Joan Marie Kelly possesses extensive and diverse experience as a collaborator, designing art practice as a research methodology in conjunction with scholars from diverse fields, including environmental science, linguistics, tourism studies, and vernacular cultural heritage. She has engaged with linguists and various tribes in Nagaland, India, to create children’s literature aimed at preserving oral languages. Additionally, Kelly conducted a series of workshops with the Kayan and Big Ear peoples in Thailand, near the Myanmar border, in collaboration with Chiang Mai University. Her collaborations extend to the Earth Observatory Singapore, focusing on urgent environmental issues.
The Last Kali Priestess
The Last Kali Priestess envisions a future grounded in mutual respect and harmony with nature. This painting draws inspiration from indigenous cultures that regarded the natural world as an equal partner, highlighting the importance of reciprocity. It reflects both forward-thinking aspirations and a reverence for ancestral wisdom, emphasizing that modernity must evolve beyond exploiting the environment as a mere resource. Instead, it advocates for a legacy of coexistence, where humanity and nature thrive as equal partners. This portrait honors Auntie Veni, known as the Last Kali Priestess in Singapore. For over two decades, she dedicated herself to spiritual healing under the sacred guidance of the goddess Kali and the blessings of this tree. Auntie Veni cultivated a community of followers who regularly performed pūjās at the tree as an expression of their devotion. However, in 2024, the Singapore government prohibited these practices, disbanding the rituals and requiring the group to vacate the area. This painting serves as a tribute to Auntie Veni's profound legacy and her enduring connection to the divine and the natural world.