Noongar Country 2023: For Our Elders

17 June - 24 September

For Our Elders

For Our Elders

ACKNOWLEDGMENTS

WELCOME TO NOONGAR COUNTRY

Bunbury Regional Art Gallery Team

Dr. Michael Bianco Director BRAG

Katelyn Whitehurst Noongar Country Exhibition Curator

Karen Morgan Noongar Arts Coordinator

Noongar Country 2023 Sponsors & Supporters

City of Bunbury

We are the Wardandi People, the Saltwater People of this Country, traditional owners and caretakers of Noongar Country.

Anna Edmundson Administration and Operations Coordinator

Simon Long Exhibitions Officer

Caroline Lunel Collections Curator/Registrar

Molly Werner Education Officer

Dee Mosca Gallery Officer

Paula Thompson Marketing Officer

Katelyn Whitehurst Gallery Attendant

Josef Quinn Gallery Attendant

Claudia Stiglmayer Gallery Attendant

Donna Greenwood Gallery Attendant

Dan Kus Gallery Attendant

Penny Elliott Gallery Attendant

Alcoa

Catalogue Design - A&L Printers

COUNTRY’23

COUNTRY’23

For Our Elders

For Our Elders

We welcome you to Goomburrup, on Wardandi land.

Photographer - Ben Yew

Bunbury Regional Art Gallery is owned and managed by the City of Bunbury. Government Partners: Department of Local Government, Sports and Cultural Industries (DLGSC), and Department of Infrastructure, Transport, Regional Development, Communications and the Arts (via IVAIS).

Always was, always will be.

BRAG and the City of Bunbury acknowledges the Wardandi Noongar People as the traditional custodians of the land we are standing on.

We pay respect to Elders, past, present and emerging.

“The views and opinions expressed in this catalogue are those of the artists and authors and do not necessarily reflect the official position of the Bunbury Regional Art Gallery or its affiliates. Any content provided by our artists or authors are of their opinion, and are not intended to malign any religion, ethnic groups, organisations or individuals. The stories have been printed verbatim.”

Katelyn Whitehurst - Curator

Bunbury Regional Art Gallery is situated in Goomburrup on Wardandi Noongar Boodja. Goomburrup is defined by its waterways and oceans, whose shores contain important places of meeting, food, and new life. Noongar Country is an annual exhibition that celebrates Culture by showcasing artwork made by Aboriginal and Torres Strait Islander artists living on Noongar Boodja - spanning from Geraldton to Esperance and encompassing 14 different dialects. This landmark exhibition is ostensibly the largest and longest running of contemporary art by Aboriginal and Torres Strait Islander artists in regional Western Australia. As the curator of the 2023 exhibition, I waangkiny artists to depict and create objects that reflect the matriarchs of our communities -The holders of knowledge. Those who are quiet, yet powerful. Those in our families who we look to for guidance and strength. The makers of the best warm cuppa, who serve it with a cheeky laugh, and the biggest smile.

Based on this year’s NAIDOC theme, For Our Elders, Noongar Country 2023 encapsulates moort in its highest regard.

Noongar Country has always played a special role in my life as a young yorga, practicing artist and community member.

My Nan and Mum would bring me to the exhibition, and I would marvel at the colours and stories that hung on the wall. We would spend hours talking about our favourite artworks and how they might have been created; we were living in the magic of art and the stories the artworks hold.

It is an honour and a privilege to work with the artists to compile the individual artworks that have been submitted this year and tell a larger story about the relationships we have with our Elders and Boodja. I believe that sharing our stories within our community can bring down barriers and empower/heal our koort.

As part of this year’s Noongar Country, I have made an intervention in the gallery’s space I am calling Nanna’s

Living Room. The space is intended to challenge audiences to consider the kinds of spaces where we experience art and as an ode to contemporary yarning. For many, the living room is a space that, in many moort, nurtures the next generation’s growth. Through the creation of Nanna’s Living Room, it is my curatorial intention for this exhibition to be a space that all mob can relate to when considering their Elders. Most importantly, it is my hope Nanna’s Living Room is a safe space for everyone to comfortably yarn. So, I invite you all, artists and the general public alike, to sit, yarn, and have a cuppa in this space. Sit and take a moment to reflect upon the stories of Noongar Country. Enjoy a cuppa, as if you were at your Nanna’s house.

I thank all the exhibiting artists for sharing their stories of their moort. It’s been a privilege to waangkiny and kadjininy with all of you. I especially want to acknowledge my own Elders, for all their incredible hard work and perseverance,

COUNTRY’23 For Our Elders

as well as the empowerment they all have instilled within me. For this I say, thank you. I also want to thank you for visiting Noongar Country 2023: For Our Elders and listening to the stories of Boodja.

