Sculptor Abdul-Rahman Abdullah’s ‘Undying’ Exhibition Explores Mortality, Empire, and Australia’s Feral Animals
A new exhibition at the Chau Chak Wing Museum at the University of Sydney confronts complex themes of life, death, and the lasting impact of both ancient practices and colonial legacies through the work of Western Australian sculptor Abdul-Rahman Abdullah. “Undying,” on display until July 26, features five intricately carved sculptures of feral animals – a blue heeler, pig, fox, rabbit, and cat – rendered in forms reminiscent of ancient Egyptian mummification.
From Ancient Rituals to Modern Ecological Concerns
The exhibition draws a striking parallel between the ancient Egyptian practice of mummifying animals as votive offerings to the gods and the contemporary reality of feral animals in the Australian landscape. The Nicholson Collection at the Chau Chak Wing Museum, which houses 14 linen-wrapped animal mummies dating back centuries, served as a key inspiration for Abdullah. These mummies – including cats, ibises, and crocodiles – were once entombed in vaults and catacombs, representing a deep connection between humans and the animal world in the pursuit of spiritual solace.
Abdullah, who lives on a cattle station with his family, approaches the relationship between humans and the natural world with a unique perspective. He notes his daily life is filled with animals, “chickens and a tank full of fish,” yet he maintains “no pets.” This distinction informs his artistic exploration of the often-fraught dynamic between domestication, wildness, and the consequences of human intervention.
The Paradox of Introduced Species
Inspired particularly by three mummified baby crocodiles preserved in ceramic jars, Abdullah created his series of feral animal sculptures. He describes his work as drawing “a very wobbly line to forever and perpetuity, and a straight line to animals introduced to Australia.” These introduced species, he explains, were given “a whole new life in a new country” through unforeseen circumstances.
However, this new life came at a cost. “The Australian landscape was not prepared for these apex creatures; once they arrived, they thrived and went feral,” Abdullah observes. “The environment is still bearing the cost, yet from the animals’ perspective, it is a paradise.” This duality – ecological damage versus animal flourishing – forms a central tension within the exhibition.
A Critique of Scientific Practices and “Stories of Empire”
“Undying” extends beyond the issue of feral animals to also critique the historical role of museums and scientific practices. Abdullah points out that taxidermy displays were once central to museum collections globally, often functioning as a “story of empire.” To address this legacy, he created models of pigeons and placed them among thousands of rare ornithological objects in the museum’s natural history collection.
This act highlights a profound irony: “It is a bitter irony,” Abdullah states, “that to study creatures, we kill them all.” The exhibition subtly questions the ethics of scientific inquiry and the inherent power dynamics involved in collecting and displaying the natural world.
A Landmark Exhibition for a Rising Artist
This exhibition marks Abdullah’s first solo museum show and his first solo exhibition in Sydney, representing a significant milestone in his career. “Coming from WA, it’s a landmark show for me,” he says. “The majority of these works have never been seen before.” The commission, funded in part by Creative Australia, predates a 2024 controversy surrounding Abdullah’s social media posts concerning the war in Gaza, which led to his resignation from the board of the National Gallery of Australia. The artist has chosen not to comment on these events, allowing his work to speak for itself.
Abdullah’s artistic journey began 20 years ago as an illustrator and model maker, eventually leading to designing animal enclosures at the Perth Zoo. “I can’t deny that nearly all my work has an animal aspect to it,” he reflects. “That was a defining experience for me.” His previous work, such as “Witness” (2025) in Melbourne – a life-size wood carving of a Palestinian mountain gazelle – similarly embodies themes of resilience and the enduring power of nature.
“Undying: Abdul-Rahman Abdullah” is on display at the Chau Chak Wing Museum, University of Sydney, until July 26.
