Jody Rallah is a yuggera-yugggerabul and biri artist from Magandjin/Brisbane. Her multidisciplinary practice is rooted in a deep reverence for materials, place, and intergenerational knowledge. Working in harmony with the aliveness of her surroundings, she embraces a Country-echoed approach to infrastructure and storytelling. Her work spans large-scale and intimate creations, encompassing; object-making, sculptural installation, painting, soundscapes, and collaborative processes. Each piece becomes a ‘knowledge vessel’—a living archive that embodies living history, connection, and healing. At the heart of Jody’s practice is an inquiry into how place holds memory and how tactile, hands-on engagement with materials can spark inclusive dialogue. Her work invites curiosity about relationships with Country, the built environment, and the invisible threads that weave all in relation to one another. Through her creative process, she weaves narratives that resonate across generations, exploring identity and the evolving forces that shape our connections to place, self, and community. In doing so, she creates spaces and vessels that are alive with movement, memory, and storytelling—offering moments of reflection, resonance, and renewal.

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In 2024, Rallah was the third Galang Residency recipient, based in Paris at the Cité Internationale des Arts, as part of the Powerhouse initiative supporting Australia-based First Nations creative practitioners. While in residence in Paris she showcased her solo exhibition (Text)ure – Tactile Memory. Her project researched the impact of tactile language systems in immersive art environments, she engaged with Ancestral creations in museum collections, highlighted the role of haptic practices in healing, connection, and cultural continuity. By integrating these systems into public artworks, she emphasized their potential to reshape collective experiences, facilitate cultural resurgence, foster healing, and support intergenerational knowledge sharing and sustainable human practices. Rallah’s recent work includes a 24m Local clay brick and sculptural façade, collaborating with sustainable design studio Five Mile Radius to produce the artwork and engaging respectfully with Elders and community to embed carved vessels. In 2024, she created a laser cut panel artwork for the largest Test Facility in Australia, creating a ‘skin’ that wrapped the facility in a story about sky, land, life origins, consulting scientists to ensure accurate iconography was incorporated. She produced series of large-scale clay paintings, culminating in a 22-meter-long performative piece at the MOB in 2023; A 15m recycled aluminium panel artwork at QUT Kelvin Grove and the creation of a shallow water play pond throughfare and stone arrangement, with an engraved and inlayed seasonal story routed into black granite, collaborating and consulting with Elders. She graduated with a Bachelor in Contemporary Australian Indigenous Art from Queensland Collage of Art - Griffith University in 2019 and was selected for the prestigious Hatched program at Perth in 2020. Rallah has contributed to panel discussions, some including the QLD Museum’s World Science Festival, Apmere Mparntwe - Australian Ceramics Triennial, Sculptors Queensland, Women of the World, Food Sovereignty and bush medicine at University of Queensland Herston; and she sits on the advisory boards of Journal of Australian Ceramics.

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