Katelyn Whitehurst is a Noongar Woman living on Wardandi Boodja.

Language taken from My Nan, Rose Whitehurst’s, Noongar Dictionary Second Addition.

Must Learn Words

Goomburrup - Bunbury

Wardandi - Saltwater People

Moort - Family

Boodja - Country/Land

Waangkiny - Asked/Talk

Yorga - Girl/woman

Koort - Hearts

Kadjininy - Hearing

Dr. Michael Bianco - Director

The Bunbury Regional Art Gallery is situated on unceded Wardandi Noongar Boodja. In acknowledgement of this, BRAG is proud to be the preeminent gallery to exhibit and support Aboriginal and Torres Strait Islander artists working in Noongar Country, and positions Noongar Country as one of the central exhibitions in our program. For over twenty years, the exhibition has proudly displayed a wide array of Aboriginal and Torres Strait Islander arts practices, exhibiting work that utilises a plurality of media and methodologies to push the boundaries of what the public understands aboriginal art to be. This year’s exhibition is a response to the NAIDOC theme

For Our Elders, and the gallery is particularly proud to demonstrate its commitment to intergenerational solidarity by inviting emerging artist and curator Katelyn Whitehurst to deliver this year’s exhibition. As part of her fresh curatorial approach, Whitehurst has drawn on the methods of

installation and theatre, utilising the architectural structures of knowledge exchange found in a family home to alter the gallery into a more domestic setting. BRAG believes in Whitehurst’s curatorial intervention, and the potential for artists to transform the “white cube” of the gallery into a space for intergenerational dialogue and radical community welcome. We hope you will find as much inspiration in this year’s artists as we do, and will continue to look to BRAG as the community’s home for arts and culture in the South West. With Gratitude, Dr. Michael Bianco BRAG Director.

Amanda Bell

Your Blood, My Blood, Our Blood

White Neon

....Problems arose in deciding whether descendants of unions between Aborigines and settlers were to be regarded as Aboriginal for the purposes of various restrictive or discriminatory laws (for example, disentitling Aborigines from voting or enrolling to vote). In applying these restrictive laws, tests based on ‘quantum of blood’ were commonly applied....

Australian Law Reform Commission 2010. The provenance of this term goes back to 1994 and Aboriginal artist Destiny Deacon urged art curators Hetti Perkins and Claire Williamson to use Blak instead of Black for an exhibition. It ended up being titled Blakness: Blak City Culture. Growing up, Deacon always heard white people calling Aboriginal people “black c—s”. She wanted to take the “c” out of Black.

....Signifies urban, contemporary Indigeneity, but has also become important in differentiating the Blak experience from the racialised experiences of non-Indigenous communities of colour. Blackfella or Blackfulla is now often used for the same purpose, but Blak also carries with it connotations of actively engaged, criticalpolitical conscience....

Reconciliation Australia 2021.

I seek to engage with others by telling stories in a way that is ‘right way’ for me as an Aboriginal person and artist, and to make a contribution to making spaces culturally safe in the arts and beyond.

I come from experiences grappling with ‘otherness,’ often in the attempt to say something about the use of language and its role in the creation and maintenance of power structures. I also honour the rage.

Photography by Gregor MacGregor.

Arthur Eades

Koora (Gone)

Acrylic on Canvas

My painting is about when our people passed away and were buried at Carrolup Mission

Ballardong Person

Wagual Water Dreaming

Acrylic on Canvas

This tells a story of the Wagual and the towns and water holes he protects. The 8 big circles are the towns he protects along the Avon River and the smaller circles are the fresh water holes. He protects this river and water holes so they stay flowing and so our Elders can continue to educate the next generations. The hands are my connection to this strong land community and country.

Ballardong Person

Elders Watching Over Our Community

Acrylic on Canvas

My painting depicts the richness of learning and culture that would take place in our traditional way of life. At the top of the painting are two Elders looking over the various activities taking place in the community. On the right is an Elder teaching the young me to dance. In the top right is a family sitting together yarning. There are three groups of women sitting around Gnammma holes teaching the young women about their traditional customs. There are three groups of younger men sitting with the older men who are sharing knowledge and wisdom. In the middle there is a corrobboree going on around the campfire where more cultural practises are being learnt. There is a watercourse running through the painting representing the fullness of life and vibrancy of this community. Today I can only dream and paint about this wonderful life my people once had. My artwork is inspired by the contrast between the way of life experienced by many Aboriginal people today compared to the traditional way of life of our ancestors. Those of our Elders who can pass on remnants of their culture learnt from their elders are all but gone. The strong connections, bonding, and guidance experienced by the young through song, dance, art, hunting and gathering activities where the Elders would pass on knowledge has long faded out in Noongar land. We have lost our direction and purpose. Since colonisation, many Aboriginal people have found themselves struggling to fit in and adapt.

