Megan Cope

Kinyingarra Guwinyanba (Off Country) 2022, Installation view, Central Atrium, Newcastle Art Gallery, Australia, 2025. Photo: Matthew Carbone.
Whispers 2023, Repurposed oyster shell waste, cypress pine, stainless steel cables, aluminium, Dimensions variable, Installation view, Sydney Opera House
Untitled (Death Song) 2020, Drills, oil drums, violin, cello, bass, guitars, piano strings, natural debris, iron thread, metal, rocks, gravels, Installation, Palais de Tokyo, Paris. Photo by Aurélien Mole
After the Flood 1 2024, Acrylic and ink on military map, mounted on linen with Spotted Gum Timber, 175 x 151 cm
The Tide Waits for No One 2022, Installation View, 'Embodied Knowledge: Queensland Contemporary Art' Photograph: Natasha Harth, QAGOMA
Documentation of 'Kinyingarra Guwinyanba' 2022, Minjerribah (North Stradbroke Island. Image by Cian Sanders.
Foundations II 2016, Oyster shells and cast concrete, Photographer: Zan Wimberley courtesy of UNSW Galleries
YARABINDJA BUDJURUNG I 2021, Lithograph on BFK gsm paper, 5 panels: 105 x 75 cm each, 105 x 365 cm overall
Megan Cope Interview: QAGOMA 2019
RE FORMATION Part I 2016, 1800 hand-made concrete shells lodged in ilmenite (black mineral sand), Dimensions variable
Untitled (Death Song) 2020, Instruments made of repurposed soil augers, oil drums, violin, cello, bass, guitar, piano strings and rocks from South Australia Geological Museum; site-specific natural debris from local environment; sound by Isha Ram Das., Dimensions variable, Installation view: UNSW Galleries, Sydney. Photograph: Zan Wimberley
Untitled (Death Song) 2020, Drills, oil drums, violin, cello, bass, guitars, piano strings, natural debris, iron thread, metal, rocks, gravels, Installation, Palais de Tokyo, Paris. Photo by Aurélien Mole
Flight or Fight #5 Radar 2018–2019, Acrylic on paper Ethnographic Map of Eastern Turkey in Asia, Syria and Western Persia on Linen mounted in North Stradbroke Island Cypress Pine, 171 x 165 cm
Flight or Fight #3 Silk Road Extended (Friendly Object) 2019, Acrylic on paper Chinese Map of Middle east (printed by Sun Wah press 1941) on linen mounted in North Stradbroke Island Blue Gum, 93 x 142 cm
Installation view of 'Fractures and Frequencies' 2021, UNSW Galleries, Sydney. Photograph: Zan Wimberley
The Black Napoleon (Eulope) 2019, Lithograph on paper, 105 x 75 cm
Documentation of 'Kinyingarra Guwinyanba' 2022, Minjerribah (North Stradbroke Island. Image by Cian Sanders.

Megan Cope is a multidisciplinary artist and Quandamooka woman from the Moreton Bay region of South East Queensland, Australia.

Her works are informed by her community and heritage. Cope creates sculptural installations, public art and has a socially engaged practice focusing on Indigenous stewardship, cultural continuum and custodial ethics as contemporary art practice.

Cope’s work is deeply rooted in Indigenous knowledge systems and collaborative processes, highlighting the interrelations of land and sea ecosystems and connecting communities. She has exhibited widely in Australia and internationally, and her art often invites public participation, blurring the lines between maker, material, and audience

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