration of WWI through art allows the Museum and Memorial to focus on a key part of the Museum and Memorial's mission – to ensure the stories of communities of color, women, and Indigenous peoples who served in WWI are preserved and shared for generations to come.

During World War I, Indigenous peoples from around the world played an important role that often goes unrecognized. Thousands of Indigenous people from North America, Australia, New Zealand, and parts of Africa volunteered or were drafted into colonial armies.

In Australia, more than 1,200 Indigenous men enlisted or tried to enlist during the war. About 850 men served, often facing major barriers to do so. Despite these challenges, Indigenous veterans used their military service as a platform to fight for equal treatment and citizenship for themselves and their communities.

Artist-in-Residence Dean Cross was born and raised on Ngunnawal/Ngambri Country and is a Worimi man through his father's family line. He is an artist who primarily works with installations, sculptures, and paintings. Interested in collecting materials, ideas, and histories, Cross understands that his art is part of a continuing living culture on Earth. His work supports First Nations sovereignty through modern art methods. His cross-disciplinary practice often challenges the legacies of modernism and rebalances dominant cultural and social histories.

“Across the Australian landscape, evidence of our Ancestors can be seen in lingering gestures of touch, where ancient hands are carried forward into the 21st century. In the Southeast, where I am from, one of the ways this touch can be seen is in what we call ‘Scar Trees.’ When I make a new Scar Tree, my Ancestors will be able to hold my hands in the same way.

“In the dawn hours of April 25, 1915, my great-great-grandfather George Moss landed at Gallipoli. He was to meet his maker on that Turkish beach. I dedicate In L ving Memory to him as an act of remembrance, honour and service.”

—Dean Cross

 

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Black and white photo of two young brown-skinned men in Australian WWI military uniform, posed for a seated portrait
Studio portrait of two Aboriginal servicemen from Taree, NSW; 6564 Private (Pte) William "Nip" Simon (left) and 6551 Pte Harold Howard Maher. Courtesy Australian War Memorial →
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Black and white headshot portrait of a slim, cleanshaven man wearing a button-down shirt and blazer
Dean Cross, photographed by Dario Hardaker.
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Left image: A person's hands carving designs into a tree. Right image: a person wearing a WWI uniform, with their head, face and clothes covered in clay
Film still from In L ving Memory.
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