Untitled

Acrylic on Canvas

Julie McCleand, Dot Clayton, Julie Van Vliet, Melba Wallam, Marjorie Ugle, Kathy Ugle

Brianna Shaw

My Family , My Rock

Acrylic on Canvas

Bianca Willder

Djidi Djidi Djerpin Amongst Wildflowers

Acrylic on Canvas

Willy wagtails dancing happy on country, amongst the vast colours of wildflowers that bloom during wildflower season in the Midwest.

Candice Nannup Healing, Growing

Acrylic on Canvas

My Nan Margeret went to Mogumber mission with her family when she was 12, my Pop Allen Stater was born in Gamalling and was taken to New Norcia Mission as a child. My Grandmother, Blanche Quartermaine was also taken to Mogumber mission as a child and then worked on a station, cooking when she was 12. My Grandfather, Ronald Nannup was born in the south and went to work as a station hand. Growing up we learnt our family history and stories. Some stories are good, some stories are very sad but no matter how bad it was, our parents, Grandparents, Elders and Ancestors were able to find the love and strength and grow families. I think it’s their example of that continues to help us heal our families and grow.

Candy Riley

Dembart, Deman (Grandfather, Grandmother)

Acrylic on Canvas

The four circles represent my grandparents - Elders in the community and families, also my role models and best friends, their knowledge and the wisdom of long experience passed on to their future generations is immeasurable.

Charlotte Ugle For My Nan Pencil on Paper

You inspired me to draw this beautiful portrait of you, the love and respect you gave to each and every one of your children has passed down from generation to generation. Values I carry with me. My Nan’s life was a blessing to all who knew her. Nans are referred to as wise and loving elders. They are a source of wisdom and knowledge, and my Nan played an important role in keeping her family close. Your presence has never left me, this portrait is dedicated to you with all my love.

Chris Collard Gravil Hill Camps

Acrylic on Canvas

Living my years from 3 years to 12. There is constant question about what where and how it looked.

Cole Baxter

Konk Ben Taylor Fremantle Prison

Photograph

Portrait of Konk Ben Taylor visiting Fremantle Prison for first time since he was held there 60 years ago. Unused image taken as a part of the ëNgaluk Waangkinyí (us talking) Community Arts Centre project. Konk Ben is a staunch Noongar man, always on the frontline during protests, even now at the age of 84.

Dawn Alone

Living off the Land

Acrylic on Canvas

My painting is about my childhood growing up living off the land at Burekup camp. Which is called the Gravel-Pit. The land was our supermarket and the rivers and ocean where we got our marrons, fish and crabs. Also working for the farmers picking spuds and fruit in the orchids. Everything was fresh and we survived.

Dellas Bennell

Meeting Places

Our Story in Art

- featuring Rhona Wallam

Film

An Art series that shows how shared knowledge and memory are the meeting place of culture which is the basis for contemporary Noongar Arts practice today.

“Storytelling forms part of those artworks and are not separate from culture, because it is an integral part of who we are, and where we come from, and is in every form of our expression.”

“We overcome adversities, remained strong in family connections, we celebrate, we heal, and we continue our stories in art.”

Delphine Schwarze

Take me Back Home

Acrylic on Canvas

This painting is in honour of my Elders, past and present. The land and the rivers are all teaching grounds, places where time has no significance and wholesome kinships were plenty. My Elders shared their knowledge of what tucker to eat, where to find water, and what direction to travel by recognising the changes in the land. But mostly being in the presence of Elders was always a time that will never be forgotten. now pass this onto my children and their children.

Denise and Patrick Jetta

Waarna (sticks)

Wood (found materials)

My name is Denise Jetta and I have collaborated with my husband Patrick Jetta on this art project, which is working with wood. We love being out on Country and finding suitable wood to work with was interesting. We have made a collection of different tools Waarnas, tapping sticks and digging sticks. These are made from different native woods collected here in South West. Jarrah, Tea tree, Banksia, Casurina tree and Nuytsia Floribunda. It was a great opportunity for us both to be creative, hope you like the collection.

