Heard from the heart

The entrants in this year’s National Aboriginal and Torres Strait Islander Art Awards have found inspiration in everyday troubles and triumphs.

Jimmy John Thaiday, Beyond the Lines 2022.

Perhaps the most extraordinary thing about the many Yolngu woven fish traps, dillybags and other items that hang in galleries, corporate offices and living rooms worldwide is how ordinary they were not so long ago.

These were the most practical of personal effects, often earlier in their creators’ lives. Their recognition as art reminds us how much has changed but also how little has changed since the mainstream confronted Aboriginal culture.

Simone Maree Arnol, Yalma (cross boomerang) 2022.

Two years ago, along with many aspects of life, the Telstra National Aboriginal and Torres Strait Islander Art Awards were upended when coronavirus ravaged the world. Many communities were closed off and people spent more time in their homes. If this year’s revival show is a guide, many artists used that time for introspection.

Ian Rictor, Tuwan 2022.

Bonnie Burangarra and Freda Ali Wayartja, An-gujechiya 2021.

Juanella McKenzie’s Hold Me 2022 is a coolamon-shaped woven carry dish made from feathers, fibres and human hair collected from five generations of women in her family.

Tyrown Waigana’s The White Hand Threw a Black Spear to Create a Self-Devouring Beast 2021 expounds on the experiences of Aboriginal kids who “did things because that’s what they believed an Aboriginal person did. This mentality becomes very destructive when they believe an Aboriginal person is a criminal, violent, drunk or unable to do positive things such as hold a job”.

Juanella McKenzie, Hold Me 2022.

Ray Mudjandi’s Virus Man 2021 warns, “Virus Man is a bad guy, a villain; he wants to try and destroy the world by making everyone sick.”

And who could fail to be touched by Rhonda Sharpe’s charmingly-titled piece, Me, my thyroid sickness, Candy the dog and the pussycat 2022.

Rhonda Sharpe, Me, my thyroid sickness, Candy the dog and the pussycat 2022.

There are also traditional works of authoritative stillness, like Muuki Taylor’s Kulyakartu 2021 and Patju Presley’s Untitled 2021.

Creative manufacturing is a form of survival, but creative expression is a form of speech. By recognising an object as art, we give it a voice – a special voice you must hear with your heart and with your eyes.