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.

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.

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

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)