Diahan Riley Our Elders - Positive Influences

Acrylic on Canvas

We had positive influences in our lives while growing up. A positive influence could have come from one of our Elders - our Grandparents or an aunty or uncle

or a respected Elder within the Community. My parents were the greatest influence in my life and who influenced me to be the person I am today.

Being out on country with family was the most amazing experience. We learnt about our culture developed a deeper love and appreciation for nature and how to be a better person within ourselves. My parents and grandparents influenced me to be a hard worker, respectful and kind toward others and treat others the way we would like to be treated and hopefully I can be a positive influence on the younger ones in my family and Community.

Our Elders are the backbone of our community - from our Grandparents who provide love security and protection in all aspect and to our aunties and uncles that provide guidance and moral support in life. We should do everything we can to look after and care for Our Elders.

Dwayne Woods

Noongar

Acrylic on Canvas

Emily Rose

Listen Oil Paint on Canvas Koolang, listen.

Listen, to the knowledge shared by nan, around the crackle of the camp fire.

Listen, to the messages left upon solid foundations that were intended to carry a legacy.

Listen, the Moojar trees whisper, soft stories of once was, imbedded in boodja enduringly.

Listen to the lessons from Mother how to read the land and its seasons.

To be quiet. To make informed desisions to pave the path forward.

Listen is a painting of my Koolang (child) sitting upon the solid foundations of the land. She is quiet listening to what her elders past and present have to teach. She is ready to grow with the guidance of Mother and mumma.

Geoffery Woods The Great Race

Acrylic on Canvas

Ethel the old crab is likened to our Elders. Today, past, present and future. Our Elders are never in a hurry. “Old Crab and the Young Joey” Long time ago there was a young Joey, always in a hurry, dashing in and out the bushes, he was told to slow down a few times by his Elders! One day he was coming around the corner and crashed head on with an old Crab! The old crab pull him up and challenged him to a race! The old crab told him “if i beat you, then you have to be respectful on the path ways” They set a day for the great race! The old crab told his mates to be at all places around the track, come the day of the race, the old crab and Joey line up. Off they went, every corner the young joey seen the old crab behind him gaining ground. At the finish line the old crab beat him (Changing with his mates at every corner) “the moral of this story is be mindful of others, Especially our old people.

Goveng Person The Dreaming

Acrylic on Canvas

Many many years ago, in the Dream Time, when land, now called the Stirling Ranges, was flat and bare,

lived the Kangaroo people. A male Kangaroo and a female Kangaroo and their young joey. The male Kangaroo would always be hunting and mixing with his mates, and he would never bring any food back to camp for them to eat. So the female Kangaroo decided to find her own food in the bush and her

and her joey had their own food. The male Kangaroo on his way home, saw all the food scraps and asked them where his food was? He became very very angry when the female Kangaroo told him that they had eaten it all. He threw a spear at her hitting her in the heart, she died and turned into the mountain,

know today as Sleeping Beauty. The joey found out what the male Kangaroo did and after the fight, the joey killed the male Kangaroo near Bluff Knoll, who turned into the surrounding hills of Bluff Knoll, with his knees sticking up in the air From The Dream Time.

Jade Riley

Knowledge Flow

Acrylic on Canvas

My artwork represents the flow of knowledge passed down from our Elders to the younger generation. It depicts the connection of country and all the places my Elders have taken me. Linking dreamtime stories to the landscape, bringing the stories to life.

Home

Acrylic on Canvas

My Mother and Nan’s Camp

Jennifer R. Woods

Janaya Johns

Untitled Acrylic on Canvas

Jennifer Riley Djilba Memories Acrylic on Canvas

Jodie Riley Kaadatj

Acrylic on Canvas

Song lines are passed from Elder to Elder from nyidiny (cold time) to yeyi (now).

Our Elders are the strong ones the survivors they are the ones who sang the songs of knowledge so we can sing today.

Joshua James

Moorditji Kaadadjan

Acrylic on Canvas

My design is called “Moorditji Kaadadjan” meaning Strong Knowledge. The centre of the art piece is a shield which represents strength and determination of Aboriginal people to overcome racism, discrimination, colonisation, separation and empowers Aboriginal people to have the strength to take on challengers. Around the shield are Aboriginal 29 Elders coming together to discuss and improve the Aboriginal communities around the country. The three yarning circles at the top represent community talking amongst themselves on country (cultural safety and leadership). The tree yarning circles at the bottom along with the walking trails off the artwork represent Aboriginal people reaching out to non-Aboriginal communities and sharing our knowledge for everyone and being proud of our culture and who we are. The exterior colours represent different Aboriginal land origins all around this great land and on that land are walking trails of the Emu and Kangaroo.

Kathy Ugle

The Reserve Tambellup

Acrylic on Canvas

Home, love, family - to show family now where our Elders grew up.

Keelan Reagan

Lizard

Acrylic on Canvas

Kim Kiosses

For Our Elders

Acrylic on Canvas

Our Elders are our connection to our history and culture. They guide and support us. They encourage, nurture, and teach us. Our Elders have encountered so much pain, heartbreak, change and injustices, but they keep fighting. We are forever grateful and respectful. With our Elders’ strength and courage, let them guide us and make them proud.

Lea Taylor

Gabbi Didup-yen Gnamma

Textile - Weaving

This piece consists of 5 woven circles, each 500mm in diameter using dyed Jute in traditional coiling and looping techniques, attached to a fine metal frame. Each of those circles are a representation of 5 Missions members of my family and my Elders were sent to. Moore River (Mogumber), New Norcia, Carrolup, Badjaling and Sister Kate. They are inside a large metal frame covered with raw natural Jute and suspended by translucent fishing line. The fishing line, although almost invisible shows our connections; to each other and to country. I chose the fishing line because we were told our families did not want us but we felt the connection even though we could not see it and our culture and language had to be shared secretly, the Jute covering the metal frame is to represent the itchy western clothing and the itchy blankets given to us. I did not frame the work in a traditional way but instead used metal to build a frame that represents the fences of the reserves and missions. The way in which I constructed the frame is also a representation of the old “Mission beds”, a bed I know all too well, having slept on one as a child myself along with the stripped cotton kapok filled mattress and a heavy grey, very itchy wool blanket.

Gabbi Didup-yen Gnamma - Ripples on The Waterholes RIPPLE EFFECT The continuing and spreading results of an event or action. The ripple effect of colonisation; our lands were stolen and our ancestors displaced. The bidi we travelled to hunt and move through boodja for thousands of years and many many generations were now closed. We were cut off from the all important gnammma. The farmers had closed “their land” to us. We were taken from our lands and put in Reserves and Missions. Our culture and language were criminalised. Today were have both language and culture because of the courage of our Elders. Those who defied the authorities to keep it alive, all be it in secret. Today, we have the knowledge passed down. Today, we have the stories, and we must remember to be respectful of our culture and language...For Our Elders.

Maidens Park PS

Kindy

Elders Portraits

Oil Pastles on paper

Lera Bennell

Concrete Installations

Acrylic on Canvas

Concrete block were installed on Native Reserves as basic for ablution block and housing. Couples came into this land in all shapes and sizes.

Maidens Park PS

Pre primary

On Country With An Elder

Acrylic on paper

Maidens Park PS

Year 1/2’s

Important Elders in My Family

Acrylic on paper

Maidens Park PS Year 2/3’s Places of Significance in Bunbury

Acrliyc on Paper

Maidens Park PS Year 4/5’s Leaf Tracing

Acrylic on Paper

Maidens Park PS Year 5/6’s

Landscapes

Acrylic on Paper

Marjorie Ugle

We Should Acknowledge Ancestory

Acrylic on Canvas

The First teachers in Australia were Elders their culture - laws taught in the open at night. Their study of the stars (jindany) Taught nature, such as, trees and their uses. The rivers (billeroo) fish, sea (wardan) They learnt all this by studying nature, sun, moon, river, winds. Nothing was written down they were demonstrated.

Maya Hume My Family Tree

Acrylic on Canvas

This painting shows my family tree, my mothers side and my fathers side. I am 4th in this work. Family means that you have each other’s back no matter what life brings. My Elders have always shown me this. My Elders have always represented love.

By The Kayep (Water)

Melissa Riley

Acrylic on Canvas

Megan Corby

Koortaboojar - Heartland

Acrylic on Canvas

This artwork represents the love and appreciation I have for the women in my life, both past and present. I/we are blessed to have such strong role models. They genuinely care about their family and community. Always trying to build us up to be stronger and better. They bring such energy and vibrancy to my life. They make me laugh and bring happiness. They are cheeky and charismatic. Talented and intelligent. I will be forever grateful to be brought up around such love.

Menang Person Boola Miyel

Acrylic on Canvas

It’s a place of many faces if you look at the rock face you will see eyes of many faces looking at you. Boola Miyel is a place where the spirit Noyintj lives. The spirit of the dead. When Noongar people see clouds and misty rain around Bluff Knoll they know someone is going to die. When the clouds are low to the ground and it’s raining at Bluff Knoll, Noongars know an old person is going to pass away. When Noongar people die on Koreng Country their spirits always come back to Boola Miyel before they pass into the great beyond. This is a story about Bluff Knoll. A long time ago a Koorintj family living outside the Stirling Ranges had a pretty girl. The custom was two young men from another tribe would come into the tribe to learn their traditions, language and culture of the Koorintj tribe. It was forbidden for women from Koorintj tribe to look at any of the visiting men. Nobody knew the girl wanted both to be her sweetheart. When it came time for the young men to leave, the young girl planned to meet one young man at sunset and the other at sunrise. The young men found out what the young girl had planned, they fought at Bluff Knoll. She tried to stop them, she couldn’t. The young girl ran back to the tribe, she told the tribe the men were fighting. The tribe didn’t listen, they did not want to know because she had broken law and she was banished from the tribe. Nobody else from the tribe would take her in. The girl ran back to Bluff Knoll but tragedy, both the young men were dead. The young girl was alone. The only person who would have her was the master spirit, Noyintj. The young girl was very lonely and used to go around looking for little children. She wanted to hold the little children to her chest because she didn’t have a family. Noongar people never used to allow their children to move from their homes late in the afternoon or at night-time. The young girl is still at Bluff Knoll. When the wind blows in a certain directions you can hear her wailing, because she is so lonely. The Noongar People were always afraid of the spirits taking their children.

Noongar Person My Country

Acrylic on Plywood

In exploring my connection to country this work was created in an imaginary colourful way. In this journey the contour lines describe country, cultural heritage and links to our people, past and present.

Noongar Person

Boodjaree Yorga (Pregnant Woman)

Acrylic on Canvas

The unconditional love of the mother and child as the mother carries for 9 months and the lifestyle of motherhood begins her journey of life guided by the Elders and reincarnation through generations. The footprints of the childs journey through life paves the way for future generations.

Noongar Art Program

Totem Animals on Wardandi

Hay and Wool

Noongar Arts Program Artists recently worked with renown Nyoongar Artist Sharyn Egan. Sharyn guided us through the practice of creating a totem. Sharyn speaks about the act of creating the totem whether you have a known totem or not, creating one brings joy, conscious, caring and connection back to Country. The act of making, bringing a mindful purpose to creating a bond with an animal that you now look out for, care for, and commit to continue the traditional practice of caring for life on your Country.

Artists: Amanda Riley, Beverly Thomson, Charlotte Ugle, Candice Nannup, Dawn Alone

Pauline Farmer

Nannie Boodja

Acrylic on Canvas

Born Gnangerup WA. I am self-taught and was inspired by Aunty Bella Kelly, as a child. I used to get her clean water when she was painting at the Tambellup Reserve. She was a landscape artist. This painting “Nannie Boodja” was a challenge for me as I have never done a painting this big, it took 2 and half days to complete.

Philip Hansen

Untitled Landscape

Acrylic on Canvas

Rhona Wallam

Light Up Country and Colour

Acrylic Permaset and Posca Pen on Fabric

Our Country at sunset. Celebrating the many beautiful changing colours over Country. am a local Elder and continue to explore and create through my art.

Rhonda Norman

Connections of Unseen Beauty

Acrylic on Canvas

Underground water, land and sky. The beauty of this country.

Samantha Johnston

Dream Time Warrior

Acrylic on Canvas

The kangeroo is at war with the dingo, the turtle is a peace maker and the star give homing.

Shannon Clohessy

Boola Boonur Djaanga Wongi - Plenty Tree Spirits Talking Wood and Glass - Exploring the Alchemy of Glass Furnace Work

In my artistic journey I find myself drawn to the captivating dance between fire and molten glass within the enchanting realm of the glass furnace. As a glass artist I am endlessly fascinated by the transformative process that takes place within the confines of the furnace. The intense heat, the orange glow, the rhythmic flow of the molten glass and the delicate choreography of my hands as I manipulate the material it all comes together in a harmonious symphony of creation. In my artwork

I endeavour to capture the essence of nature’s enchantment translating its grandeur and subtle nuances into the translucent depths of glass. The vibrant colours that mimic the changing seasons, the fluid forms reminiscent of meandering rivers and the delicate patterns inspired by the waves on the shore all find their place in my artistic repertoire. Each vibrant hue harnessing the primal forces of fire and glass. My creative process involves an intimate dialogue with the glass as I coax it to reveal its secrets and mirror the natural world that inspires me. I seek to imbue my pieces with a sense of harmony \ inviting viewers to contemplate the interplay between the man-made and the organic the tangible and the ethereal. It is my hope that through this dialogue my artwork serves as a catalyst for reconnecting with the profound beauty of the natural environment and fostering a deeper sense of interconnectedness.

Sharyn Egan

Maap (Skin) Balga Resin and Acrylic on Board

This work is inspired by my ancestors use of the Balga resin for its many uses.

Stephen Taylor

In the Moment

(image from Blak Lives matter protest: Common Grace)

Acrylic on Canvas

Ben Taylor Cuimara: My pop is a Yued and Wadjuk Elder of the Nyoongar people know as Uncle Ben or Pop. He was awarded the Member of the Order of Australia in 2013 for significant service to the Indigenous community of Western Australia through his contributions to a range of social justice and humanitarian rights issues. This year he had the honour of becoming a Naidoc Perth life member. He is currently a member of the Anglicare Aboriginal Reference Group advisors on Nyoongar protocols to the Anglican Archbishop of Perth and is on the City of Perth Elders Cultural Advisory Committee. He also worked for more than 20 years with Aboriginal Catholic Ministry providing pastoral care at numerous major hospitals in Perth. Long before the Black Lives Matter movement swept through the world he was working to protect the lives of Aboriginal people in custody. He was a leading national voice on the Deaths in Custody Watch Committee and Royal Commission into Deaths in Custody. He is life member of the Justice Reinvestment Committee and the Deaths in Custody Watch Committee (WA) continuing to be actively involved in issues affecting First Nations people. I chose to paint my Pop to show his story and show where I came from as a Ballardong and Wardandi man. I heard all of his stories and most of them were stories of loss and sorrow so I wanted to pick the right image of him to depict this. Which was hard to find, all the photos I found were of him smiling, but wanted to show the side of him that I know - contemplative and thoughtful. When speaking with my Pop he asked to be remembered as Uncle Ben Taylor Cuiermara who fought for justice and for my people.

SWAG Taylor

My Dreaming Time

Acrylic on Canvas

Tahlia Bennell

Wardandi Boodja

Maambakoort Coral Connection (Nan’s Country)

Acrylic on Canvas

Tessa Birch Identity

Acrylic on Canvas

This painting pays homeage to the Elders who have taught me and shaped me into the person I am today.

Violet Coyne Our Journey

Acrylic and Grass Tree Resin on Canvas

I used marri gum and grass tree resin for the gravel to add natural texture and personal memories of the bush/nature. It takes us back to our childhood when we travelled along the road and the pipeline which connected regional towns. Precious memories of family. If the car broke down we walked along the pipeline as kids would do and today we always stop and have photos while sharing our memories. ”You won’t get lost if you follow the pipeline.“

Yabini Kickett Pop and Me Soft Pastel on Paper

Pop Clarry Kickett passed away before was born in 1998, but he watched me grow up across Noongar country. Family instilled the deep reverance I have for Gurgurda (Boobook) within me since childhoodBeing his totem and an important teacher/messenger. While some find their presence concerning, we’ve always found comfort in knowing that wise old spirit is visiting, even sometimes with hard news. Pop ís always nearby, somewhere over my shoulder.

Whadjuk Person

Bring Them Back Home

Acrylic on Canvas

This painting represents the time of assimilation (Stolen Generation) to the present. In the centre are the four Karlups (Campfires), ancient symbols representing male and female Indigenous Australians. The Four Karlups stand for the mission institutions where many of my ancestors were ripped from their lands to learn the white man way of life. The Footprints leading to the old people represent their journey back to their home to their families. some never made it. The hands Represent younger people wanting to learn the old ways. The Earthy colours around the outside of the piece are the dessert land meeting. The centre piece is my representation of neurology. The flashing signals traveling along the axon to the receiving cells represent the knowledge that is being transmitted to all Indigenous people on this land. The six seasons are the most important way of life. Noongar people never had calendar and the Boodjar (Lands) was our library and our guide. The old people looked at patterns of movements of the cockies, fish and the kanagroos and the fruiting of the trees before moving camp or hunting. Everything revolved around the six seasons. This is a piece dedicated to my father (RIP) and my Indigenous mentor who has inspired me so much and helped me to find my identity as an Indigenous man from Noongar Whadjuk boodjar (Perth). My father and mentor were both stolen from their mothers when they were babies. My father did not see his mother again until he was

Wendy Jean Hayden

Elders Tree From the Roots Up to the Sky

Acrylic on Canvas

17, my mentor was 54 before he met his. It is up to us now to walk as one and look after the environment. Let’s rub shoulders together, let’s share our cultures and together understand the past to make a better future for our children.

The Elders of our Noongar people are an integral part of our cultural heritage. Our Elders play a big part in maintaining the traditions, customs and knowledge that have been passed down through generations. Their deep understanding of our culture and traditions is and was vital to maintain

respected members of our communities. Their knowledge of the land, it’s flora and fauna and the spiritual and cultural significance of various sites are invaluable to the preservation of their cultural heritage. The impact of our Elders in the early days where; hard working, hunters, gate keepers, story tellers, teachers in culture, and love, and practices, and negotitations in reconcilation.

Quotes from Elders:

“We discovered our Aboriginalality by just being kids with freedom to run and love what was most important to us and that was our land.”

“This is our heritage, this is what we were taught from a young age, land and water and the sky is all the same, they are a part of me.”

“Being a proud Noongar Elder that is what we were taught from a young age, land and water and sky is all the same, they are apart of me”

“Being a proud Noongar Elder that is the way it will be until I die”

“Strong memories as a child running around in the bush where we were camping and sharing everything, no one starved.”

“We must not forget about the things that happened to us long time ago”

“We all need to remember the past and the younger ones need to know, we just want the best for our kids and do well in life and be proud of themselves.”

“We should also remember that our old people always respected, god and the unseen higher power above.”

Wilman, Ballardong Person

Untitled

Acrylic on Canvas

Noongar Kayyip- Country, Great Southern District, Nighttime Lighting, thunderstorm at the Lake Toolbin.

Victoria Coyne

Koi Kyenunu-ruff (mist rolling around the mountains)

Acrylic on Canvas

When I travel back to Mineng or Goreng country, I am always taken aback by these breath-taking ranges. I imagine our Old People travelling freely across country for many thousands of years and finding in these mountains, not only a source of abundant food and but also great pride. Like our Old People and Elders before us, these ranges are a reminder of our enduring power and resilience. Since colonisation, these ancient and majestic ranges were named after the first Governor of the Swan River Colony. Many have demanded that his name be removed after his shameful role in the Pindjarap massacre. For Our Elders, we ask that the names of criminals, thieves and murderers no longer be associated with this and other significant landmarks, and that these ranges be restored to their traditional title and dignity.

Zali Morgan Birthing Site

Reduction Lino Print on Stonehenge

Birthing Site is a part of a larger body of work that seeks to explore and interrogate notions of place within Boorloo|Perth and bring to light the significant histories of these places, through the use of printmaking and specifically lino print. Due to the high contrast colours within in the inks used, the work presents a utopia wash, which is integral to positioning high power places and understanding the ability they have to hide the truth. The project is engaging with a wider discourse and movement of postcolonial art, through the questioning of place; what place is now, what it was before and how this has affected people. Similar artists engaging with the discourse include Megan Cope and Lisa Reihana. Through interrogation of these places and their histories, I am seeking to push the boundaries of what people can expect from Aboriginal Artists and the work they produce.

ACKNOWLEDGMENTS

Bunbury Regional Art Gallery Team

Dr. Michael Bianco Director BRAG

Katelyn Whitehurst Noongar Country Exhibition Curator

Karen Morgan Noongar Arts Coordinator

Anna Edmundson Administration and Operations Coordinator

Simon Long Exhibitions Officer

Caroline Lunel Collections Curator/Registrar

Molly Werner Education Officer

Dee Mosca Gallery Officer

Paula Thompson Marketing Officer

Katelyn Whitehurst Gallery Attendant

Josef Quinn Gallery Attendant

Claudia Stiglmayer Gallery Attendant

Donna Greenwood Gallery Attendant

Dan Kus Gallery Attendant

Penny Elliott Gallery Attendant COUNTRY

Noongar Country 2023 Sponsors & Supporters

City of Bunbury

Alcoa

Catalogue Design - A&L Printers

Photographer - Ben Yew

Bunbury Regional Art Gallery is owned and managed by the City of Bunbury. Government Partners: Department of Local Government, Sports and Cultural Industries (DLGSC), and Department of Infrastructure, Transport, Regional Development, Communications and the Arts (via IVAIS).

BRAG and the City of Bunbury acknowledges the Wardandi Noongar People as the traditional custodians of the land we are standing on. We pay respect to Elders, past, present and emerging.

“The views and opinions expressed in this catalogue are those of the artists and authors and do not necessarily reflect the official position of the Bunbury Regional Art Gallery or its affiliates. Any content provided by our artists or authors are of their opinion, and are not intended to malign any religion, ethnic groups, organisations or individuals. The stories have been printed verbatim.”

COUNTRY’23

For Our Elders